Page:The story of the flute (IA storyofflute1914fitz).djvu/160

 low; he is always right; his heart and his ear and the tip of his tongue are all in the right place, and he does not imagine that blowing and making faces is all that is needed; he knows too what Adagio means."

In several symphonies a flute is introduced into the slow movement only, and in the early works the flutes are generally in unison with the violins. The first symphony in which the flute has any independent part is the fourteenth. In the Twentieth Symphony we find a part marked "flute obligato" in the andante, but it is in unison with the first violins almost throughout.

In the Serenades the flute is much used. In the ninth the trio is for flute and bassoon (a very favourite combination with him), whilst the Rondo contains the nearest approach to a real flute solo in all Mozart. It is of quite considerable length and is accompanied by the strings. In another trio in this serenade a "flautino" (i.e. piccolo) is named along with two violins and bass, but no notes are written for it. In the fifth the two flutes have a great deal to do, and in one of the trios the second flute is given a solo accompanied by the strings.

Although Mozart never introduces the piccolo into any of his symphonies, we find it in several of his Operas, and above all in his Minuets and Dances. In a contre-danse entitled "La Bataille" the piccolo plays the part of Hamlet, whilst in another two piccolos play along with two oboes. Mozart uses the piccolo in these