The first instrumental composition, in G major (318 K.), dated April 26, 1779, seems to have been written for some very special occasion. The orchestra is strongly appointed (besides the quartet there are two flutes, two oboes, two bassoons, four horns in G and D, and two trumpets in C, and used for effects which must have startled the Salzburgers. It is in the form now usual for overtures, but out of date for concert symphonies, viz.: three connected movements, Allegro spiritoso 4-4, which contains, besides the principal energetic motif with which it begins, and which constantly recurs in different ways, two independent, quieter motifs in succession: Andante 3-8, gentle and soft, somewhat longer than is usual for middle movements, but simple and without thematic elaboration; it leads back to the first Allegro, shortened (by the omission of the second subordinate subject) and modified in the elaboration. The individual and dramatic character of this composition, expressed most particularly in the commencement and the close of it, makes it probable that it was written as an introduction to a drama. We shall see that there was no lack of occasion for such works. Also belonging to this period are two symphonies in the usual three movements.[1] The earlier, in B major (319 K., {SYMPHONIES--SERENADE, 1779.} (87) part II), composed in the summer (July 9) of 1779, was evidently the results of "a pleased frame of mind"; it is a genuine product of Mozart's humour, lively, cheerful and full of grace and feeling. The second, a year later (August 29, 1780), in C major (338 K., part 10), is grander in conception and more serious in tone. This is particularly noticeable in the first movement; a constant propensity to fall into the minor key blends strength and decision with an expression not so much of melancholy as of consolation. In perfect harmony of conception, the simple and fervent Andante di molto combines exceeding tenderness with a quiet depth of tone. The contrasting instrumentation is very effective in this work; the first movement is powerful and brilliant, but in the second only stringed instruments (with doubled tenors) are employed. The last movement is animated throughout, and sometimes the orchestral treatment is rapid and impetuous.