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Because Mozart wrote his Adagio and Allegro, K. 594, for a mechanical organ (that is, an instrument that automatically plays, as a player piano would), the original conception lauds more the marvel of machines than a human virtuoso. Phrases and gestures are modelled more on fanfares and rote imitation than expressive melodies or development.

Still, Mozart acknowledged that this music had much to offer an organist, and it was eventually published as an organ piece. The mournful Adagio in F minor actually returns at the end creating an overall arch form, while the inner Allegro in F major presents a simple rounded binary form.