It must be admitted that Mozart was not equally inspired in all his concertos. That in D major (K. 537), composed in 1788 and known as the ‘Coronation Concerto,’ savors unpleasantly of the _pièce d’occasion_. The themes of the first movement are almost ludicrously commonplace. Those of the _Larghetto_ are hardly more distinguished, and the last movement can be recommended for little more than brilliance. The concertos in D minor (K. 466) and in C minor (K. 491) are, on the contrary, inspired throughout. That in A major (K. 488) one might well be tempted to call the most charming of Mozart’s pianoforte compositions, but that such distinctions are gratuitous and unpleasant. The second theme of the first movement is surely one of the loveliest in all music. The last movement is irresistibly charming, with the sparkle of sunshine on laughing water. The andante between the first and last is of that sort of music which words cannot describe. Indeed there is in all of Mozart’s music, as we have said, a self-sufficient vitality which makes it a perfect satisfaction for the ear. One does not feel stirred to seek a meaning beneath it. It is almost natural music. There is nothing labored, nothing symbolic; and it is almost uniquely beautiful. Surely, as far as pianoforte music is concerned we shall wait nearly half a century before that abstract grace again appears, this time in the works of Frédéric Chopin. IV The pianoforte sonatas of Beethoven hold an undisputed place in the literature for that instrument. Whatever the future of music may be, they can hardly be dethroned. They must always, it would seem, represent the broadest, deepest and highest dimensions to which the sonata can develop. Music which has since been written under the name of sonata has been and will be compared with the sonatas of Beethoven, has been and will be found wanting either in form, in content or in the union of the two, by comparison with those of the great master of Bonn. In the matter of musical value they may be equalled, in many matters concerning the treatment of the pianoforte they have been excelled; but as sonatas they will probably hold their high place for ever, scarcely approached. Improvements in the structure of the instrument itself have something to do with their massiveness. The growth of the pianoforte to serviceable maturity was a slow process, and not until Beethoven was well advanced in years was he able to secure one which could carry the burden that his powerful imagination would put upon it.