and proceeds to carry it out in such a manner that only a whispered longing may be detected underlying the gently dying sounds of peace. This turn of expression decides the further course of the development. The next movement, "Adagio ma non troppo, con sordini," gives us an insight into a mind deeply wounded, tormented with self-questionings; earnest reflection, doubt, resolve, outbreaks of smothered pain alternate with each other, until a yearning {MOZART'S INSTRUMENTAL MUSIC.} (22) cry for comfort arises, tempered by the confident hope of an answer to its appeal; and so the movement ends in the calm of a joyful peace instead of, as the first, in the silence of exhaustion. The conquered pain breaks out again in the introduction to the last movement, but its sting is broken--it dies away to make room for another feeling. The new émotion is not merely resignation, but joy--the passionate consciousness of bliss, just as inspired, just as restlessly excited as the previous pain. But the exultant dithyramb has not the same engrossing interest for the hearers; man is readier to sympathise with the sorrows of others than with their joys, although he would rather bear his sorrow alone than his joy. This complete change of mood may well excite a suspicion of fickleness, but it is not the less true that the anguish of the first movement, and the exultation of the last, belong to one and the same nature, and are rendered with absolute truth of artistic expression. We turn involuntarily from the artist to the man after such a psychological revelation as this, and find traces of Mozart's nature unmistakably impressed on his work. But we may seek in vain for any suggestion of the work in his actual daily life. At the time when he wrote this quintet his circumstances were favourable, he had only lately returned from Prague covered with honour and substantial rewards, and he was enjoying an intercourse with the Jacquin family which must have been altogether pleasurable to him. It is true that he lost his father soon after (May 26), but a recollection of the letter which he addressed to him with the possibility of his death in view (Vol. II., p. 323), Mozart being at the time engaged on the C major quintet, will prevent our imagining that the mood of the G minor quintet was clouded by the thought of his father's approaching decease. The springs of artistic production flow too deep to be awakened by any of the accidents of life. The artist, indeed, can only give what is in him and what he, has himself experienced; but Goethe's saying holds good of the musician as well as of the poet or painter; he reveals nothing that he has not felt, but nothing _as_ he felt it. The main characteristics of the other quintets are calmer {MOZART'S QUINTETS.} (23)