Several years lie between these symphonies and the next in D major (part 1, 504 K.). This was written for the winter concerts on December 6, 1786, and met with extraordinary approbation, especially in Prague, where Mozart performed it in January, 1787[44]The first glance at the symphony shows an altered treatment of the orchestra; it is now fully organised, and both in combination and detail shows individual independence. The instrumentation is very clear and brilliant--here and there perhaps a little sharp--but this tone is purposely selected as the suitable one. Traces of Haydn's influence may be found in the prefixing of a solemn introduction to the first allegro, as well as in separate features of the andante; such, for instance, as the epigrammatic close; but in all essential points we have nothing but Mozart. The adagio is an appropriate preface for the allegro, which expresses in its whole character a lively but earnest struggle. In this allegro the form of a great symphony movement lies open before us. The chief subject is completely expressed at the beginning--[See Page Image] {MOZART'S INSTRUMENTAL MUSIC.} (32) and recurs after a half-close on the dominant with a characteristic figure--[See Page Image] thus allowing of the independent development of section B. Then, after a complete close on the dominant, there enters the very characteristic and originally treated second subject; the close of the part is introduced by the figure, D, so that a member of the chief subject, A, is again touched upon. The working-out in the second part is founded on the third section of the chief subject, C. These two bars, which there formed only an intermediate passage, are here treated imitatively as an independent motif; first B, then D, are added as counter-subjects, all three are worked-out together, tributary subjects reappear from the first part, until the chief subject, A, enters on the dominant in D minor, leading the way for the other motifs, which press in simultaneously, and glide upon a long organ point gradually back to the first subject, with which the modified repetition of the first part begins. In this lengthy working-out every part of the main idea is fully developed. The simple enunciations of the first part appear, after the elaboration of their different elements like utterances of a higher power, bringing conviction and satisfaction to all who hear. The springlike charm of the andante, with all its tender grace, never degenerates into effeminacy; its peculiar character is given by the short, interrupted subject--[See Page Image] which is given in unison or imitation by the treble part and the bass, and runs through the whole, different harmonic turns giving it a tone, sometimes of mockery, sometimes of thoughtful reserve. The last movement (for this symphony has no minuet) displays the greatest agitation and vivacity {SYMPHONIES, 1788.} (33)