In the third place, the scoring of Mozart’s sonatas is usually lighter than that of Haydn’s. We have to do with a finer set of fingers, for one thing, which are unexcelled in lightness and sweetness of touch, fingers which prefer to suggest oftener than to declaim. The treatment of inner voices is more airy. One thinks again of Couperin and even more of Chopin. There is a better understanding of pianoforte effects, not effects of brilliance but of delicate sonority combined with grace. The last movement of the sonata in A minor just mentioned, is a masterpiece of style, and yet for the most part is hardly more than a whisper of sound. The passage work in the last movement of a beautiful sonata in F major (K. 332), the chord figures of the _Piu allegro_ section of the Fantasia, even the F-sharp minor section of the familiar _Alla Turca_ are the work of a man with an unusually fine sense of what fitted the pianoforte. Mozart also expected more of the left hand than Haydn expected. In all his pianoforte music there is more delicacy than there is in Haydn’s, more sophistication, too, if you will. It is more difficult to play. Of the many sonatas, rondos and fantasias only a few may be discussed in detail. Three sonatas written before Mozart settled in Vienna, in 1781, are very fine. These are in A minor (K. 310), in A major (K. 331) and in F major (K. 332). That in A minor was written in 1778. The first movement is more stentorian than Mozart’s music usually is. It is dominated by a strong rhythmical motive throughout, used with fiery effect in the development section over a series of rumbling pedal points. There is something assertive and martial about it, like the ring of trumpets over a great confusion. The second theme seems to be but an expression of energy in more civilian strain. It is perilously near virtuoso stuff; but the movement as a whole is splendid by reason of its force. It is Mozart in a very unusual mood, however. The second movement is a picture in music, according to Mozart himself, of a charming little girl, who has ‘a staid manner and a great deal of sense for her age.’ Yet something of the boldness of the first movement still lingers. The mood is beautifully lyrical and poetic, the style, however, very free and broad. It lacks the intimate tenderness of most of Mozart’s slow movements. The last movement is magical. The fine, delicate scoring, the short phrases, as it were breathless, the beautiful shifting of harmonies, the constantly restless unvaried movement, weave a texture of music that must make us ever wonder at the nature of the mysterious, elusive spirit that whispers all but unheard behind so much of Mozart’s music.