[Footnote 49: Palmer (Evangel. Hymnologie, p. 246) finds no pain in this symphony, only pure life and gaiety.] [Footnote 50: H. Hirschbach says, apparently quite seriously (N. Zeitschr. Mus., VIII., p. 190): "There are many people who fight shy of Beethoven's music, finding his earlier symphonies tolerable, but the later bizarre, obscure, and so on; but Mozart's G minor symphony is acknowledged to be a masterpiece, though here and there may be one who thinks this so-called symphony really does not deserve the name, for it is distinguished neither by originality nor workmanship, and is a commonplace mild piece of music, requiring no great effort for its production (even if we set aside the greater demands of the present day), and it was apparently not considered as a great work by Beethoven."] [Footnote 51: It has been called, I do not know when or by whom, the "Jupiter" symphony, more, doubtless, to indicate its majesty and splendour than with a view to any deeper symbolism.] [Footnote 52: Sechtcr gave a technical analysis in the appendix to Marpurg's Kunst der Fuge (Wien: Diabelli) II., p. 161. Lobe, Compositionslehre, III., p. 393.] [Footnote 53: Nägeli (Vorlesungen, p. 162) subjects this symphony to a searching criticism, in order to prove that Mozart (to whom he allows great originality and power of combination, extolling him as the first to form the orchestra into a perfect organic whole) was wanting in repose, and often shallow and confused.] [Footnote 54: Ad. Kullak (Das Musikalisch Schöne, p. 80) remarks that numerous calculations undertaken by him serve to show that Hadyn and Mozart, in the majority of their works, keep pretty close to the law of proportion laid down by Zeising (according to which a whole divided into unequal parts will not give the effect of symmetry unless the smaller parts bear the same ratio to the larger as the larger to the whole), and that in some cases they follow it exactly.] [Footnote 55: Mendelssohn's Briefe, II., p. 337.] [Footnote 56: Marx, Musik. des Neunzehnten Jahrh., p. 68.] [Footnote 57: Ad. Kullak, Das Musikalisch Schöne, p. 149.] [Footnote 58: Ambros, Gränzen der Musik und Poesie, pp. 64,123, 141.] === MOZART 35 BY DAVID WIDGER CHAPTER XXXV. MOZART AS AN OPERA COMPOSER.