the means to read it in accordance with such feelings. It seems
as though Mozart had expected something of the kind, for he has
given but few and meagre indications of the expression. So we
felt free to indulge ourselves in the delicately increasing swing
of the quavers, with the moon-like rise of the violins:

[Figure: musical example]

the notes of which we believed to sound softly legato; the
tenderly whispering

[Figure: musical example]

touched us as with wings of angels, and before the solemn
admonitions and questionings of

[Figure: musical example]

(which, however, we heard in a finely sustained crescendo) we
imagined ourselves led to a blissful evanescence, which came upon
us with the final bars. Fancies of this sort, however, were not
permitted during the "strictly classical" performance, under the
veteran Capellmeister, at the Munich Odeon; the proceedings,
there, were carried on with a degree of solemnity, enough to make
one's flesh creep, with a sensation akin to a foretaste of
eternal perdition.

The lightly floating Andante was converted into a ponderous
Largo; not the hundredth part of the weight of a single quaver
was spared us; stiff and ghastly, like a bronze pigtail, the