Читать книгу The Life of Mozart - Otto Jahn - Страница 19

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DURING the last half of the eighteenth century it had become the fashion in Italy and elsewhere to perform detached instrumental pieces as introductions or intermezzi during the pauses in Divine service. 1 They were written in the then customary symphony form; music of a lively and secular tone not being thought out of place in churches. 2 Brilliancy of effect was provided for by doubling the orchestra and other mechanical means, 3 besides forcible composition. Further innovations were made in allowing solo vocalists an opportunity of displaying their powers in church music; and, as a necessary consequence, distinguished instrumental performers also were allowed to add their share to the attractions of Divine worship. 4 Instrumental concertos were played usually at the conclusion of the service, without any regard to an ecclesiastical character. 5 We gather from Dittersdorf's account 6 of his competition with Spagnoletti at the festival of St. Paul at Bologna and its result, that fine performances were thought as much of in the churches as in theatres and concerts.

At Salzburg, as Mozart tells Padre Martini (p. 244), a sonata was introduced between the epistle and the gospel, until Archbishop Hieronymus replaced it by a gradual in 1763. 7 Seventeen compositions by Mozart of this kind are preserved. The earliest of certain date belongs to 1775 (212 K.), and others to 1776 (241, 244, 245, 263, K.) and 1777 (274, 278, K.), but there are several almost certainly of earlier date. His sacred sonatas were performed even during his absence, according to his father (September 25, 1777). After his return, he composed three pieces of the kind, the last in March, 1780 (328, 329, 336, K.).

They are all inscribed as sonatas, and all consist of a lively movement of moderate length in two parts, and in regulation sonata form. The church sonatas (sonad di chiesa) differ, indeed, from chamber sonatas (sonad di camera) in being serious, dignified, often fugued and in counterpoint, but the style has nothing in it that suggests a sacred performance. The tone is neither solemn nor devotional, nor is the style severe. The tone and treatment of the commencement remind us of the first movements of the smaller sonatas and quartets; the subjects are small, sometimes very pretty'; the treatment is free and skilful, and in the later pieces not without touches of Mozart's originality. They are usually written for two violins and violoncello, to which the organ was always added, but never obbligato nor with any regard to executive display; it has often only its customary office of accompaniment to the violoncello, in which case a figured bass part is written. Even when the organ part is independent it is for the most part limited to what the skilful organist can make out of the continuo; its independence is very modest, and it never aspires to a solo or any passages. Sometimes trumpets and drums are added (263 K.) as well as oboes (278 K.) and horns (329 K.). With the extension of the orchestra the design and treatment became grander and more impressive, but still kept within comparatively narrow limits. Unhappily these organ sonatas give us not the faintest idea of Mozart's much-admired organ-playing.

Not only were these compositions composed for special occasions, but all instrumental music at that time was in this sense occasional music. Orchestral compositions were, with few exceptions, written with a definite aim and under given conditions.

Musical performances were the customary evening entertainments given by distinguished or wealthy persons, in default of better, such as the theatre. Those who maintained their own Kapelle required daily performances, and in the evening, whether they were alone or entertaining company, a well-appointed concert. Sometimes noble gentler men became so proficient on some instrument that it pleased them to take personal part in such concerts. Not to mention the noted examples of Frederick the Great and the Emperor Joseph, the Elector Maximilian III. of Bavaria was a performer on the bass-viol, and took part in the court concerts, where his sister, Maria Antonia of Saxony, appeared as a singer; sometimes also he played the violin in the symphony. 8 The flute was an instrument much in vogue with noble amateurs, and was played by the Margrave Friedrich von Bayreuth, 9 Duke Karl von Curland, 10 and Prince Joseph Friedrich von Hildburghausen; 11 the Elector Karl Theodore, played the violoncello, 12 Prince Nicolaus Esterhazy the baritone, 13 Archduke Maximilian the tenor. 14 Archbishop Hieronymus adopted the violin 15 as his instrument, after the example of the Emperor Peter III. 16 and the Crown Prince Karl Wilhelm Ferdinand von Braunschweig, and he amused himself with it alone after dinner; 17 in the evening he took part in the concerts given by his choir. 18 L. Mozart writes to his son, who had a great dislike to violin-playing in court music: "As a connoisseur, you will not be ashamed of the violin-playing in the first symphony, any more than the Archbishop and all the cavaliers who take part in it." The distinguished amateurs did not indeed always improve the orchestra. On one occasion, the Empress Maria Theresa having remarked in an undertone to Haydn that she wondered what would become of four noble amateurs, who were performing with him, if left to themselves, he played her the joke of quietly absenting himself with his next colleague, and enjoyed the complete discomfiture of the gentlemen. Brunetti, who always stood at the Archbishop's side, used at difficult places quietly to take down his viola and strike in; the Archbishop let it pass, and used even to say when he came to these places, "now Brunetti will come in." Mozart had not the most favourable opinion of the Archbishop's musical knowledge. He writes to his father (Vienna, September 26, 1781) about the famous bass singer, Fischer, "who has certainly an excellent bass voice, although the Archbishop told him he sang too low for a bass, upon which I assured His Grace that he would sing higher next time."

Public performers took the principal parts in these concerts, which fact was taken into consideration in forming the choir; care was taken to attract foreign artists, and in the larger towns many public performers depended on the daily concerts for their means of subsistence. 19 The performances were long, and included a great deal of orchestral music. Count Firmian's musical soirées lasted from five to eleven o'clock, and at one concert several symphonies by J. C. Bach and four symphonies by Martini were played. 20 Dittersdorf produced twelve new violin concertos by Benda on one evening; 21 at a concert given by the Elector of Bavaria Burney heard two symphonies by Schwindl, a song by Panzacchi, a scena by the Electress of Saxony, a trio for bass-viols by the Elector, a song by Rauzzini, a song by Guadagni, and a bass-viol solo by the Elector;, and at a private concert in Dresden both parts contained a symphony, a violin concerto, a flute concerto, and an oboe concerto. 22 The evening's amusement was generally further provided for by card-playing and conversation. Archbishop Hieronymus limited the duration of his concerts. L. Mozart wrote to his son (September 17, 1778) that they only lasted from seven to a quarter past eight, and included only four pieces—a symphony, a song, another symphony or concerto, another song, and then addio. 23 The court composer took the direction of the court music in turn with the kapellmeister every alternate week, and the director for the time being had the choice and arrangement of the music 24 except so far as it was dictated by superior authority.

The position of Mozart's father gave him constant opportunities of bringing his son's instrumental compositions before the public. The fame of the band was enhanced by the performance of works by one of the members, and at every festival something new was performed. Dittersdorf relates that for the fête-day of the Bishop of Grosswardein he composed not only a grand cantata with choruses and a solo cantata, but also two grand symphonies at the beginning and close, a middle symphony, with obbligato wind instruments, and a violin concerto. 25 In a similar position, under Prince Esterhazy, Josef Hadyn produced his incredibly numerous instrumental compositions. Mozart's fertility during the period of his independent activity at Salzburg, from 1770 to the autumn of 1777, was equally great, but the merit of industry and fertility was one which these great masters shared with many contemporary lesser ones.

The skilful treatment of the orchestra rests mainly on the composer being so imbued with the spirit of the work as a whole as to be able to render the separate parts conducive to the general effect. This can only be accomplished by continuous practical study.

Most especially fortunate was Mozart, whose numerous appointed tasks, not being merely abstract exercises, served him as studies for his works. The danger was indeed great that the influence of the schools and the force of traditional forms would tend to mechanical routine, but it afforded another proof of Mozart's creative nature, that his unintermittent labour in mastering the technicalities of his art never interfered with the spiritual side of his genius.

Many forms were in use for instrumental composition during the last century, of which, at the present day, we can scarcely even distinguish the names or define the limits. The so-called French symphony (or overture) introduced by Lulli, and established through the school of Scarlatti, consists of a short slow movement preceding a longer and more varied one, and repeated at the close. This was opposed to the Italian symphony, which contained three movements: an allegro at the beginning and another at the end, separated by a slow movement in effective contrast to them both. The first and the last allegro were, however, different in character, the second being the quicker and more cheerful of the two.

It was easy to sever the slender connection between the symphony and the opera; and operatic symphonies were soon performed alone, as may be proved by the symphonies to the "Finta Semplice," the "Sogno di Scipione" and "Lucio Silla."

The continual demand for new symphonies co-operated with the increasing capacity of the instrumentalists, and the fuller appointments of the orchestra, in developing their importance and independence. In Italy, Sammartini, commissioned by the governor, Pallavicini, first wrote symphonies for full orchestra; he divided the tenors from the violoncelli, gave the second violins an independent part, and rendered service also to the technicalities of playing. 26 In Germany the composers of the Mannheim Kapelle, who were of the first rank, introduced this kind of composition with great success; 27 but Jos. Haydn, who surpassed them all in his inexhaustible wealth of productive power and in his thorough knowledge of his art, threw them quite into the shade, and may justly be considered as the creator of the symphony.

The three movements were originally connected; but when the symphonies became independent of the opera, this was only exceptionally the case (74, 181, 184, K.).

The last Symphony of the year 1773 shows that even in its maturity an artistic mind may cling to long-established customs. The delicately elaborated Andante, full of original and tender sentiment, forms the climax of the work. The animated Allegro which precedes it is, with just discrimination, toned down towards the end to prepare for the Andante, whose yearning pathos leaves the mind unsatisfied, and whose subjects are arranged to favour the transition to the lively and restless concluding movement. As a rule, however, each movement was treated as a self-contained whole, which gave freer scope for the development of a definite idea.

In the formation of the separate movements the clavier sonata (in the perfect form given to it by Ph. Eman. Bach, acknowledged as a master by Haydn himself) 28 had a very considerable influence.

The first allegro was always in two parts; a short slow movement, perhaps a reminiscence of the French symphony, was prefixed to it by Haydn often, by Mozart rarely. A compact arrangement of well-defined subjects takes the place of the long-drawn thread of loosely connected phrases of the older symphonies. The first subject gives the tone of the movement, a second follows, contrasting in expression and structure, and generally a third is added; the connection is by means of free passages. It was long held as a fixed rule that the first theme should close on the subdominant, and that the second theme should be in the key of the dominant, in which also the first part of the movement concludes. In the second part the elaboration of the subjects begins. The composer might please himself as to which of the subjects, or how many or in what new combinations they were to be carried on; nor was there any definite rule as to the method of elaboration, except that it always led back to the principal key and the first theme, which closed on the dominant, and was followed by the second theme, also in the principal key; the first part might either be simply repeated with these modifications, or the change of key might be thoroughly carried out. Sometimes the second part was also repeated; and then followed the final winding-up by a coda, which recurs to one or more of the chief subjects, and which was employed even when the second part was not repeated. The elements of this form had already been given in the aria, with its one main idea and its contrasting motifs; but the organic perfection of the form was first attained by instrumental music.

Ph. Eman. Bach declared that the chief and best quality of music was melody, 29 and this principle once recognised, the laws of song were adopted by instrumental music, although with many modifications, to suit the different characters of the instruments and the necessities of thematic elaboration. The chief improvement was the spirited development of one or more subjects to replace the tedious middle movement of the aria. The artistic development of the separate elements, according to their true significance, introduced both contrast and climax; unity was assured, since nothing foreign either to the form or the substance was admitted; while the repetition of the first part, like a dialectic exposition of an argument, provided a clear and satisfying conclusion. This working-out part did not always receive its due share of honour, and was often treated as a form of harmonic transition; but it asserts itself more and more as the proper nucleus of the whole movement, and has an important reaction on the formation and phrasing of the first part. This becomes, as it were, the foundation prepared for the future development which first displays the whole extent of the conception. The coda was usually confined to a lengthened development of the closing phrase, and gathered to a point in pregnant brevity the most essential elements of the movement. It had its counterpart in the cadenza of the aria. After what manner great vocalists constructed their cadenzas we are unfortunately ignorant, but instrumental cadenzas reproduced the principal subjects of the movement, just as was the case in the coda. Beethoven, who brought the coda to perfection, has himself worked out the cadenzas in the Concerto in E flat major; the cadenza in the first part is identical in mechanism with the coda of one of his great symphonies.

The original middle movement has preserved a slower tempo and a moderate tone, with simplicity both of design and composition. The point of departure is the air (lied, romanze), or the cavatine of operatic creation. Mozart, for instance, took a melodious duet from his opera of "Hyacinthus," for the Andante of a symphony (p. 94). There is no question here of artistic symmetry or elaboration of subjects; one main subject dominates the whole, often smothered with embellishments, as the original stem of a tree is hidden by the creepers which grow from its roots. The Andante is often, though not necessarily, divided into two parts, one or both of them to be repeated, sometimes with a coda added. In the second part a new statement of the subject generally takes the place of its actual development, and the contrast of major and minor keys is made use of. Frequent repetition of a simple theme led to the introduction of variations, sometimes strict, sometimes free in form, but in depth and originality always far inferior to thematic elaboration in the proper sense of the term. The Andante, therefore, long continued to be of minor importance, both as to length, form, and substance.

It required not only the mastery of musical theory, but the complete absorption of the individual in the artist before the innermost sentiments of the human heart in all their depth and fulness could be expressed in simple form, as the poet expresses them in lyric verse. The Adagio of instrumental music is, in its most perfect form, essentially a German creation, but it became what it is apart from the influence of the newly awakened German poetry; each in its separate sphere felt the vivifying spirit of the age like the fresh breath of spring, and awoke together to life and beauty. 30 As the substance of the slow movement grew in interest and importance, the form also became fuller and richer, without, however, any essential alteration; the most magnificent of slow movements have all the main points that we have noticed above, and are only in details freer and more full of life and significance.

The closing movement, generally in 3–8, 6–8, or 2–4 time, has something of a dance tone, though not of set purpose. The rondo form, very freely treated, soon became predominant. The impressiveness of frequent repetition of the same melody, the freedom and ease with which the connecting phrases could be treated, the surprises to which ingenious returns to the theme gave rise, all made this easy form very appropriate to a closing movement. What was demanded from instrumental music was such a pleasant sense of enjoyment as should relax the mind without straining the attention, and a cheerful conclusion was considered essential. But by a singular inconsistency the last movement was sometimes made the field for the display of skill in counterpoint; masters of the art required that a genuine artist should know how to render cheerfulness and whimsicality, spirit and fun, even in the strictest forms. So it is customary to this day to introduce contrapuntal work into the scherzo, the proper field for musical wit and humour. This, too, is a production of German instrumental music.

To the three original movements of the symphony the minuet was added as a fourth, suggested probably by the Suite. The Suite, whether for orchestra or clavier, came to perfection in the seventeenth century, and consisted of a succession of dances in the same key, but differing in time, rhythm, and expression, and for the most part highly characteristic. Mattheson enumerates them as follows: minuet, gavotte, bourrée, rigaudon, gigue, polonaise, anglaise (country-dances, ballads, hornpipes), passepied, sarabande, courante, allemande; 31 others give allemande, courante, gigue, passa-caille, gavotte, minuet, chaconne, the chief forms being allemande, courante, sarabande, and gigue. An introduction, prelude, fantasia, or overture, preceded the dances, consisting, after the French fashion, of a slow and a lively movement, the latter generally elaborated, and returning to the former as a conclusion. 32 It is evident that the suite was the foundation of the Italian operatic symphonies—not of our modern symphony and sonata forms—but much was doubtless borrowed from the long list of dances as embellishment to the symphony proper. Whether or not Josef Haydn was the first to introduce the minuet into the symphony, it was he undoubtedly who gave it its peculiar and typical character. The minuet was the dance of good society, affording opportunity for the display of dignity, grace, and deportment. We cannot hear those minuets which best reflect the character of the dance without thinking of powder and hoops; and now that the manners it suggests have become obsolete, it can only be humorously reproduced. 33 Haydn did not parody the minuet of his time, but he divested it of its distinguishing dignity; he took it as it was danced by the middle-classes, and filled it with national cheerfulness and good-humour. He represented a certain amount of joviality and rollicking fun which would have been inadmissible in the salons of the noblesse, and he was inexhaustible in witty suggestions and surprises, without any taint of vulgarity or carelessness of musical treatment. This was being popular in the best sense of the word; the spirit was genuinely national, the form truly artistic; and so the minuet took its place in the symphony, and kept it. The position given to it in relation to the longer movements varied in early days; Mozart generally places it after the andante.

Mozart's first symphonies have only three movements, and it is perhaps not merely accidentally that the minuet is first introduced in the symphonies composed at Vienna in 1767 and 1768, but it is sometimes wanting in later works.

It is interesting to trace in his youthful works Mozart's gradual progress in mechanism and practical skill. At first there is little melodious invention, but a sense of effect and a knowledge of form always exist, and by degrees the symphonies acquire body and character. Command of the orchestra makes itself felt by degrees; first the separate parts become free and independent, a special movement is given to the second violins by characteristic passages and imitative treatment, and the basses too gain life and independence; they are in free imitation for the first time in a Symphony in G major (no K.) belonging to the year 1771. As development proceeded the subjects became fuller, and the whole work gained in consistency and substance, although it still wanted finish and elaboration. The peculiar character of the string quartet became more and more prominent; for a long time it formed the nucleus of the symphony, the wind instruments strengthening the harmonies and emphasising some particular melody, but only very gradually contributing to effects of light and shade. Oboes and horns, trumpets too (generally without drums), are combined according to rule, and gave the orchestra a sharp clear tone, which was then admired; flutes were employed in movements of a gentle character, usually with muted stringed instruments. It was not until later that the bassoons were made independent of the basses, and then they served, like the tenors, for middle parts. Many and diverse experiments were made in the employment of new instrumental forces before the various parts of the orchestra were successfully combined into a self-contained and living whole.

Nothing whatever is known of Mozart's models in his instrumental music. We may take for granted that he knew Josef Haydn's symphonies, and that they were not without some influence on his genius; but few actual traces of them can be discovered, while his conception of the minuet was altogether different, and remained peculiarly his own. 34

The jovial humour and the delight in musical drollery which are Haydn's characteristics are never predominant with Mozart; he preserves a national tone, truly, but the interest it excites is due to the ennobling and beautifying spirit which he throws into it. This side of Mozart's nature appears even in his earlier works, and makes us the more ready to ascribe any lapse into fun and drollery to the direct influence of Haydn. The last symphony, in E flat major, which is avowedly ambitious in conception, betrays undoubted external influence. Both the minuet and the lengthy and elaborate concluding rondo are decided imitations of Haydn. The andante is somewhat constrained ami unnatural, but there is a second and later andante at the close, which is much simpler.

Mozart's instrumental compositions up to the year 1772 are only interesting in so far as they show us how gradually and surely he gained possession of all the means his art could place at his command; 35 but from this date they begin to acquire an independent interest. It is remarkable that we possess no symphonies composed by Mozart between 1775 and 1777. Reflecting how carefully all the compositions of this time have been preserved, it is not probable that any can have been lost by accident. On the other hand most of the great serenades and concertos for violin and piano fall within these years; and it is quite possible that Mozart's growing discontent with his position and the displeasure of the Archbishop may have caused him to desist from writing symphonies which were primarily intended for performance at court concerts. We have further proof that Mozart wrote no symphonies during these years in a letter from his father, on September 24, 1778, where he says: "When a thing does you no credit, it is better that it should be forgotten. I have sent you none of your symphonies because I feel sure that when you have come to riper years, and have a clearer judgment, you will be glad that they are forgotten, even though you may be satisfied with them now."

Even the more important among the later symphonies are sparing in the use of means, and precise in form, as indeed they were obliged to be, considering that several symphonies were performed in one evening.

And yet Mozart writes to his father from Paris (September 11, 1778) that he could not produce his symphonies there, since they did not suit the French taste: "We Germans like long pieces, but in truth they are better short and good." Progress is shown in greater freedom of treatment; the first movement of a Symphony in D major (202 K.) and the last movement of the Symphonies in G major (199 K.) and C major (200 K.), all belonging to 1774, are full of life and vigour. These qualities presuppose more individuality in the details, the interludes are developed with more independence, and the loosely connected violin and violoncello passages disappear altogether. Many of Mozart's special characteristics exist side by side with turns of expression common to the time; for instance, the second theme is sometimes an offshoot from the first, and the introduction of a new subject at the close of the part often gives a new impetus to the movement.

The Symphonies in G minor (183 K.) and in A major (201 K.) may serve as very opposite examples of Mozart's works of the kind. The first has a serious tone from the first subject onwards, the minuet and finale more especially being almost gloomy in tone, and the andante the same, only somewhat softened down. The second is full from beginning to end of cheerful humour and tender grace, and may serve as an example of the way in which a work of art of perfect mechanism and delicate shading may be produced from the simplest materials.

If the minuets alone of the two symphonies be compared, it will be acknowledged that an artist who within such confined limits can produce impressions of delicate wit and humour on the one hand, and of gloomy discontent and agitation on the other, has a full mastery of the forms and capabilities of instrumental music.

The symphonies of that time do not, as a rule, attempt to express passion or tragic emotion. They were, with few exceptions, intended to promote social enjoyment; consequently their essential characteristics are animation and brilliancy, or else calm serenity. The composer concentrated his efforts on the form and mechanism of his composition; to express deep feeling or the secrets of his own heart would have been alike impossible to him as an artist and contrary to the spirit of the time. A sharp line of division was drawn in theory and practice between human and artistic emotions, and any display of subjective emotion was discouraged. In the year 1774 "Werther" appeared; the strivings and conflicts of the time which produced it had their influence on music; but music had to pass through a longer and more arduous struggle before attaining to a like freedom of inspiration and expression.

The evident striving of the youthful Mozart to express himself and his innermost feelings in his music affords a significant indication of his development as an artist. Life had not taught him the lessons of passion and disappointment, and his nature was too sound and healthy to attempt to anticipate or represent emotions which had not touched him; he shows himself to us as he is.

The symphony was not then, as it is now, the grandest and most comprehensive form of orchestral music. The first place was given to the so-called serenata, a name originating in the circumstances of its composition, and scarcely applied to a fixed or well-defined form. The serenata was distinguished from the symphony in its narrow sense by greater variety and wealth of ideas and treatment. Several instruments are often grouped together in different combinations, and solo instruments are variously employed; also the number of separate movements often reaches as many as eight.

For the arrangement and manipulation of the movements the perfected forms of the symphony are employed, but with numerous modifications.

Serenades were introduced and sometimes also concluded by a march (39, K.). This was concise in form and simple in treatment, very often without even a trio; it was generally lively and cheerful. The detached marches by Mozart which are preserved were doubtless intended for introductions to serenades; they were often transferred from one to another, and so were written separately.

The minuet is almost invariably inserted between each andante and allegro, and therefore occurs two or three times in the symphony. The omission of all the other forms of dance music, so amply represented in the suite, is a proof that this form of instrumental music was not intended for practical use, at least in this juxtaposition. Variations were sometimes made in the character of the minuets by changes in the instrumentation, more especially in the trio. Several trios were frequently given to one minuet with appropriate instrumentation, making use of obbligato violins (185, 203, 204, 250, K.), flutes (204 K.), trumpets (250 K.), and sometimes the stringed instruments alone (100, 250, K.).

A grand allegro in two parts, as a commencement, and an allegro or presto at the close, sometimes introduced by a short adagio, form the main substance of the serenade as well as of the symphony, and the movements are similarly treated. The slow movement between them is in its turn between two minuets (62 K.), and there are sometimes two slow movements, each with a minuet appertaining to them (99 K.), and characterised by varied instrumentation. As time went on, an allegro was inserted between the two slow movements, which, however, was rendered distinct from the two principal quick movements by its lighter colouring and tone; the instruments, too, are grouped with more diversity. For instance (185 K.), the oboe and horn are employed obbligato in the first andante and the following allegro, and in the second andante flutes are combined with the stringed instruments.

A singular use is sometimes made of obbligato violins in the serenade (185,,203, 204, 214, 215, 237, 239, 250, K.). After the first allegro, the solo violins lead in three movements, viz.: andante, minuet, and allegro (rondo, 250 K.) which are in a measure complete in themselves, and form, apart from their surroundings, a complete symphony. The expression "finalmusik," which frequently occurs in Mozart's letters, seems to prove that these lengthy compositions, with their concerted solo instruments, formed the conclusion of the concert. The "concertantsymphonie" of the two last serenades belonging to 1774 and 1775 (204, 250, K.), are conspicuous from their peculiar instrumentation. In the other movements the usual oboes, horns, and trumpets are used as accompaniment to the obbligato violins, flutes, horns, and bassoons, and in the last movement especially the combination and treatment are quite modern. These two serenades show altogether a marked improvement on the earlier ones, which do not essentially differ from symphonies. The orchestra is firmly handled, and the orchestral subjects freely elaborated. Each of the many movements of the last serenade is worked out as carefully and lovingly as if it were the only one, and the ideas and motifs are so full of meaning and of jovial good-humour that it is impossible not to feel that Mozart has here put forth his best powers.

A short serenata (239 K.), consisting of a march, minuet, and rondo, interrupted by a short adagio, was written in January, 1776, for stringed instruments and drums only. A sort of chorus of two solo violins, accompanied by violas and violoncelli, is opposed to another, composed of two violins, viola, and violoncello, with the drums, all treated as tutti parts. Such admirable use is made of the contrast and combination of the two choruses, of the tutti parts and of varied sound effects, such as pizzicato, &.c., and even the drum is so skilfully employed, that this little work has taken a highly original colouring; with true tact the separate movements are made short, in order that the singular charm of the piece may not suffer from the fatigue of the ear. 36

The same praise may be bestowed on a nocturne (286 K.) for four orchestras, each consisting of a stringed quartet and two horns, so arranged as to represent a threefold echo. When the first orchestra has played a connected phrase the second orchestra falls in at the last bar with the same, or with the four last bars of the same, the third follows the second at the last bar with the three last bars, and the fourth comes in in the same way with the two last bars; then the first orchestra continues the theme. In this way all the three movements—andante, allegro, and minuet—are managed, with but slight modifications; only the trio of the minuet is played by one orchestra alone, or by all together. It need scarcely be said that the omission of the echoes does not affect the connection of the parts. The main point in such a trifle as this is to carry it out with as little visible constraint as possible.

There is an especially good effect in the minuet where short passages follow each other in rapid succession, falling in at different parts of the bars, and the way in which in the first part the horns alone conclude a phrase with—[See Page Image] cutting each other short in the most impatient manner, is truly comical.

Similar instrumental compositions to this are called by the name of divertimento or cassatio (which last term has never been satisfactorily explained), in which the various parts are simply arranged. 37 The first of these (113 K.), composed in Milan in 1771, "Concerto ossia Divertimento," has the four movements of the symphony, the last in rondo form, and resembles the symphonies of that time also in the brevity and preciseness of its arrangement. The strings are not obbligato, the wind instruments—two clarinets and two horns—although not concertante, are more than usually independent. For a later performance, probably in 1773, two oboes, two English horns, and two bassoons were so added that the clarinets might be omitted. 38 The stringed instruments were left untouched; the strengthening of the wind instruments was utilised for the alternations, with slight and clever modifications.

In the next divertimento, belonging to June, 1772 (131 K.), consisting of seven movements, the combination of the different instruments (four horns, 39 flutes, oboes, and bassoons) is varied with evident care. The first adagio is for strings alone, the second for wind instruments; the first minuet is for strings, the wind instruments alternate with each other in the three trios, and all the instruments unite in the coda. In the second minuet the four horns are especially prominent; in the third movement, an allegretto, the flute is obbligato and the horns are silent; in the first and last movements all the instruments work together.

A divertimento, singular in many respects, in six movements, for oboes and two horns, together with stringed instruments, seems to have been written quickly for some special occasion in July, 1776 (54 K.), and then to have been laid aside. The score is hurriedly jotted down on already used music paper of different shapes, with abbreviations, directions for the copyist, and various corrections. The second minuet has no trio, but is three times varied. The oboe is prominent and striking, not in passages, but in sustained notes and tuneful melodies. The stringed instruments, without being actually concertante, enliven the whole by their free arrangement of parts. The national German character of the melodies is very noticeable; they remind us in style of popular German songs.

The alliance of the horns with the strings was a favourite one at the time, although the instruments do not readily blend. The freer the thematic elaboration of the string parts the more difficult it became for the horns to keep pace with them, although now and then fine effects might be produced by their means.

The difficulty was so to engraft, as it were, the horns on the stringed instruments as to leave them free play for their own natural effects, and to produce a certain richness and depth of colouring not attainable without their aid.

In a divertimento, written about 1773 or 1774 (205 K.), two horns are in union with violin, tenor, and violoncello, strengthened by a bassoon. It is short and precise, but cleverly written. The adagio is a duet for violin and tenor, to a very simple bass, the horns being silent. It must be remembered that such pieces as these were always accompanied on the clavier.

Two divertimenti or cassationi, as they are oftener called in the letters, for string quartet, with two horns (247, 287, K.), 40 were written in June, 1776 and June, 1777, for the fête-day of the Countess Ant. Lodron; they are finished works of the genuine Mozart type. Both have six elaborately worked-out movements, and abound in grace and fertility of invention, and in skilful harmonic treatment. The style is that of a true quartet, that is, the instruments have each their independent part, but the first violin, as a solo part, is markedly predominant; in the first divertimento, in F major (247 K.), it sustains the melody in every movement, but is bravura and concertante only in the adagio.

In the second divertimento, in B flat major (287 K.), which is grand in design and composition, the first violin is treated as a solo instrument throughout, with a strong tendency to bravura, the remaining instruments co-operating in such a way as to display the creative spirit of an artist in every detail, however delicate or subordinate. In the very first thematically elaborated passage the solo passages for the violin occur, which it is the chief concern of the second part to elaborate. The second place—which in the former divertimento (247 K.) was given to a simple, exceedingly graceful andante grazioso, a kind of song without words—is occupied in the latter (287 K.) by an air with variations, in which all the instruments take part, but the violin more prominently, and with more of executive bravura than any of the others. This is most apparent in the two minuets, but it is very decided also in the broadly conceived adagio, where the second violin and tenor are muted, the violoncello plays pizzicato, while the first violin leads a melody richly adorned with figures and passages, and requiring the execution of a finished performer. The use of muted strings, especially in slow movements, was very frequent at that time in accompaniments, as well as in symphonies and quartets, and was intended to produce variety of tone-colouring; the violoncello not being muted, but pizzicato, afforded a contrast of tone. The concluding movement is introduced by an andante with a recitative for the first violin, not too long, and so worked out that the whole compass of the instrument is characteristically displayed. A long molto allegro follows this introduction, in 3–8 time, which keeps the violinist in constant movement, and gives him an opportunity of displaying the variety of his technical skill; but the movement is carefully planned and composed, due consideration being given to each part in its place. The recitative recurs at the end, followed by a short and brilliant conclusion. The tone of this movement is not as cheerful as usual; it is full of impulsive haste and changeful humour, and its stronger accent betrays a certain intensity, even in the introductory recitative.

The third divertimento, in D major (334 K.), may be most fitly noticed here, although it was not composed till 1779 or 1780, since it accords in every respect with the two last mentioned. 41 In breadth of conception and grandeur of composition, it stands nearest to that in B flat major; the first violin is perhaps less elaborately treated, and the tone of the whole is somewhat calmer and more cheerful. Mastery of form in plan, grouping, and arrangement is perfect in both compositions, as well as freedom and ease in the elaboration of the subjects, as if they sprang spontaneously forth as expressions of thought, each in its proper place and degree. Perhaps the first movement is grander in design, and has broader motifs than the later work; but the adagio is deeper and more elaborate, and the last movement is more original in the B flat major divertimento. The remaining movements are fairly equal. 42

It was the B flat major divertimento that Mozart played at Munich in 1777, "as if he was the first violinist in Europe," so that "every one stared." It is evident that difficulty of execution in his composition for the violin, which is more noticeable after 1773, kept pace with Mozart's progress as a violinist. 43

A style of composition much in vogue at that time was the so-called "harmoniemusik," for wind instruments alone. Sometimes it was used as serenades, sometimes people of rank had performances of six- or eight-part harmoniemusik morning and evening, during meals, in which they were imitated by the more pretentious tavern-keepers. There was opportunity enough for cultivating this branch of composition at Salzburg.

In form these compositions, which were generally called divertimenti or partite (partie) resembled those just described. They consist of three, four, or sometimes more movements, which were grouped without any fixed rule. One divertimento (186 K.) closes with a contredanse en rondeau; another (240 K.) has an andante as first movement; then follows a minuet, and then a polonaise; a third (253 K.) begins with an andante and variations.

The two first pieces of this kind are both scored for ten parts, two oboes, two clarinets, two English horns, two French horns, and two bassoons. Since one of the divertimenti (166 K.) was composed at Salzburg on March 24, 1773, and the other probably at much the same time; and since there were no clarinets in the usual Salzburg orchestra, they must have been composed for some very special occasion. But neither the plan nor the composition are on a larger scale than usual; the work is wanting both in extent and expression, and the instrumentation is neither free nor forcible.

There are two striking partites, one consisting of ten, the other of six movements, which were written for two flutes, five trumpets (in C and D), and four drums (in C, G, D, A) (187, 188, K.), about the year 1773 or 1774, apparently to employ the trumpet orchestra on some festival occasion. Whether the union of flutes with trumpets was founded on precedent or not I cannot say. The flutes lead the melody, and have allotted to them musical passages, connected, but short and unimportant in substance and style. The trumpets seldom take part in the melody, but are for the most part employed either together or separately as accompaniment; the object has apparently been to preserve the effect of a body of sound in the trumpets as far as possible, while aiming at giving them a definite musical form. In the earlier and more prosperous times of the trumpeters' guild, accomplished masters of horn-playing would not have needed the support of flutes.

It is of more interest to note how a great master works within narrow limits, and with small means at his command, by a consideration of the six divertimenti for two oboes, two bassoons, and two horns (213, 240, 252, 253, 270, 289, K.), which were composed between 1775 and 1777.

The destination of these trifling pieces, as table-music or such-like, allows neither greatness of conception nor any expression of deep feeling; all must be pleasing, cheerful, and quickly over. But Mozart was not content with satisfying these conditions; his harmonie-musik is full of delicacy and grace, tender and pure in conception, and touched with the firm hand of a master. The details are carefully and neatly handled, without any exaggeration; little side touches are scattered freely about—here an imitation, there an original passage or turn in the middle parts, making the whole interesting and full of life; happy instrumental effects abound, and by varied combinations and changes of tone-colouring the outline of the symmetrical structure is thrown into clear relief, in spite of the limited means at command; just as a painter in monochrome shades his one colour with such skill as to give a plastic roundness to his forms. 44

This species of instrumental composition as it developed became limited, curiously enough, to stringed instruments, for the most part in quartets for two violins, tenor, and bass (replaced by the violoncello), more rarely in quintets, with either the tenor or the violoncello doubled, or in trios. They were still called divertimento or cassation, and did not originally differ from this class of composition, either in form or in liberty as to the number and arrangement of movements.

The rule that the quartet (as the whole species came to be called) should consist, like the symphony and the sonata, of four fixed movements, was laid down by Joseph Haydn. It was his inexhaustibly fertile invention and his freedom in the treatment of form which nourished and developed the germ of this chamber-music, until it bore the most beautiful blossoms of German musical art. Mozart, destined later to surpass in this direction his freely acknowledged example, displays evident tokens of Haydn's influence even in his youth. On the whole, however, quartet music does not seem to have enjoyed much favour in Salzburg; Mozart's not very numerous attempts fall in earlier years, and were not all written in Salzburg.

Mozart's first quartet, in G major (80 K.), was composed on the first journey to Italy, at Lodi, on March 15, 1770, at seven o'clock in the evening—a circumstance of which he preserved the memory long afterwards. The concluding rondo is written in a later hand on different paper; and perhaps the whole consisted originally of only three movements—adagio, allegro and minuet. 45 A clear insight into the essential conditions of quartet style, freedom and independence of all the parts, a concentration of the whole work into a well-defined form, together with a perfection of thematic elaboration, are all plainly discernible in this first attempt, which, unimportant and wanting in originality as it may be, yet gives the impression of a well-rounded piece of workmanship. The second violin is worked out independently, with special care, in which the tenor participates; less success has attended the effort for a free movement for the bass. Attempts in counterpoint—as, for instance, at the beginning of the second part—are, as might be expected, learner-like, but they show that he knew what he was about. The last movement betrays a firmer hand from the very beginning.

Three short divermenti follow, in D, B flat, and F major (136–138, K.), each having three movements, composed at Salzburg in 1772, precise and fresh in treatment, but evidently only meant for exercises.

On the journey to Milan at the end of October, 1772, Wolfgang beguiled the tedium of the way by composing a "quattro"; and in Milan he was again (February 6, 1773) busy with a quartet under his father's directions. This no doubt belongs to a succession of six quartets in D, G, C, F, B flat, and E flat major (155–160, K.), which, judging from style and handwriting, fall within this period. They consist each of three movements, two closing with the minuet (156, 158, K.), while the presto, 3–8, with which the first begins has quite the form of a closing movement. The adagio which follows it is unusually serious—a simple melody with a uniform accompaniment in rich harmonies. This is erased and another substituted, which is longer and more elaborate, with a freer movement of the parts and a lighter expression. In other cases the andante begins (as in 137 K.), and is followed by the allegro. These quartets are not of wide scope, nor are the different movements actually elaborated, but greater practice in composition is evident throughout.

The different motifs are better adapted for elaboration, and there is a remarkable increase of skill in dealing with the smaller divisions of each part, on the working out of which depend the life and unity of the whole conception. The opening phrases, repetitions, &c., are freer and better fitted in; two-part imitation is sometimes neatly introduced and fluently and gracefully carried out.

The composer's power has evidently grown as he worked, and the later quartets are by far the most original. The second movement of the fifth (159 K.), an allegro 3–4 in G minor, following an andante in B flat major, has, through its rhythm and modulation, an expression of dry humour that is quite suggestive of one of the later scherzos.

Six quartets, composed in August and September of the same year, at Vienna, stand on a far higher level, and were probably written to order (168–175, K.). The superscription of the first shows that the whole six were planned together; they were written in quick succession, and their variety represented the different tendencies of the quartet style. In Vienna, of all places, the birthplace and domain of Haydn's chamber-music, the ambitious youth would exert himself to satisfy the demand for the highest class of compositions. Most of them have the approved four movements, and the composer's invention and execution keep pace with the more extended scope of the composition. The quartets are manlier and more mature than in the earlier works of the kind; but the singular beauty of form, the grace and freshness of Mozart in his full development, only show themselves in momentary gleams of inspiration.

An effort to mould the raw material into form by means of skilful workmanship, and to make it subservient to the spirit, is apparent throughout. We can see traces already of the study and preparatory work which resulted in the fine and serious compositions of the following year—the Masses in F and D major, and the Litany in D major. First and foremost is apparent the effort to analyse and vary the musical materials ready to hand by means of counterpoint. The first and last quartet end with a thoroughly worked-out fugue, complete with stretto and inversions. The close of the first fugue ended abruptly; Mozart has therefore erased the last four bars, and has substituted the subject in unison, thereby producing a lengthened and very effective conclusion. The second fugue is not by any means so fresh and lively as the earlier one, but it is richer in artistic work. Nor are Mozart's studies in counterpoint apparent here only. An adagio (168 JK.) begins with a four-part canon and retains the same character, although not so strictly carried out; in tone and substance this is one of the best of the series. Imitation is the rule in the elaboration of the first movements; and in the last quartet the whole of the first movement in D minor is built upon one characteristic motif. A free movement of the parts, a skilful employment of passages, variety of instrumentation, and other such means for giving life and animation to the music, are carefully provided, more especially in the minuets. An examination into details will discover traces of careful and delicate handling throughout the work.

There are more instances of fantastic ideas, generally rhythmical in form, than are usually found in Mozart; this is owing, no doubt, to Haydn's influence. The slow movements are for the most part expressive of simple feeling, the andantino grazioso of the last quartet being especially tender and graceful. The closing rondos are least significant; they are not worked out, and the different parts are put together without any true connection. The demands on the instruments are increased in comparison to the earlier quartets, but there is still no bravura; the first violin leads the parts, but is not treated as a solo instrument. In fact all four instruments are treated in essentials as on an equality, so that the tone and character of the whole regulate every detail, thus fulfilling a fundamental law in the composition of quartets.

It must have been as a result of his Vienna studies that Mozart wrote a quintet (174 K.) after his return in December of the same year; perhaps the example of Michael Haydn had some influence. Mozart writes from Munich (October 6, 1777) that he had invited Herr Dubreil, a pupil of Tartini, and that they played "Haydn's two quintets." Joseph Haydn declares, in answer to A. Romberg, who asked him why he has not written any quintets, that he had never been commissioned to do so; 46 on the other hand, three quintets by Michael Haydn in F, C, and G major, dating between 1770 and 1780, now lie before me. Mozart's quintet shows unmistakable progress; both the plan and execution are broader, and there is more of the true Mozart spirit in the conception of the motives. It is especially interesting to compare two different elaborations of the finale which exist. 47 Mozart has taken the primary subject of the first work, and treated it independently in the second, thereby providing a just standard of criticism against himself. The first theme in the later elaboration is quite new, and gives the key to the character of the movement; then follows as a contrasting motif the chief subject of the former work with suitable alterations. Originally this consisted of eight bars, and was in three parts—[See Page Image] but afterwards the two first bars form the subject, taken up by one part after the other; while the minims, which are appended to the rapid semiquavers, give an effect of rhythmical and harmonious climax:—[See Page Image]

It results from this that the divisions next following are easier and more flowing; while, on the other hand, the preparation for the third principal motif is broader and calmer. This third motif gives occasion for an especially happy modification. Originally it ran thus—[See Page Image]

and was then repeated entire; but now only the first four bars are retained, the four last are omitted, and movement and expression are provided by a shake passage. The conclusion of the first part is rendered more impressive by a new and broader motif, and more homogeneous and concentrated by the recurrence of the first subject. The working-out of the second part, which was confined to the elaboration of the two first bars of the original motif, is partially retained; but it is extended by the recurrence and elaboration of the principal theme. Finally, a new and important climax is introduced in the coda by the opposition of the two chief subjects.

This work may be taken to prove that Mozart was a severe self-critic, and was not by any means always content with his first attempts. It can only be by chance that no other example of remodelling a composition has been preserved; the earlier attempts and studies would, no doubt, be generally destroyed. The greater part of Mozart's works of this period have been preserved in carefully written fair copies. We are amazed at the vigour and ease with which he worked, but it would be wrong to represent him as able to dispense with studies and preparatory sketches, even for his great works. The creative power of genius is indeed a gift of nature, but a mastery of art is only acquired by hard labour and pains; strength to labour indefatigably and ability to make the labour bear fruit are the prerogatives of genius. It would be doing Mozart an injustice to deny him the reputation of true and conscientious industry; the beauty of perfect work proves not that no labour has been bestowed on it, but that the labour has been successful. Mozart's youth was occupied with his endeavours to master the forms and materials which he found ready to hand, and he would not be likely to neglect studies and exercises to this end, though he might not think them worth preserving.

There must have been little encouragement accorded to quartet music in Salzburg: 48 after 1773, Mozart composed none until 1784, when he was in Vienna. 49 There can be no doubt that the talent for violin-playing which Mozart displayed at a very early age was carefully cultivated by his father. He performed in public on his first journey and at the beginning of the first Italian tour; but by the time they reached Rome he had ceased to play in public, though he still continued his studies regularly. It was part of his official duty in Salzburg to take the violin at court concerts. His father admired Wolfgang's effrontery in taking a violin from one of the orchestra at Vienna in 1773, and performing a concerto upon it (p. 146). He afterwards devoted more serious attention to the instrument, and became a first-rate performer on it, but evidently more from his father's impulse than his own inclination. Not only was the violin-playing at court a burden to him, but he seems to have had little liking for the instrument, and no real confidence in his own powers of execution. "You have no idea yourself how well you play the violin," writes his father (October 18, 1777); "if you only do yourself justice, and play with fire, heartiness, and spirit, you may become the first violinist in Europe." But, nevertheless, he practised regularly and industriously, and his father wrote after he had left home (October 6, 1777): "I feel a little melancholy whenever I go home, for as I get near the house I always imagine that I shall hear your violin going." After 1774, Mozart's violin compositions take more of the bravura type, and afford a good standard of his technical development. He had as a rival the well-established solo violinist, Brunetti, favoured by the archbishop as being an Italian, but considered by L. Mozart as inferior to his son. "He played your concerto very well," wrote L. Mozart (October 5, 1777), "but was twice out of tune in the allegro, and once almost stuck fast in a cadenza." When Brunetti's inconvenient rival had left Salzburg, he was ready to do full justice to his performances. "Brunetti cannot praise you enough," writes the father (October 9, 1777); "and the other day, when I said you played the violin 'passabilmente,' he cried out, 'Cosa? cazzo! se suonava tutto! questo era del Principe un puntiglio mal inteso, col suo proprio danno.'"

After Mozart had left Salzburg in September, 1777, he played the violin in public both at Munich and Augsburg, and was somewhat ironical over his success. "They all stared," he writes from Munich (October 6, 1777); "I played as if I were the first violinist in Europe." And from Augsburg (October 24, 1777): "I played a symphony and Wanhall's Concerto in B flat for the violin with universal applause. At supper-time I played the Strasburg Concerto. It went like oil, and every one praised the beautiful, pure tone." But these communications ceased later on, and L. Mozart writes in anxiety (October 9, 1777): "Have you left off practising the violin since you were in Munich? I should be very sorry." (November 27, 1777): "Your violin hangs on its nail; of that I am pretty sure." And so it must have been. He was obliged to play the violin afterwards in Salzburg; but after his stay in Vienna he never made proficiency on the instrument his primary object, and it is well known that in later years, if he had to take part in a quartet or other concerted piece, he selected the viola in preference.

Mozart's most important compositions in this department are of course his violin concertos, which were doubtless written in the first place for his own use. According to his custom, he went thoroughly into the subject from its very foundation, gaining proficiency by continuous work in the one direction; in 1775 he composed five concertos for the violin (207, 211,' 216, 218, 219, K.), to which was added a sixth (268 K.), not by any means slight, fugitive attempts, but carefully conceived works of considerable compass in three movements, allegro, andante or adagio, and rondo.

The first movement, which was the most elaborate, is more suggestive still of the aria than is the corresponding movement of the symphonies. There is the same fixed alternation between solo and tutti passages, the same adornment of the solo part with passages and cadenzas, and indeed the whole movement is a reminiscence of the serious aria. On the other hand, the structure is more condensed and more animated; the passages grow out of the principal subjects, connecting and adorning them. The movement falls usually into three main divisions; the middle one, corresponding to the same division in the symphony, passes into another key, and elaborates one or more motifs more freely than in the symphony, and chiefly by changes of modulation and modification of the passages, whereby the repetition of the first division is effected. Abundant variety of detail is produced, chiefly by the different combinations of the solo part and the orchestral accompaniment; the solo passages are not usually of great length, solo and tutti alternating often and quickly.

The second movement is simple, and rests essentially on the tuneful and artistic delivery of the cantilene; embellishments are not excluded, but they are kept in the background. The character of the movement is generally light and pleasing, but a deeper, though always a cheerful mood, sometimes makes itself felt. The tone is that of a romance; the polonaise-like rhythm of the Concerto in D major (211 K.) is peculiar to it; while the G major concerto (216 K.) has a regular and more broadly conceived adagio. An adagio in E major (261 K)—composed for Brunetti in 1776, because another, probably the interesting adagio of the A major concerto (219 K.), was too "studirt," as L. Mozart writes (October 9,1777)—maintains a kind of medium; it is more serious in expression and broader in conception than the romance-like andantes, but on the whole it is pleasing and pretty rather than grand.

The last movement is, as a rule, in the form of a rondo, 50 in which the solo part moves more freely, especially in the connecting middle passages; the passages altogether have now scope for expansion, the tone being light and cheerful, the form easy. It is not unusual for passages in different time and measure to alternate in the rondo, as in the D major concerto (218 K.), where an andantino grazioso, 2–4, and an allegro ma non troppo, 6–8, alternate. In the G major concerto (216 K.), a cheerful passage in 3–8 is interrupted by an andante in G minor—[See Page Image] followed by an allegretto in G major—[See Page Image] that leads back to the first subject. In the A major concerto (219 K.), the chief subject is tempo di menuetto, interrupted by a long allegro, 2–4, in A minor—[See Page Image]

In both these cases the clearly expressed popular tone of the interpolated passages is remarkable, and has a striking and pleasing effect. The allusion in the letters to the concerto, "with the Strasburg" points to one of these passages: "The Strasburg dance, which consisted merely in graceful movements of the arms and poses of the body, was generally executed by a very youthful couple within the circle of waltzers." 51

A decided progress is observable in the concertante for violin and viola 52 with orchestral accompaniment (364 K.), which was probably written in 1780. It displays perfect finish in the conception of the separate subjects and passages, power and melody in the development of the orchestral accompaniments, and true artistic skill in the placing of turns and phrases where they will be most effective. It is in the usual three movements, but a more solid foundation and wider scope than usual are given to the form, in order that the two solo instruments may have free play; the tutti passages are longer and more important, which entails more participation by the orchestra in the solo portions. This gives a symphony-like character to the whole, to which the solo instruments add a peculiar brilliancy. In relation to each other they are simply treated. They generally relieve each other, either repeating whole phrases or sharing them between them; when together, they are mostly in thirds and sixths, and there seldom occurs a true two-part passage in which the two instruments move freely and independently.

In this respect the concertone composed in 1773 (190 K.) is more artistic in design and in workmanship. Here the orchestra is in contrast with two solo violins, to which the oboe is added as a solo instrument; the violoncello, though not so freely treated as the others, is also often solo. The usual concerto form is given to the three movements, the middle movement being romance-like, but more elaborate than usual, to give employment to the solo instruments. The violoncello, though it does not take a leading part in this movement, has an independent passage as accompaniment throughout. The last movement is "tempo di menuetto," resembling those in the violin Concerto in A major (219 K.), the bassoon concerto (191 K.), the clavier concerto in C (246 K.), the triple concerto (242 K.), and the clavier trio in B flat (254 K.); the form of the minuet with several trios is treated with some freedom, and approaches that of the rondo. The forcible and independent treatment of the orchestra, both in the tutti and the solo passages, gives to the whole of this composition the character of a symphony; but the solo parts are grouped with greater variety, since there are four of them, and they do not as a rule repeat the same passages or join in unison. Sometimes the violins alternate with each other, sometimes the oboe joins them or opposes them, sometimes the oboe and violoncello are both in opposition to the violins, and sometimes all the four instruments move independently side by side. A strict and ingenious fugal structure was required to give unity to this manifold variety. In the first allegro especially the motifs are chiefly imitatively treated, and sometimes the varied rendering of a phrase necessitates a change of instruments; the coming and going of the instruments and their combinations are carefully planned, as well as the part taken by the orchestra in producing the general effect. In the two last movements alternation is the predominant principle, and the parts are only ingeniously interlaced here and there. The work displays throughout more of skilful mechanism and clever elaboration than of original invention and beauty.

The judgment of connoisseurs on Mozart's technical treatment of the violin tends to show that the difficulties even in solo parts are comparatively small, but that an acquaintance with the idiosyncrasies of the instrument, which could only be gained violin in hand, is always apparent; all is made as smooth and easy as possible for the performer, at the same time that effects of striking originality are produced. Our idea of Mozart as a violin-player will gain in interest by a knowledge of his judgment on other violinists. As a child, he had become acquainted at Mayence with the violinist Esser, of whom the father writes later from Salzburg (December 7, 1780): "Esser is a merry old simpleton; but he plays (when he is in earnest) with a firm and remarkable execution, and has a finer adagio touch than is the case with most allegro players. But when he is in a joking mood he plays on the G string alone with the greatest ease, and plays pieces with a lead pencil on the strings wonderfully correctly and quickly. 53 He plays the viola d'amour charmingly. 54 But what struck me as particularly childish was his whistling of a recitative and aria equal to any singer, with all the expression, flourishes, shakes, &c., in a truly marvellous manner, accompanying himself on the violin pizzicato At the same time he laments that, like the rest of them, he cannot play without grimaces and absurdities." On this point, little Wolfgang, unimpressed by Esser's tricks and tours de force, had said that he played well, but made too much of it, and would do better to stick to what was written.

Of Ign. Frànzl (b. 1730), whom he heard at Mannheim, he wrote to his father (November 22, 1777): "I have had the pleasure of hearing Herr Frànzl play a concerto on the violin. I was extremely pleased. You know that I am no great lover of difficulties. He plays difficult passages so that one does not know that they are difficult, and thinks one can imitate him; which is true art. He has also a good round tone, every note is correct and clear; he has a charming staccato in one bow up as well as down, and I never heard such a double shake before. In a word he is, in my opinion, no juggler, but a very good substantial violinist."

Mozart wrote an oboe concerto for the celebrated oboist Gius. Ferlendi, of Brescia, who was in the Salzburg band in 1775; it does not seem to have been preserved. He tells his father (November 4, 1777) that he has made a present of it to the oboist Ramm at Mannhein, who was wild with delight, and played it five times with the greatest applause. He sent from Vienna for the little book containing the Ferlendi concerto, for which Prince Esterhazy had promised him three ducats. Another composition of Mozart's was a concerto for the flute, which, according to Schiedenhofen, was performed by Cosel in a serenade arranged by Wolfgang for his sister; this may have been the Concerto in G major (313 K.), which evidently belongs to this period. A certain Baron Thad. von Dümitz was an amateur on the bassoon; Mozart composed three concertos for him, one in C and two in B flat major (191 K.), short and unpretentious, as the instrument required; also a duet for bassoon and violoncello (292 K.). 55

Although from his earliest years Mozart had excited lively admiration by his clavier and organ-playing, it will be better to consider his performances on these instruments later on, when we shall have the assistance of more direct testimony. We know little more of his studies 56 than that he practised the clavier much and diligently, which, indeed, requires no proof. Compositions by Wagenseil, Paradies, Bach, and Lucchesi are incidentally mentioned as subjects for home practice.

There now remains to consider only the compositions for the clavier, of which there are curiously few known. Some may have been lost, but it is a fact that after his first childish attempts Mozart composed comparatively little for the clavier during his residence in Salzburg. There was little opportunity of performing clavier compositions, the instrument was not used solo in the court concerts, private concerts were not profitable in Salzburg, and in society Mozart generally made use of the clavier to improvise or prelude. The lessons which he gave to ladies of rank afforded him an opportunity for composing, but for these pupils he could only write show-pieces.

To the earliest authentic clavier compositions belong the variations (179 K.) on a very popular minuet by the celebrated oboist Fischer, a bravura piece for the time, full of what were then considered difficulties. 57

He had them sent to Munich in 1774 in order to make a show with them, and on the journey to Paris we hear that he had recourse to the Fischer variations when he was obliged to play in polite society; proving that he was not provided with many compositions of the kind.

There were some clavier sonatas written at that time too, which Nannerl was instructed to bring to Munich (December 21, 1774), the result being a commission from Baron Dürnitz for six sonatas (279–284 K.); they are often mentioned by Mozart on the Paris journey of 1777, and he played them frequently in Munich, Augsburg and Mannheim with great success. They consist, after the old fashion, of three movements; the fourth forms an exception to the general rule, containing a long adagio, two minuets (the second instead of a trio), and an allegro; the last is another exception, the first allegro being followed by a rondeau en polonaise—like the violin concerto (218 K.)—ending with variations. Mozart spoke of sonatas as difficult which are now given as lessons to beginners (February 2, 1778). Nevertheless it is no small praise to him that, after the lapse of ninety years, the judicious treatment of the instrument, the healthy freshness and finished form of these compositions entitle them still to be considered as the best foundation for a musical education. Any one capable of appreciating a work of art will find all its essential conditions fulfilled in these simple sonatas.

L. Mozart mentions in a letter (December 8, 1777) two four-hand sonatas, written by Wolfgang for himself and his sister. One may be the well-known B flat major sonata (358 K.) which Mozart wrote for from Vienna (June 27, 1781). The form is concise and little elaborated; the essential condition that each player shall contribute his independent share to the general effect is kept duly in view. A second sonata is not authenticated. 58

A trio for clavier, violin, and violoncello (254 K.), belongs to August, 1776, which, according to Mozart's Munich letters (October 6,1777), Nannerl played at Salzburg with Janitsch and Reicha. It displays, like all the compositions of this period, completeness and roundness of form with maturity and cleverness of conception, and surprises us by its animation and the tender beauty of many of its turns of expression. The clavier is the chief instrument, then the violin, more simply treated, but independent. The violoncello does not yet receive full justice; it is only used as a bass, often effectively, but never overstepping its narrow province.

After the (violin?? DW) Concerto in D major (175 K.), composed in December, 1773, and played with applause at Mannheim (February 14, 1778), and, with a new finale, at Vienna (March 22, 1782), Mozart wrote no clavier music until January, 1776, when he composed a clavier Concerto in B flat major (238 K.), another in April in C major for the Countess Lützow (246 K.), and in January, 1777, one in E flat major for Madame Jenomy (271 K.). This industry was not the result of caprice or chance. Composition went hand in hand with his development as a virtuoso, and we can measure his progress by the increasing difficulty of his works. Unless he was to remain in Salzburg all his life, 59 a professional tour, to make himself known to the world, became more and more a necessity. Both brilliant execution as a virtuoso and a supply of original compositions would be necessary conditions for such a tour; Wolfgang's prudent, worldly-wise father took care that he should be prepared on all points to insure the success of the undertaking.

The most remarkable of the clavier concertos, which in form and treatment resemble the violin concertos, is the last (271 K.), which, in its freedom of form, breadth of design and passion of expression, approaches very near to the divertimento in B flat major (287 K.), which belongs to the same period. The very beginning is original, the clavier striking in with the first bars, and so giving a peculiar tone to the whole movement. Not less original is the entrance of the solo passage proper, the clavier falling in to the last bars of the gradually expiring tutti passage, with a shake of several bars length, out of which the subject springs; the same turn is afterwards made use of at the close of the first movement. The middle movement is called andantino, but expresses deep and painful emotion, and the cantilene repeatedly assumes a recitative-like character (in one beautiful climax the violins are in imitation), ending with a perfect recitative. 60 The last rondo (presto), a capital exercise for the fingers in its unceasing rapid movement, has a far more important character than is usual with concluding movements. A long cadenza leads back to the subject; the second time, however, it does not lead to the subject, but to a "menuetto cantabile," which, kept in check by an orchestral accompaniment, has more and more the character of a free fantasia, and at last goes back to the subject in a new cadenza, which leads to a brilliant conclusion.

A concerto for three claviers, written in February, 1776, in F major (242 K.), displays an increase in solo powers; a title-page, carefully written by the father, announces it as "Dedicato al incomparabile merito di S. Exc. la Sgra. Cont. Lodron, nata Cont. d* Arco et delle sue figlie le Sgre. Cont. Aloisia et Giuseppa." We must not look for the same contrapuntal independence of the three instruments which we find in Bach's concertos, but there is no mistaking the cleverness and delicate sense of effect which are displayed in the varied combinations of the instruments—the doubling of parts, the strengthening of the melody or of the bass, the position of the accompaniment, and the alternation of the instruments. The main object of the first movement is to give equal and yet individual effect to each of the three claviers, although the third is hardly on a level with the other two; in the two last movements the third instrument is still more in the background, being chiefly confined to accompaniment, so that in the finale it does not even take part in the cadenzas. This made it easier for Mozart to arrange the concerto for two instruments; the solo parts, so altered, are preserved in his handwriting. The tone of the concerto is lively and cheerful; the whole is treated in an easy and happy vein of humour, which entertains the players quite as much as the audience. Mozart seems to have been fond of this concerto, and he informs his father with some satisfaction that it had been successfully performed both at Augsburg (October 24, 1777), and at Mannheim (March 24, 1778).

The orchestra has a perfectly independent part in this composition; but there is no very marked distinction between tutti and accompaniment; the orchestra and clavier mutually support and further each other, and their union results in a perfect work of art.

It is easy to estimate the claims made by Mozart upon the clavier-player. The principal are simple and tuneful delivery of the melody, clearness and precision in the embellishments (which were more numerous than at the present day, to suit the instrument then in use), skill and steadiness in the running passages and shakes. Technical difficulties, such as passages in octaves, thirds, or sixths, occur seldom or never at this period. The use of the left hand is also limited; rapidity is only required in accompaniment passages, and independence in the execution of left-hand melodies. What the composer was able to accomplish with the limited means at his command lies clear before us; the life which the virtuoso threw into his works by performances full of spirit and genius cannot be reproduced by any observation of form and mechanism.