The sonata in F major and that in A major were written the following year, and are of strikingly different character, both speaking of the Mozart whose playing was long remembered for its quality of heart-melting tenderness. Unlike the first movement of the A minor sonata, the first movement of the F major is full of a variety of themes and motives. It is rather lyrical in character. The first theme has a song-like nature; and a beautiful measure or two of folk-song melody makes itself heard in the transition to the second theme, which is again lyrical. The development section opens with still another melody. There is an oft-repeated shifting from high register to low. The whole is wrapped in a veil of poetry. The slow middle movement is unexcelled among all slow movements for purity of style, for perfection of form, for refinement, but also tenderness of sentiment; and the last movement flows like a brook through Rondo Field. One cannot choose one movement from the others as being more beautiful either in spirit or workmanship; and the three together compose one of the flawless sonatas of pianoforte literature. The more familiar sonata in A major is more irregular. It has, by the way, no movement in the triplex form. The first is an air and variations. It has long been a favorite with amateur and connoisseur alike. The naïve beauty of the air is irresistible. The variations throw many traits of Mozart’s style into prominence, particularly in the first and fifth, his love of entwining his harmonies, so to speak, with shadows and passing notes. The scoring of the fourth is wonderfully beautiful. The sixth is perhaps unworthy to follow the fifth. After the almost inevitable monotony of the variation form, it is perhaps to be regretted that the second movement, a minuet, continues the key of the first. The movement itself is of great charm. The trio is happily in D major. One would be glad to have it in any key, so exquisite and perfect is its beauty. The last movement, a rondo _alla Turca_, takes up the key of A again. That it is in minor, not major, hardly suffices to break the monotony of tonality which may threaten the interest of the sonata as a whole. The rondo is engagingly jocund, but more ordinary than Mozart is elsewhere likely to allow himself to be.