A Serenade in D major (320 K.) belongs also to 1779, composed probably for some special festival, and (except that the march is omitted) quite in the style of the early already-noticed serenades[2] (Vol. I., p. 301). A short Adagio serves as introduction to a brilliant Allegro, arranged exactly like the first movement of a symphony, and worked out at considerable length; to this follows a minuet. Then there is inserted a concertante, described as such in the title, consisting of two movements, an Andante grazioso 3-4, and a rondo, Allegro ma non troppo 2-4, both in G major.[3] In earlier days, when Mozart figured as a violin-player, a violin solo played the chief part in such compositions; but now the wind instruments, two flutes, two oboes, and two bassoons are employed concertante; the stringed instruments and horns form the accompaniment proper. These two pieces are elaborated with great care and accuracy, and are clear and perspicuous as well as tender and graceful; {COURT SERVICE IN SALZBURG.} (88) the rondo is somewhat lighter in tone than the first movement. Of bravura, properly so called, there is none to be found, and the ornamental passages are confined to moderate amplifications of the melodies. The instruments are solo in that they bear the principal part throughout, concertante in that they emulate each other in manifold and changing combinations; their strife is playful, with sometimes almost a mischievous tone. The Andantino which follows offers a strong contrast to both movements of the concertante. This is marked at once by the fact that the stringed instruments are here put forward as the exponents of the musical idea, while the very sparely used wind instruments only emphasise certain sharp points of detail. But the contrast is deeper than this; the light and sunshiny mood of the two previous movements accentuates the serious melancholy of the Andantino, which seems to tell not of the pain of an existing passion, but of the inner peace of a sorrow overcome. After a less noticeable minuet[4] the serenade closes with a long elaborate Presto, an important movement full of life and force; the most emphatic contrapuntal arrangement of the principal theme is in the middle passage; it is lively and original, as well as technically correct. The melodies and subjects of these works show unmistakable progress; they are of maturer invention, have more musical substance, if the expression may be allowed, more delicacy and nobility of apprehension. Technical progress is visible in the greater freedom of the contrapuntal treatment, which had already been fully developed in Mozart's vocal compositions. This is most obviously apparent in those parts where thematic elaboration predominates, which are richer and freer than hitherto. There are also many motifs which owe their importance mainly to their contrapuntal treatment. But, above all, we recognise Mozart's sure tact in preserving the limits that prevent the interest in the