Both the serenades already mentioned are striking compositions, far above the ordinary level of their kind, and may be considered, both as to style and treatment, the precursors of modern chamber music. The first movement of the Serenade in E flat major had originally two parts, which Mozart afterwards condensed into one, giving it greater precision by the omission of lengthy repetitions. The addition of the oboes gives it greater fulness and variety; but it is easy to detect that they are additions to a finished work. The whole piece is of genuine serenade character. After a brilliant introductory phrase, a plaintive melody makes its unexpected appearance, dying away in a sort of sigh, but only to reassert itself with greater fervour. The amorous tone of the "Entführung" may be distinctly traced in the adagio, and through all its mazy intertwining of parts we seem to catch the tender dialogue of two lovers. The closing rondo is full of fresh, healthy joy; the suggestion of a national air in no way interferes with the interesting harmonic and contrapuntal working-out.[36] The Serenade in C minor is far from leaving the same impression of cheerful homage. The seriousness of its tone is not that of sorrow or melancholy, but, especially in the first movement, of strong resolution. The second theme is especially indicative of this, its expressive melody being further noteworthy by reason of its rhythmical structure. It consists of two six-bar phrases, of which the first is formed of two sections of three bars each:--[See Page Image] After the repetition of this, the second phrase follows, formed from the same melodic elements, but in three sections of two bars each--[See Page Image] {SERENADE IN C MINOR.} (27) and also repeated. On its first occurrence it forms a fine contrast to the passionate commencement, and lays the foundation for the lively and forcible conclusion of the first part, while in the second part its transposition into the minor prepares the way for the gloomy and agitated conclusion of the movement. The calmer mood of the andante preserves the serious character of the whole, without too great softness or languor of expression. Mozart has perpetrated a contrapuntal joke in the minuet. The oboes and bassoons lead a two-part canon in octave, while the clarinets and horns are used as tutti parts. In the four-part trio the oboes and bassoons again carry out a two-part canon (_al rovescio_) in which the answering part exactly renders the rhythm and intervals, the latter, however, inverted:--[See Page Image] Tricks of this kind should always come as this does, without apparent thought or effort, as if they were thrown together by a happy chance, the difficulties of form serving only to give a special flavour to the euphonious effect. The last movement, variations, passes gradually from a disquieted anxious mood into a calmer one, and closes by a recurrence to the subject in the major, with freshness and force.