The G minor symphony affords a complete contrast to all this (550 K., part 2). Sorrow and complaining take the place of joy and gladness. The pianoforte quartet (composed August, 1785) and the Quintet (composed May 16, 1787) in G minor are allied in tone, but their sorrow passes in the end to gladness or calm, whereas here it rises in a continuous climax to a wild merriment, as if seeking to stifle care. The agitated first movement begins with a low plaintiveness, which is scarcely interrupted by the calmer mood of the second subject;[47] the working-out of the second part intensifies the gentle murmur--[See Page Image] {MOZART'S INSTRUMENTAL MUSIC.} (36) into a piercing cry of anguish; but, strive and struggle as it may, the strength of the resistance sinks again into the murmur with which the movement closes. The andante, on the contrary, is consolatory in tone; not reposing on the consciousness of an inner peace, but striving after it with an earnest composure which even attempts to be cheerful.[48] The minuet introduces a new turn of expression. A resolute resistance is opposed to the foe, but in vain, and again the effort sinks to a moan. Even the tender comfort of the trio, softer and sweeter than the andante, fails to bring lasting peace; again the combat is renewed, and again it dies away, complaining. The last movement brings no peace, only a wild merriment that seeks to drown sorrow, and goes on its course in restless excitement. This is the most passionate of all Mozart's symphonies; but even in this he has not forgotten that "music, when expressing horrors, must still be music" (Vol. II., p. 239).[49] Goethe's words concerning the Laocoon are applicable here ("Werke" XXIV., p. 233): "We may boldly assert that this work exhausts its subject, and fulfils every condition of art. It teaches us that though the artist's feeling for beauty may be stirred by calm and simple subjects, it is only displayed in its highest grandeur and dignity when it proves its power of depicting varieties of character, and of throwing moderation and control into its representations of outbreaks of human passion." And in the same sense in which Goethe ventured to call the Laocoon graceful, none can deny the grace of this symphony, in spite of much harshness and {C MAJOR SYMPHONY.} (37)