But the influence of the contrapuntal method reaches far deeper than well-defined and scholastic forms, just as a well-considered discourse does not consist merely in the observance of syllogistic forms. The principle of the free movement of the separate members of one whole penetrates the minutest divisions;
and the combined effects of creative ability and artistic cultivation are nowhere so well displayed as in the independent construction of the separate elements which go to form the whole work. We admire Mozart's art in devising his plan, in accurately distributing his principal parts, and in disposing his lights and shades; but where he is in truth inexhaustible is in his power of strewing round a wealth of small touches which assist the characterisation and give to each part its peculiar effect and, in some respect, the justification of its existence. This power, which always seems to have something at command beyond the necessities of the case (although, in fact, every detail which seems to be the chance expression of individual vigour is conditioned of necessity by the whole conception), is the prerogative of genuine creative genius. It approaches the eternal power of nature, whose apparent prodigality is revealed to the deeper view as the wisest economy, or rather as the unruffled harmony of a great whole. So a statue by Phidias suggests to the spectator the impression of animated
nature, because it not merely puts before his eyes in general features a representation of the bodily form of man, but suggests to him the totality of the muscular movements which are in a living body in incessant activity. It is in art as in nature: the further we penetrate the fewer and less complex become the governing forces and impulses. Many details may be considered as trifling until it is asked whether they, in their place, have the required effect as part of the whole. When a work of art gives an effect of an artistic whole, in a way which cannot be explained by a consideration of its apparently insignificant parts, this may be taken as the surest proof that the artist worked downwards from his conception of a great whole to the minutest details of his work. We must not undervalue, on the other hand, Mozart's more exact knowledge and freer use than formerly of external means. His residence in Mannheim had given him an altogether new conception of the performance of a good orchestra, both as to sound-effects and execution. The result is present in these compositions, although Salzburg surroundings and customs limited him greatly in his choice of means. It may be that for these reasons his instrumental combinations show no marked progress on former works, but the skilful use of the forces at his command become all the more apparent.