The orchestral workmanship shows that Mozart had not listened to the Mannheim band in vain; the different instruments form a well-ordered whole, in which each has its individual significance. It is only necessary to examine the thematic arrangement in the last movement (score, page 54) to perceive how skilfully the effect of varied tone-colouring is taken into account, while at the same time, by means of contrapuntal treatment, due prominence is given to the purely melodious element. It may well be imagined that Mozart would not let slip the opportunity of trying the splendid effect of a symphony with flutes, oboes, and clarinets (Vol. I., p. 385). But the clarinets are sparely used as a foreign importation, and, together with the trumpets and drums, are altogether omitted from the andante. Large demands are made on the executive delicacy of the orchestra, and in many places the whole effect depends on a well-managed _crescendo_, as it had never done in previous works; in fact, it is not too much to say that many of the subjects would not have been conceived as they are, without the prospect of their performance by a well-organised orchestra. During this interval Mozart also completed the clavier sonatas, with violin accompaniment, which he had begun at Mannheim (301-306 K.), the fourth bearing the inscription "ä Paris," and busied himself to find a publisher for them who would pay him well.[21] He found leisure, also, to compose a capriccio for his sister's birthday. Thus we see Mozart, disliking Paris and the Parisians, deriving little practical gain from all his exertions, and yet striving in his own way to attain the position which was his due, when an event occurred which plunged himself and his family into the deepest grief. Paris had never agreed with the Frau Mozart. Their lodging in the "Hötel des quatre fils d'Aymon," in the Rue du Gros-Chenet--a musical quarter {DEATH OF MOZART'S MOTHER.} (53)