LIFE OF MOZART
By Otto Jahn
Translated From the German by Pauline D. Townsend.
With A Preface By
George Grove, Esq., D.C.L.
In Three Volumes Vol. III.
London Novello, Ewer & Co.
FAC-SIMILES
Fac-similé No. 1 is of Mozart's letter to Bullinger from Paris, after
the death of his mother (see Vol. II., p. 53).
Fac-simile No. 2 is of the original MS. of "Das Veil-chen," now in the
possession of Mr. Speyer, of Herne Hill (see Vol. II., p. 373).
Fac-similes Nos. 3 and 4 are sketches illustrative of Mozart's method of
composing. Sketch I. is described in Vol. II., p. 425. Sketch II. is of
part of Denis's Ode, the words of which are given below; it is noticed
in Vol. II., pp. 370, 424:
O Calpe! dir donnerts am Fusse,
Doch blickt dein tausendjähriger
Gipfel Ruhig auf Welten umher.
Siehe dort wölkt es sich auf
Ueber die westlichen Wogen her,
Wölket sich breiter und ahnender auf,--
Es flattert, O Calpe! Segelgewolk!
Flügel der Hülfe! Wie prachtig
Wallet die Fahne Brittaniens
Deiner getreuen Verheisserin!
Calpe! Sie walltl Aber die Nacht sinkt,
Sie deckt mit ihren schwàrzesten,
Unholdesten Rabenfittigen Gebirge,
Flàchen, Meer und Bucht Und Klippen, wo der bleiche
Tod Des Schiffers, Kiele spaltend, sitzt.
Hinan!
CHAPTER XXXIV. MOZART'S INSTRUMENTAL MUSIC.
NEXT to pianoforte music for amateur musical entertainments, the quartet
for stringed instruments was the favourite form of chamber music. The
performers were occasionally highly cultivated amateurs, but more
often professional musicians, thus giving scope for more pretentious
compositions. The comparatively small expense involved enabled others
besides noblemen, even those of the citizen class who were so inclined,
to include quartet-playing among their regular entertainments.[1] Jos.
Haydn was, as is well known, the musician who gave to the quartet its
characteristic form and development.[2] Other composers had written
works for four stringed instruments, but the string quartet in its
well-defined and henceforth stationary constitution was his creation,
the result of his life-work. It is seldom that an artist has been
so successful in discovering the fittest outcome for his individual
productiveness; the quartet was Haydn's natural expression of his
musical nature. The freshness and life, the cheerful joviality, which
are the main characteristics of his compositions, gained ready and
universal acceptance for them. Connoisseurs and critics, it is true,
were at first suspicious, and even contemptuous, of this new kind of
music; and it was only gradually that they became aware that depth and
earnestness of feeling, as well as knowledge and skill, existed together
with humour in Haydn's quartets. He went on his way, however, untroubled
{MOZART'S INSTRUMENTAL MUSIC.}
(2)
by the critics, and secured the favour and adherence of the public by an
unbroken series of works: whoever ventured on the same field was obliged
to serve under his banner.
The widespread popularity of quartet music in Vienna could not fail to
impel Mozart to try his forces in this direction. His master was
also his attached friend and fellow-artist, with whom he stood in
the position, not of a scholar, but of an independent artist in noble
emulation. The first six quartets belong to the comparatively less
numerous works which Mozart wrote for his own pleasure, without any
special external impulse. They are, as he says in the dedication to
Haydn, the fruit of long and earnest application, and extended over a
space of several years. The first, in G major (387 K.), was, according
to a note on the autograph manuscript, written on December 31, 1782;
the second, in D minor (421 K.), in June, 1783, during Constanze's
confinement (Vol. II., p. 423); and the third, in E flat major (428 K.),
belongs to the same year. After a somewhat lengthy pause he returned
with new zeal to the composition of the quartets; the fourth, in B flat
major (458 K.), was written November 9, 1784; the fifth, in A major (464
K.), on January 10; and the last, in C major (465 K.), on January 14,
1785. It was in February of this year that Leopold Mozart paid his visit
to Vienna. He knew the first three quartets, Wolfgang having sent them
to him according to custom; and he heard the others at a musical party
where Haydn was also present; the warmly expressed approbation of
the latter may have been the immediate cause of Mozart's graceful
dedication, when he published the quartets during the autumn of 1785
(Op. ü).[3]
The popular judgment is usually founded on comparison, and a comparison
with Haydn's quartets was even more obvious than usual on this occasion.
The Emperor Joseph, who objected to Haydn's "tricks and nonsense" (Vol.
II.,
{MOZART AND KLOPSTOCK.}
(3)
p. 204), requested Dittersdorf in 1786 to draw a parallel between
Haydn's and Mozart's chamber music. Dittersdorf answered by requesting
the Emperor in his turn to draw a parallel between Klopstock and
Gellert; whereupon Joseph replied that both were great poets, but that
Klopstock must be read repeatedly in order to understand his beauties,
whereas Gellert's beauties lay plainly exposed to the first glance.
Dittersdorf's analogy of Mozart with Klopstock, Haydn with Gellert
(!), was readily accepted by the Emperor, who further compared Mozart's
compositions to a snuffbox of Parisian manufacture, Haydn's to one
manufactured in London.[4] The Emperor looked at nothing deeper than the
respective degrees of taste displayed by the two musicians, and could
find no better comparison for works of art than articles of passing
fancy; whereas the composer had regard to the inner essence of the
works, and placed them on the same footing as those of the (in
his opinion) greatest poets of Germany. However odd may appear to
us--admiring as we do, above all things in Mozart, his clearness and
purity of form--Dittersdorf s comparison of him with Klopstock, it is
nevertheless instructive, as showing that his contemporaries prized his
grandeur and dignity, and the force and boldness of his expression, as
his highest and most distinguishing qualities. L. Mozart used also to
say, that his son was in music what Klopstock was in poetry;[5] no doubt
because Klopstock was to him the type of all that was deep and grand.
But the public did not regard the new phenomenon in the same light; the
quality they esteemed most highly in Haydn's quartets was their animated
cheerfulness; and his successors, Dittersdorf, Pichl, Pleyel, had
accustomed them even to lighter enjoyments. "It is a pity," says a
favourable critic, in a letter from Vienna (January, 1787), "that in his
truly artistic and beautiful compositions Mozart should carry his effort
after originality too far, to the detriment of the sentiment and heart
of his works. His new quartets, dedicated to Haydn, are much too highly
spiced to be palatable for any length
{MOZART'S instrumental music.}
(4)
of time."[6] Prince Grassalcovicz, a musical connoisseur of rank in
Vienna,[7] had the quartets performed, as Mozart's widow relates,[8] and
was so enraged at finding that the discords played by the musicians were
really in the parts, that he tore them all to pieces--but Gyrowetz's
symphonies pleased him very much. From Italy also the parts were sent
back to the publisher, as being full of printer's errors, and even Sarti
undertook to prove, in a violent criticism, that some of the music in
these quartets was insupportable from its wilful offences against rule
and euphony. The chief stumbling-block is the well-known introduction of
the C major quartet--[See Page Image]
the harshness of which irritates the expectant ear. Its grammatical
justification has been repeatedly given in learned analyses.[9] Haydn
is said to have declared, during a dispute over this passage, that if
Mozart wrote it so, he must have had his reasons for doing it[10]--a
somewhat
{QUARTETS, 1785.}
(5)
ambiguous remark. Ulibicheff[11] undertook to correct the passage with
the aid of Fétis,[12] and then considered it both fine and pleasing;
and Lenz[13] declared that Mozart in "this delightful expression of the
doctrine of necessary evil, founded on the insufficiency of all finite
things" had produced a piquant, but not an incorrect passage. It is
certain, at least, that Mozart intended to write the passage as it
stands, and his meaning in so doing, let the grammatical construction
be what it will, will not be obscure to sympathetic hearers. The C
major quartet, the last of this first set, is the only one with an
introduction. The frame of mind expressed in it is a noble, manly
cheerfulness, rising in the andante to an almost supernatural
serenity--the kind of cheerfulness which, in life or in art, appears
only as the result of previous pain and strife. The sharp accents of
the first and second movements, the struggling agony of the trio to
the minuet, the wonderful depth of beauty in the subject of the finale,
startling us by its entry, first in E flat and then in A flat major, are
perhaps the most striking illustrations of this, but the introduction
stands forth as the element which gives birth to all the happy serenity
of the work. The contrast between the troubled, depressed phrase--[See
Page Images]
has a direct effect upon the hearer; both phrases have one solution:--
and the shrill agitated one--[See Page Images]
{MOZART'S INSTRUMENTAL MUSIC.}
(6)
The manner in which they are opposed to each other, and the devices by
which their opposition is thrown into strong relief, are of unusual, but
by no means unjustifiable, harshness. But the goal is not reached by one
bound; no sooner does serenity seem to be attained than the recurrence
of the _b_ draws the clouds together again, and peace and the power
of breathing and moving freely are only won by slow and painful
degrees.[14]
Any difference of opinion as to this work at the present day can only
exist with regard to minor details, and it will scarcely now be asserted
by any one that "a piece may be recognised as Mozart's by its rapid
succession of daring transitions."[15] We are accustomed to take our
standard from Beethoven, and it seems to us almost incredible that
a contemporary of Mozart's, the Stuttgart Hofmusicus, Schaul (who
acknowledged, it is true, that he belonged to a time when nothing was
heard but Italian operas and musicians), should exclaim:[16]--
What a gulf between a Mozart and a Boccherini! The former leads us over
rugged rocks on to a waste, sparsely strewn with flowers; the latter
through smiling country, flowery meadows, and by the side of rippling
streams.
Apart from all differences of opinion or analogies with other works,
it may safely be asserted that these quartets are the clear and perfect
expression of Mozart's nature; nothing less is to be expected from
a work upon which he put forth all his powers in order to accomplish
something that would redound to his master Haydn's honour as well as his
own. The form had already, in all its essential points, been determined
by Haydn; it is the sonata form, already described, with the addition
of the minuet--in this application a creation of Haydn's. Mozart
appropriated these main
{MOZART'S AND HAYDN'S QUARTETS.}
(7)
features, without feeling it incumbent on him even to alter them.
Following a deeply rooted impulse of his nature, he renounced the light
and fanciful style in which Haydn had treated them, seized upon their
legitimate points, and gave a firmer and more delicate construction to
the whole fabric. To say of Mozart's quartets in their general features
that, in comparison with Haydn's, they are of deeper and fuller
expression, more refined beauty, and broader conception of form,[17] is
only to distinguish these as Mozart's individual characteristics,
in contrast with Haydn's inexhaustible fund of original and humorous
productive power. Any summary comparison of the two masters must result
in undue depreciation of one or the other, for nothing but a detailed
examination would do full justice to them both and explain their
admiration of each other. Two circumstances must not be left out of
account. Mozart's quartets are few in number compared with the long list
of Haydn's. Every point that is of interest in Mozart may be paralleled
in Haydn; hence it follows that certain peculiarities found in Haydn's
music are predominating elements in Mozart's. Again, Haydn was a much
older man, and is therefore usually regarded as Mozart's predecessor;
but the compositions on which his fame chiefly rests belong for the most
part to the period of Mozart's activity in Vienna, and were not without
important influence on the latter. This mutual reaction, so generously
acknowledged by both musicians, must be taken into account in forming a
judgment upon them.
The string quartet offers the most favourable conditions for the
development of instrumental music, both as to expression and technical
construction, giving free play to the composer in every direction,
provided only that he keep within the limits imposed by the nature
of his art. Each of the four combined instruments is capable of the
greatest variety of melodic construction; they have the advantage over
the piano in their power of sustaining the vibrations of the notes, so
as to produce song-like effects; nor are they inferior
{MOZART'S INSTRUMENTAL MUSIC.}
(8)
in their power of rapid movement. Their union enables them to fulfil the
demands of complete harmonies, and to compensate by increase of freedom
and fulness for the advantages which the pianoforte possesses as a solo
instrument. The quartet is therefore particularly well adapted both for
the polyphonic and the homophonie style of composition. The varieties of
tone of the instruments among each other, and of each in different
keys, further increases their capacity for expression, the nuances
of tone-colouring appearing to belong to the nature of stringed
instruments. Thus the material sound elements of the string quartet are
singularly uniform, at the same time that they allow free scope to the
individual movement of the component parts. The beginning of the andante
of the E flat major quartet (428 K.) will suffice to show how entirely
different an effect is given by a mere difference in the position of the
parts. The value which Mozart set upon the uniformity of the naturally
beautiful sound effects of stringed instruments may be inferred from
the fact that he seldom attempted interference with it as a device for
pleasing the ear. Pizzicato passages occur only three times--in the trio
of the D minor quartet (421 K.), of the C major quintet (515 K.), and
of the clarinet quintet (581 K.)--and each time as the gentlest form of
accompaniment to a tender melody. He was not prone either to emphasise
bass passages by pizzicato, and has done so only in the second adagio
of the G minor quintet (516 K.) and in the first movement of the horn
quintet (407 K.). Nor is the muting, formerly so frequent, made use of
except in the first adagio of the G minor quartet and in the larghetto
of the clarinet quintet. It need scarcely be said that an equal amount
of technical execution and musical proficiency was presupposed in each
of the performers. This is especially noticeable in the treatment of the
violoncello. It is not only put on a level with the other instruments as
to execution, but its many-sided character receives due recognition, and
it is raised from the limited sphere of a bass part into one of complete
independence.
The favourite comparison of the quartet with a conversation between four
intellectual persons holds good in some
{MOZART'S STRING QUARTETS.}
(9)
degree, if it is kept in mind that the intellectual participation and
sympathy of the interlocutors, although not necessarily languishing in
conversation, are only audibly expressed by turns, whereas the musical
embodiment of ideas must be continuous and simultaneous. The comparison
is intended to illustrate the essential point that every component part
of the quartet stands out independently, according to its character, but
so diffidently that all co-operate to produce a whole which is never at
any moment out of view; an effect so massive as to absorb altogether the
individual parts would be as much out of place as the undue emphasising
of any one part and the subordination of the others to it. The object
to be kept continually in view is the blending of the homophonie or
melodious, and the polyphonic or formal elements of composition to form
a new and living creation. Neither is neglected; but neither is allowed
to assert itself too prominently. Even when a melody is delivered by
one instrument alone, the others do not readily confine themselves to
a merely harmonic accompaniment, but preserve their independence of
movement. Infallible signs of a master-hand are visible in the free and
ingenious adaptation of the bass and the middle parts to the melodies;
and, as a rule, the characteristic disposition of the parts gives
occasion for a host of interesting harmonic details. The severer forms
of counterpoint only appear in exceptional cases, such as the last
movement of the first quartet, in G major (387 K.). The intention is
not to work out a subject in a given form, but to play freely with
it, presenting it from various interesting points of view by means
of combinations, analysis, construction, and connection with fresh
contrasting elements. But since this free play can only be accepted as
artistic by virtue of the internal coherency of its component parts,
it follows that the same laws which govern strict forms must lie at the
root of the freer construction. In the same way a conversation--even
though severe logical disputation may be studiously avoided--adheres to
the laws of logic while letting fall here a main proposition, there
a subordinate idea, and connecting apparent incongruities by means of
association of ideas. A similar freedom in the grouping and
{MOZART'S INSTRUMENTAL MUSIC.}
(10)
development of the different subjects exists in the quartet, limited
only by the unity of artistic conception, and by the main principles of
rhythmic and harmonic structure, and of the forms of counterpoint. This
is most observable when an apparently unimportant phrase is taken up,
and by its interesting development formed into an essential element
of the whole, as in the first movement of the third quartet, in B flat
major (458 K.), where a figure--[See Page Image]
at the close of a lengthy subject is first repeated by the instruments
separately, with a mocking sort of air, and afterwards retained and
treated as the germ of numerous freely developed images.
In publishing these six quartets together Mozart certainly did not
intend them to be regarded in all their parts as one whole; his object
was to bring to view the many-sidedness of expression and technical
treatment of which this species of music was capable. The first quartet,
in G major (387 K.), and the fourth, in E flat major (428 K.), have
a certain relationship in their earnest and sustained tone; but how
different is the expression of energetic decision in the first from that
of contemplative reserve in the fourth; a difference most noticeable
in the andantes of the two quartets. Again, in the third and fifth
quartets, in B flat (458 K.) and A major (464 K.), the likeness in
their general character is individualised by the difference in treatment
throughout. The second quartet, in D minor (421 K.), and the sixth, in
C major (465 K.), stand alone; the former by its affecting expression of
melancholy, the latter by its revelation of that higher peace to which a
noble mind attains through strife and suffering.
An equal wealth of characterisation and technical elaboration meets us
in a comparison of the separate movements. The ground-plan of the first
movement is the usual one, and the centre of gravity is always the
working-out at the beginning of the second part, which is therefore
distinguished by its length as a principal portion of the movement. The
working-out of each quartet is peculiar to itself. In the two
{SIX QUARTETS, 1785.}
(11)
first the principal subject is made the groundwork, and combined with
the subordinate subject closing the first part, but quite differently
worked-out. In the G major quartet the first subject is spun out into
a florid figure, which is turned hither and thither, broken off by the
entry of the second subject, again resumed, only to be again broken off
in order, by an easy play on the closing bar--[See Page Images]
to lead back again to the theme. In the D minor quartet, on the other
hand, only the first characteristic division--[See Page Images]
of the broad theme is worked out as a motif; the next division somewhat
modified--[See Page Images]
is imitated and adorned by the final figure:--[See Page Images]
The first part of the third quartet, in B flat major, has not the usual
sharply accented second subject; the second part makes up for this in
a measure by at once introducing a new and perfectly formed melody,
followed by an easy play with a connecting passage--
this is invaded by the analogous motif of the first part--[See Page
Images]
which brings about the return to the first part. The peculiar structure
of the movement occasions the repetition of the second part, whereupon
a third part introduces the chief subject anew, and leads to the
conclusion in an independent
{MOZART'S INSTRUMENTAL MUSIC.}
(12)
way. In the E flat major quartet the interest depends upon the harmonic
treatment of an expressive triplet passage connected with the principal
subject. The first subject of the fifth quartet, in A major, is
indicated from the very beginning as a suitable one for imitative
treatment, and very freely developed in the working-out section. In the
last quartet in C major also, the treatment of the principal subject is
indicated at once, but the importance of the modest theme is only
made apparent by the harmonic and contrapuntal art of its working-out,
leading to the expressive climax of the coda and the conclusion.
The slow movements of the quartets are the mature fruit of deep feeling
and masterly skill. With fine discrimination the consolatory andante
of the melancholy D minor quartet is made easy, but so managed as
to express the character of ardent longing, both in the ascending
passage--[See Page Image]
and in the tendency to fall into the minor key. The andante of the
fourth quartet, in E flat major, forms a complete contrast to this.
Its incessant harmonic movement only allows of pregnant suggestions of
melodies, and is expressive of a self-concentrated mood, rousing itself
with difficulty from mental abstraction. But the crown of them all in
delicacy of form and depth of expression is the andante of the last
quartet, in C major; it belongs to those wonderful manifestations of
genius which are only of the earth in so far as they take effect
upon human minds; which soar aloft into a region of blessedness where
suffering and passion are transfigured.
The minuets are characteristic of Mozart's tendencies as opposed
to Haydn's. The inexhaustible humour, the delight in startling and
whimsical fancy, which form the essence of Haydn's minuets, occur only
here and there in Mozart's.
{SIX QUARTETS, 1785.}
(13)
They are cast in a nobler mould, their distinguishing characteristics
being grace and delicacy, and they are equally capable of expressing
merry drollery and strong, even painful, emotion. Haydn's minuets are
the product of a laughter-loving national life, Mozart's give the tone
of good society. Especially well-defined in character are the minuets
of the D minor and C major quartets--the former bold and defiant, the
latter fresh and vigorous. Delicate detail in the disposition of the
parts is common to almost all of them, keeping the interest tense
and high, and there are some striking peculiarities of rhythmical
construction. Among such we may notice the juxtaposition of groups of
eight and ten bars, so that two bars are either played prematurely, as
in the minuet of the first quartet, or inserted, as in the trio of the
B flat major quartet.[18] The ten-bar group in the minuet of the D minor
quartet is more complicated, because more intimately blended, and still
more so is the rhythm of the minuet in the fourth quartet, where
the detached unequal groups are curiously interlaced.[19] Very
characteristic is also the sharp contrast between minuet and trio--as,
for instance, the almost harshly passionate minor trios of the first
and last quartets, and the still more striking major trio of the D minor
quartet, light and glittering, like a smile in the midst of tears.
The finales have more meaning and emphasis than has hitherto been the
case in Mozart's instrumental compositions. Three of them are in
rondo form (those of the B flat, E flat, and C major quartet), quick,
easy-flowing movements, rich in graceful motifs and interesting features
in the working-out. The merriment in them is tempered by 1 a deeper vein
of humour, and we are sometimes startled by a display of pathos, as
in the finale of the C major quartet. The more cheerful passages are
distinctly German in tone; and echoes of the "Zauberflote" may be heard
in many of the melodies and turns of expression.
{MOZART'S INSTRUMENTAL MUSIC.}
(14)
The last movement of the G major quartet is written in strict form, and
highly interesting by reason of the elegance of its counterpoint; the
finale of the A major quartet is freer and easier, but nevertheless
polyphonic in treatment.[20] The D minor quartet concludes with
variations, the original and long-drawn theme having the rhythmical and
sharply accented harmonic form of the siciliana. It is in imitation of
a national song, and is sometimes like a slow gigue, sometimes like a
pastorale. The rhythm of the 6-8 time is somewhat peculiar, in that
the first of three quavers is dotted throughout; the tone is soft and
tender. There is a very similar siciliana in Gluck's ballet "Don
Juan" (No. 2), showing how marked the typical character is.[21] The
variations, which are as charming from their grace and delicacy of
form as from their singular mixture of melancholy and mirth, bring this
wonderful quartet to a close in a very original manner.
The middle movement of the A major quartet is also in variations--more
earnest and careful on the whole--the precursor of the variations
in Haydn's "Kaiser" and Beethoven's A major quartets. These quartet
variations far surpass the pianoforte variations in character and
workmanship; they consist not merely of a graceful play of passages, but
of a characteristic development of new motifs springing from the theme.
The success of the quartets, on which Mozart put forth all his best
powers, was scarcely sufficient to encourage him to make further
attempts in the same direction; not until August, 1786, do we find him
again occupied with a quartet (D major, 499 K.), in which may be traced
an attempt to
{LATER QUARTETS, 1786-1790.}
(15)
meet the taste of the public without sacrificing the dignity of the
quartet style. It is not inferior to the others in any essential point.
The technical work is careful and interesting, the design broad--in many
respects freer than formerly--the tone cheerful and forcible throughout,
with the sentimental element in the background, as compared with the
first quartets. The last movement approaches nearest to Haydn's
humorous turn of thought, following his manner also in the contrapuntal
elaboration of a lightly suggested motif into a running stream of
merry humour. Nevertheless, this quartet remained without any immediate
successor; it would appear that it met with no very general approval
on its first appearance. "A short serenade, consisting of an allegro,
romance, minuet and trio, and finale" in G major, composed August 10,
1787 (525 K.), does not belong to quartet music proper. The direction
for violoncello, contrabasso, points to a fuller setting, which is
confirmed by the whole arrangement, especially in the treatment of the
middle parts. It is an easy, precisely worked-out occasional piece.
During his stay in Berlin and Potsdam in the spring of 1789 Mozart was
repeatedly summoned to the private concerts of Frederick William II. of
Prussia, in which the monarch himself took part as a violoncellist.
He was a clever and enthusiastic pupil of Graziani and Duport, and he
commissioned Mozart to write quartets for him, as he had previously
commissioned Haydn[22] and Boccherini,[23] rewarding them with princely
liberality. In June of this year Mozart completed the first of three
quartets, composed for and dedicated to the King of Prussia, in D major
(575 K.); the second, in B flat major (589 K.), and the third, in F
major (590 K.), were composed in May and June, 1790. From letters to
Puchberg, we know
{MOZART'S INSTRUMENTAL MUSIC.}
(16)
that this was a time of bitter care and poverty, which made it a painful
effort to work at the quartets, but there is even less trace of effort
in them than in the earlier ones. The instrument appropriated to his
royal patron is brought to the front, and made into a solo instrument,
giving out the melodies in its higher notes. This obliges the viola
frequently to take the bass part, altering the whole tone-colouring of
the piece, and the instruments are altogether set higher than usual, the
more so as the first violin constantly alternates with the violoncello.
By this means the tone of the whole becomes more brilliant and brighter,
but atones for this in an occasional loss of vigour and force. In other
respects also, out of deference no doubt to the King's taste, there is
more stress laid upon elegance and clearness than upon depth and warmth
of tone. Mozart was too much of an artist to allow any solo part in
a quartet to predominate unduly over the others; the first violin and
violoncello leave the other two instruments their independent power of
expression, but the motifs and working-out portions are less important,
and here and there they run into a fanciful play of passages. It is
singular that in the quartets in D and F major the last movements are
the most important. When once the composer has thrown himself into the
elaboration of his trifling motifs he grows warm, and, setting to work
in good earnest, the solo instrument is made to fall into rank and
file; the artist appears, and has no more thought of his presentation at
court. The middle movements are very fine as to form and effect, but are
without any great depth of feeling. The charming allegro of the second
quartet, in F major, is easy and graceful in tone, and interesting from
the elegance of its elaboration. In short, these quartets completely
maintain Mozart's reputation for inventive powers, sense of proportion,
and mastery of form, but they lack that absolute devotion to the highest
ideal of art characteristic of the earlier ones.
Mozart's partiality for quartet-writing may be inferred from the many
sketches which remain (68-75, Anh., K.), some of them of considerable
length, such as that fragment of a lively movement in A major (68, 72,
Anh., K.) consisting of 169 bars.
{TRIO IN E FLAT, 1788.}
(17)
Duets and trios for stringed instruments were naturally held in less
esteem than string quartets. Mozart composed in Vienna (September 27,
1788), for some unspecified occasion, a trio for violin, viola, and
violoncello, in £ flat major (563 K.), which consists of six movements,
after the manner of a divertimento--allegro, adagio, minuet, andante
with variations, minuet, rondo. The omission of the one instrument
increases the difficulty of composing a piece full in sound and
characteristic in movement, more than could have been imagined; the
invention and skill of the composer are taxed to the utmost. It is
evident that this only gave the work an additional charm to Mozart. Each
of the six movements is broadly designed and carried out with equal care
and devotion, making this trio unquestionably one of Mozart's finest
works. No one performer is preferred before the other, but each, if
he does his duty, may distinguish himself in his own province. With
wonderful discrimination, too, every technical device is employed which
can give an impulse to any happy original idea. How beautifully,
for instance, is the simple violoncello passage which ushers in the
adagio--[See Page Images]
transformed into the emphatic one for the violin--
coined in due time, with climacteric effect, by the viola and
violoncello. The violin-jumps in the same adagio--
are effective only in their proper position; and all the resources at
command are made subservient to the art which is to produce the living
work.
{MOZART'S INSTRUMENTAL MUSIC.}
(18)
The variations demand special attention. The theme is suggestive of a
national melody, and its effect is heightened by the different treatment
of each part when repeated, which also gives fulness and variety to the
variations. Each of these is artistically worked out in detail and of
distinctly individual character; the last is especially remarkable, in
which the viola, to a very lively figure, carries out the theme in its
simplest enunciation as a true Cantus firmus. The whole impression is
one of freshness and beauty of conception, elevated and enlivened by
the difficulties which offered themselves. Nothing more charming can
be imagined than the first trio of the second minuet; its tender purity
charms us like that of a flower gleaming through the grass.
Haydn seems to have made no use of the increased resources offered
by the quintet, although other musicians--Boccherini, for
instance--cultivated this branch. It would appear to have been for some
particular occasions that Mozart composed four great string quintets,
in which he followed the track laid out in the first quartets. Two were
composed in the spring of 1787, after his return from Prague--[24]
C major, composed April 19, 1787 (515 K.).
G major, composed May 16, 1787 (516 K.).--
the other two--
D major, composed December, 1790 (593 K.).
E flat major, composed April 12, 1791 (614 K.).--
at short intervals, "at the earnest solicitation of a musical friend,"
as the publisher's announcement declares.[25]
Mozart doubles the viola[26]--not like Boccherini in his 155 quintets,
the violoncello[27]--whereby little alteration in tone, colour, or
structure is effected. The doubling of the violoncello gives it a
predominance which its very charm of tone
{THE QUINTET.}
(19)
renders all the more dangerous: whereas the strengthening of the less
strongly accentuated middle parts by the addition of a viola gives
freer scope for a lengthy composition. The additional instrument gives
increase of freedom in the formation of melodies and their harmonic
development, but it also lays on the composer the obligation of
providing independent occupation for the enlarged parts. A chief
consideration is the grouping of the parts in their numerous possible
combinations. The first viola corresponds to the first violin as leader
of melodies, while the second viola leaves the violoncello greater
freedom of action; these parts share the melodies in twos or threes,
either alternately or in imitative interweaving; the division of a
motif as question and answer among different instruments is especially
facilitated thereby. Again, two divisions may be placed in effective
contrast, the violins being supported by a viola, or the violas by the
violoncello. But the device first used by Haydn in his quartets, of
giving two parts in octaves, is perhaps the most effective in the
quintets, a threefold augmentation being even employed in the trio of
the E flat major quintet (614 K.). Finally, it is easier to strengthen
the violoncello by the viola here than it is in the quartet. It is not
that all these resources are out of reach for the quartet, but that they
find freer and fuller scope in the quintet. The effect of the quintet is
not massive; it rests on the characteristic movement of the individual
parts, and demands greater freedom in order that this movement of
manifold and differing forces may be well ordered and instinct with
living power. The increased forces require greater space for their
activity, if only on account of the increased mass of sound. If the
middle parts are to move freely without pressing on each other, the
outer parts must be farther apart, and this has a decided influence on
the melodies and the sound effects, the general impression becoming more
forcible and brilliant. The dimensions must also be increased in other
directions. A theme, to be divided among five parts, and a working-out
which is to give each of them fair play, must be planned from the first.
The original motif of the first Allegro of the C major quintet (515
K.)--[See Page Image]
{MOZART'S INSTRUMENTAL MUSIC.}
(20)
involves of necessity the continuation of the idea enunciated; and only
after a third repetition with modifications is it allowed to proceed
to a conclusion. It has thus become too far developed to allow of a
repetition of the whole theme; it starts again in C minor, is further
developed by harmonic inflections; and after a short by-play on a
tributary, it is again taken up and leads on to the second theme; we
have thus a complete organic development of the first motif. The second
theme is then of course carried out, and finally we have the broadly
designed motif which brings the part to a conclusion in a gradually
increasing _crescendo_ for all the parts; the whole movement thus gains
considerably in dimensions.
The motif of the first movement of the E flat major quintet (614
K.)--[See Page Image]
is precisely rendered. But it is the germ whence the whole movement
is to spring; all beyond itself is suggested by this motif, and is
important only in relation thereto. The unfettered cheerfulness which
runs through the whole of the movement is expressed in these few bars,
given by the violas like a call to the merry chase. The opening of the
C major quintet prepares us in an equally decided manner for what is to
follow. The decision and thoughtfulness which form the ground-tone of
the whole movement, in spite of its lively agitation, are calmly and
clearly expressed in the first few bars.
The G minor quintet begins very differently, with a complete melody of
eight bars, repeated in a different key. Few
{MOZART'S G MINOR QUINTET.}
(21)
instrumental compositions express a mood of passionate excitement with
such energy as this G minor quintet. We feel our pity stirred in the
first movement by a pain which moans, sighs, weeps; is conscious in its
ravings only of itself, refuses to take note of anything but itself, and
finds its only consolation in unreasoning outbreaks of emotion, until
it ends exhausted by the struggle. But the struggle begins anew in
the minuet, and now there is mingled with it a feeling of defiant
resentment, showing that there is some healthy force still remaining;
in the second part a memory of happy times involuntarily breaks in,
but is overcome by the present pain; then the trio bursts forth
irresistibly, as if by a higher power, proclaiming the blessed certainty
that happiness is still to be attained. One of those apparently obvious
touches, requiring nevertheless the piercing glance of true genius,
occurs when, after closing the minuet in the most sorrowful minor
accents--[See Page Image]
Mozart introduces the trio with the same inflection in the major--
and proceeds to carry it out in such a manner that only a whispered
longing may be detected underlying the gently dying sounds of peace.
This turn of expression decides the further course of the development.
The next movement, "Adagio ma non troppo, con sordini," gives us an
insight into a mind deeply wounded, tormented with self-questionings;
earnest reflection, doubt, resolve, outbreaks of smothered pain
alternate with each other, until a yearning
{MOZART'S INSTRUMENTAL MUSIC.}
(22)
cry for comfort arises, tempered by the confident hope of an answer
to its appeal; and so the movement ends in the calm of a joyful peace
instead of, as the first, in the silence of exhaustion. The conquered
pain breaks out again in the introduction to the last movement, but its
sting is broken--it dies away to make room for another feeling. The new
émotion is not merely resignation, but joy--the passionate consciousness
of bliss, just as inspired, just as restlessly excited as the previous
pain. But the exultant dithyramb has not the same engrossing interest
for the hearers; man is readier to sympathise with the sorrows of others
than with their joys, although he would rather bear his sorrow alone
than his joy. This complete change of mood may well excite a suspicion
of fickleness, but it is not the less true that the anguish of the first
movement, and the exultation of the last, belong to one and the same
nature, and are rendered with absolute truth of artistic expression.
We turn involuntarily from the artist to the man after such a
psychological revelation as this, and find traces of Mozart's nature
unmistakably impressed on his work. But we may seek in vain for any
suggestion of the work in his actual daily life. At the time when he
wrote this quintet his circumstances were favourable, he had only lately
returned from Prague covered with honour and substantial rewards, and he
was enjoying an intercourse with the Jacquin family which must have been
altogether pleasurable to him. It is true that he lost his father soon
after (May 26), but a recollection of the letter which he addressed to
him with the possibility of his death in view (Vol. II., p. 323), Mozart
being at the time engaged on the C major quintet, will prevent our
imagining that the mood of the G minor quintet was clouded by the
thought of his father's approaching decease. The springs of artistic
production flow too deep to be awakened by any of the accidents of
life. The artist, indeed, can only give what is in him and what he, has
himself experienced; but Goethe's saying holds good of the musician as
well as of the poet or painter; he reveals nothing that he has not felt,
but nothing _as_ he felt it.
The main characteristics of the other quintets are calmer
{MOZART'S QUINTETS.}
(23)
and more cheerful, but they are not altogether wanting in energetic
expression of passion. The sharper characterisation made necessary by
the division of the music among a greater number of instruments was only
possible by means of the agitation and restless movement of the parts,
even when the tone of the whole was quiet and contained. We find
therefore various sharp or even harsh details giving zest to the
whole--such, for instance, as the use of the minor ninth and the
comparatively frequent successions of ninths in a circle of fifths;
and the quintets have apparently been a mine of wealth to later
composers, who have made exaggerated use of these dangerous stimulants.
Greater freedom of motion stands in close connection with the better
defined characterisation of the quintets. Polyphony is their vital
element; the forms of counterpoint became more appropriate as the number
of parts increased. The finales to the Quintets in D and E flat Major
(573, 614, K.) showed that Mozart was able to make use of the very
strictest forms upon occasion. Both movements begin in innocent
light-heartedness, but severe musical combinations are developed out
of the airy play of fancy; ideas which have only been, as it were,
suggested are taken up and worked out, severe forms alternate with laxer
ones--one leads to the other naturally and fluently, and sometimes they
are both made use of at the same time. The disposition of the parts is
free, without any preconceived or definitive form, and its many delicate
details of taste and originality give an individual charm to each
separate part. The homophonie style of composition is not altogether
disregarded for the polyphonic, but it is never made the determining
element. Even a melody such as the second subject of the first movement
of the G minor quintet, complete in itself as any melody can be, is
made use of as a motif for polyphonic development. The freest and most
elastic treatment of form is that of the last movements. The other
movements are fully developed, and sometimes carried out at great
length, but the main features are always distinct and well preserved;
the outline of the finales is less firm, and capable of a lighter and
more varied treatment.
{MOZART'S INSTRUMENTAL MUSIC.}
(24)
Another branch of concerted music high in favour in Mozart's day was the
so-called "Harmoniemusik," written exclusively for wind instruments, and
for performance at table or as serenades. Families of rank frequently
retained the services of a band for "Harmoniemusik" instead of a
complete orchestra.[28] The Emperor Joseph selected eight distinguished
virtuosi[29] for the Imperial "Harmonie," who played during meals,
especially when these took place in the imperial pleasure-gardens. The
performances included operatic arrangements as well as pieces composed
expressly for this object.[30] Reichardt dwells on the enjoyment
afforded him in 1783 by the Harmoniemusik of the Emperor and the
Archduke Maximilian. "Tone, delivery, everything was pure and
harmonious; some movements by Mozart were lovely; but unluckily nothing
of Haydn's was performed."[31] First-class taverns supported their own
"Harmonie" bands, in order that the guests might not be deprived of this
favourite accompaniment to their meals.[32]
Besides the great serenades, intended for public performance, the old
custom was still practised of writing "Standchen,"[33] for performance
under the window of the person who was to be thus celebrated; and the
general desire that such pieces should be new and original provided
composers with almost constant employment on them.[34] Wind instruments
were most in vogue for this "night-music." The instruments were usually
limited to six--two clarinets, two horns, and two bassoons, strengthened
{SERENADES FOR WIND INSTRUMENTS.}
(25)
sometimes by two oboes. Such eight-part harmonies sufficed both the Emperor
and the Elector of Cologne as table-music and for serenades; and at a
court festival at Berlin in 1791 the music during the banquet was
thus appointed.[35] The "Standchen," in "Cosi fan Tutte" (21), and the
table-music, in the second finale of "Don Giovanni," are imitations of
reality.
Mozart did not neglect the opportunities thus afforded him of making
himself known during his residence in Vienna. He writes to his father
(November 3, 1781):--
I must apologise for not writing by the last post; it fell just on my
birthday (October 31), and the early part of the day was given to
my devotions. Afterwards, when I should have written, a shower of
congratulations came and prevented me. At twelve o'clock I drove to the
Leopoldstadt, to the Baroness Waldstädten, where I spent the day. At
eleven o'clock at night I was greeted by a serenade for two clarinets,
two horns, and two bassoons, of my own composition. I had composed it
on St. Theresa's day (October 15) for the sister of Frau von Hickl (the
portrait-painter's wife), and it was then performed for the first time.
The six gentlemen who execute such pieces are poor fellows, but they
play very well together, especially the first clarinet and the two
horns. The chief reason I wrote it was to let Herr von Strack (who
goes there daily) hear something of mine, and on this account I made
it rather serious. It was very much admired. It was played in three
different places on St. Theresa's night. When people had had enough of
it in one place they went to another, and got paid over again.
This "rather serious" composition is the Serenade in E flat major (375
K.), which Mozart increased by the addition of two oboes, no doubt in
June, 1782, when he also wrote the Serenade in C minor for eight wind
instruments (388 K., s.). He had at that time more than one occasion for
works of this kind. The attention both of the Emperor and the Archduke
Maximilian was directed towards him (Vol. II., p. 197); and since
Reichardt heard compositions by Mozart at court in 1783, his attempt to
gain Strack's good offices must have been successful. In the year
1782 Prince Liechtenstein was in treaty with Mozart concerning the
arrangement of a Harmoniemusik (Vol. II., p. 206), and he
{MOZART'S INSTRUMENTAL MUSIC.}
(26)
had undertaken with Martin the conduct of the Augarten concerts, which
involved the production of four great public serenades (Vol. II., p.
283).
Both the serenades already mentioned are striking compositions, far
above the ordinary level of their kind, and may be considered, both
as to style and treatment, the precursors of modern chamber music. The
first movement of the Serenade in E flat major had originally two parts,
which Mozart afterwards condensed into one, giving it greater precision
by the omission of lengthy repetitions. The addition of the oboes gives
it greater fulness and variety; but it is easy to detect that they are
additions to a finished work. The whole piece is of genuine serenade
character. After a brilliant introductory phrase, a plaintive melody
makes its unexpected appearance, dying away in a sort of sigh, but
only to reassert itself with greater fervour. The amorous tone of the
"Entführung" may be distinctly traced in the adagio, and through all its
mazy intertwining of parts we seem to catch the tender dialogue of two
lovers. The closing rondo is full of fresh, healthy joy; the suggestion
of a national air in no way interferes with the interesting harmonic
and contrapuntal working-out.[36] The Serenade in C minor is far from
leaving the same impression of cheerful homage. The seriousness of its
tone is not that of sorrow or melancholy, but, especially in the
first movement, of strong resolution. The second theme is especially
indicative of this, its expressive melody being further noteworthy by
reason of its rhythmical structure. It consists of two six-bar phrases,
of which the first is formed of two sections of three bars each:--[See
Page Image]
After the repetition of this, the second phrase follows, formed from the
same melodic elements, but in three sections of two bars each--[See Page
Image]
{SERENADE IN C MINOR.}
(27)
and also repeated. On its first occurrence it forms a fine contrast to
the passionate commencement, and lays the foundation for the lively
and forcible conclusion of the first part, while in the second part
its transposition into the minor prepares the way for the gloomy and
agitated conclusion of the movement. The calmer mood of the andante
preserves the serious character of the whole, without too great softness
or languor of expression.
Mozart has perpetrated a contrapuntal joke in the minuet. The oboes and
bassoons lead a two-part canon in octave, while the clarinets and horns
are used as tutti parts. In the four-part trio the oboes and bassoons
again carry out a two-part canon (_al rovescio_) in which the answering
part exactly renders the rhythm and intervals, the latter, however,
inverted:--[See Page Image]
Tricks of this kind should always come as this does, without apparent
thought or effort, as if they were thrown together by a happy chance,
the difficulties of form serving only to give a special flavour to the
euphonious effect. The last movement, variations, passes gradually from
a disquieted anxious mood into a calmer one, and closes by a recurrence
to the subject in the major, with freshness and force.
{MOZART'S INSTRUMENTAL MUSIC.}
(28)
This serenade is best known in the form of a quintet for stringed
instruments, to which Mozart adapted it apparently before 1784 (506
K.). Nothing essential is altered--only the middle parts, accompaniment
passages, &c., are somewhat modified. Some of the passages and
movements, however, especially the andante and finale, have lost
considerably by the altered tone-colouring.
Various divertimenti for wind instruments, which have been published
under Mozart's name, have neither external nor internal signs of
authenticity.[37] An Adagio in B flat major for two clarinets and three
basset-horns (411 K.), concerning which little is known, stands alone
of its kind.[38] The combination of instruments points here as elsewhere
(Vol. II., pp. 361, 410) to some special, perhaps masonic occasion,
the more so as a detached and independent adagio could only have been
written with a definite object in view. The juxtaposition of instruments
so nearly related, with their full, soft, and, in their deeper notes,
sepulchral tones, produces an impression of solemnity, which is in
accordance with the general facter of peace after conflict expressed
by the adagio.
Mozart's works for wind instruments are distinguished by delicacy of
treatment apart from virtuoso-like effects. Considering them, however,
in the light of studies for the treatment of wind instruments as
essential elements of the full orchestra, they afford no mean conception
of the performances of instrumentalists from whom so much mastery of
technical difficulties, delicacy of detail, and expressive delivery
might be expected. Instrumental music had risen to great importance in
Vienna at that time. A great number of available, and even distinguished
musicians had settled there. Besides the two admirably appointed
imperial orchestras, and the private bands attached to families of rank,
there were various societies of musicians ready to form large or small
orchestras when required; and public and private concerts were, as we
have seen, of very frequent occurrence.
{THE VIENNA ORCHESTRA.}
(29)
The appointment was, as a rule, weak, when judged by the standard of the
present day. The opera orchestra contained one of each wind instrument,
six of each violin, with four violas, three violoncelli, and three
basses.[39] On particular occasions the orchestra was strengthened (Vol.
II., p. 173), but most of the orchestral compositions betray by their
treatment that they were not intended for large orchestras. The purity
and equality of tone and the animated delivery of the Vienna orchestra
is extolled by a contemporary, who seems to have been no connoisseur,
but to have faithfully rendered the public opinion of the day.[40]
Of greater weight is the praise of Nicolai, a careful observer, who
compared the performances of the Vienna orchestra with those of other
bands.[41] He asserted, when he heard the Munich orchestra soon after,
that it had far surpassed his highly wrought expectations of Mannheim,
and that he had been perfectly astonished at the commencement of an
allegro.[42] It was not a matter of small importance, therefore, that
Mozart should have learnt all that could be learnt from the orchestras
of Mannheim, Munich, and Paris, and then found in Vienna the forces at
command wherewith to perfect this branch of his art. In this respect he
had a great advantage over Haydn, who had only the Esterhazy band at his
disposal, and never heard great instrumental performances except during
his short stays in Vienna.
Mozart had much to do with raising the Vienna orchestra, particularly
in the wind instruments, to its highest pitch of perfection. Among
contemporary composers, who strove to turn to the best account the
advantages of a fuller instrumentation,
Haydn undoubtedly claims the first rank. It is his incontestable merit
to have opened the way in his symphonies to the free expression of
artistic individuality in instrumental music, to have defined its forms,
and developed
{MOZART'S INSTRUMENTAL MUSIC.}
(30)
them with the many-sidedness of genius; he did not, how-I ever, bequeath
to Mozart, but rather received from him the well-appointed, fully
organised, and finely proportioned orchestra of our day. In his old age
Haydn once complained to Kalkbrenner that death should call man away
before he has accomplished his life-long desires: "I have only learnt
the proper use of wind instruments in my old age, and now I must pass
away without turning my knowledge to account."[43]
The first of the seven Vienna symphonies is in D major (part 5, 384 K.
(likely 385 K. DW)), and was composed by Mozart, at his father's wish,
for a Salzburg fête in the summer of 1782. He wrote it under the
pressure of numerous engagements in less than a fortnight, sending the
movements as they were ready to his father (Vol. II., p. 211). No wonder
that when he saw it again he was "quite surprised," not "remembering a
word of it." For performance in Vienna (March 3, 1783) he reduced it to
the usual four movements by the omission of the march and of one of the
minuets, and strengthened the wind instruments very effectively in the
first and last movement by flutes and clarinets.
A lively, festive style was called for by the occasion, and in the
treatment of the different movements the influence of the old serenade
form is still visible. The first allegro has only one main subject, with
which it begins; this subject enters with a bold leap--[See Page Image]
and keeps its place to the end with a life and energy enhanced by harsh
dissonances of wonderful freshness and vigour. The whole movement is
a continuous treatment of this subject, no other independent motif
occurring at all. The first part is therefore not repeated, the
working-out section is short, and the whole movement differs
considerably from the usual form of a first symphony movement. The
andante is in the simplest lyric form, pretty and refined, but nothing
more; the minuet is fresh and brilliant (Vol. I., p. 219).
{THE D MAJOR SYMPHONY.}
(31)
The tolerably long drawn-out concluding rondo is lively and brilliant,
and far from insignificant, though not equal to the first movement in
force and fire.
A second symphony was written by Mozart in great haste on his journey
through Linz in November, 1783; it was apparently that in C major (part
6, 425 K.), which with another short symphony in G major (part 6, 444
K.), bears clear traces of Haydn's influence, direct and indirect.
(Note: By M. Haydn--the Introduction only by Mozart. DW)
Several years lie between these symphonies and the next in D major (part
1, 504 K.). This was written for the winter concerts on December 6,
1786, and met with extraordinary approbation, especially in Prague,
where Mozart performed it in January, 1787[44]The first glance at the
symphony shows an altered treatment of the orchestra; it is now
fully organised, and both in combination and detail shows individual
independence. The instrumentation is very clear and brilliant--here and
there perhaps a little sharp--but this tone is purposely selected as the
suitable one. Traces of Haydn's influence may be found in the prefixing
of a solemn introduction to the first allegro, as well as in separate
features of the andante; such, for instance, as the epigrammatic close;
but in all essential points we have nothing but Mozart. The adagio is
an appropriate preface for the allegro, which expresses in its whole
character a lively but earnest struggle. In this allegro the form of
a great symphony movement lies open before us. The chief subject is
completely expressed at the beginning--[See Page Image]
{MOZART'S INSTRUMENTAL MUSIC.}
(32)
and recurs after a half-close on the dominant with a characteristic
figure--[See Page Image]
thus allowing of the independent development of section B. Then, after a
complete close on the dominant, there enters the very characteristic and
originally treated second subject; the close of the part is introduced
by the figure, D, so that a member of the chief subject, A, is again
touched upon. The working-out in the second part is founded on the third
section of the chief subject, C. These two bars, which there formed only
an intermediate passage, are here treated imitatively as an independent
motif; first B, then D, are added as counter-subjects, all three are
worked-out together, tributary subjects reappear from the first part,
until the chief subject, A, enters on the dominant in D minor, leading
the way for the other motifs, which press in simultaneously, and glide
upon a long organ point gradually back to the first subject, with
which the modified repetition of the first part begins. In this lengthy
working-out every part of the main idea is fully developed. The simple
enunciations of the first part appear, after the elaboration of
their different elements like utterances of a higher power, bringing
conviction and satisfaction to all who hear. The springlike charm of the
andante, with all its tender grace, never degenerates into effeminacy;
its peculiar character is given by the short, interrupted subject--[See
Page Image]
which is given in unison or imitation by the treble part and the bass,
and runs through the whole, different harmonic turns giving it a tone,
sometimes of mockery, sometimes of thoughtful reserve. The last movement
(for this symphony has no minuet) displays the greatest agitation and
vivacity
{SYMPHONIES, 1788.}
(33)
without any license; in this it accords with the restraint which
characterises the other movements. It illustrates the moderation of
most of Mozart's great works, which, as Ambros ("Granzen der Musik und
Poesie," p. 56) remarks, "is not a proof of inability to soar into a
higher sphere, but a noble and majestic proportioning of all his forces,
that so they may hold each other in equilibrium." The essence of the
work, to borrow the aesthetic expression of the ancients, is ethic
rather than pathetic; character, decision, stability find expression
there rather than passion or fleeting excitement.
A year and a half passed before Mozart again turned his attention to
the composition of symphonies; then, in the summer of 1788, within two
months, he composed the three symphonies in E flat major (June 26), G
minor (July 25), and C major (August 10)--the compositions which
most readily occur to us when Mozart's orchestral works come under
discussion. The production of such widely differing and important works
within so short a space of time affords another proof that the mind of
an artist works and creates undisturbed by the changing impressions of
daily life, and that the threads are spun in secret which are to form
the weft and woof of a work of art. The symphonies display Mozart's
perfected power of making the orchestra, by means of free movement
and songlike delivery, into the organ of his artistic mood. As Richard
Wagner says:--
The longing sigh of the great human voice, drawn to him by the loving
power of his genius, breathes from his instruments. He leads the
irresistible stream of richest harmony into the heart of his melody, as
though with anxious care he sought to give it, by way of compensation
for its delivery by mere instruments, the depth of feeling and ardour
which lies at the source of the human voice as the expression of the
unfathomable depths of the heart.[45]
{MOZART'S INSTRUMENTAL MUSIC.}
(34)
This result can only be attained by the most delicate appreciation of
the various capacities of each individual instrument. The very diversity
of tone-colouring which characterises these symphonies shows the
masterly hand with which Mozart chooses and blends his tones, so that
every detail shall come to full effect. It would not be easy to find
places in which the sound-effect does not correspond with the intention;
as he imagined it and willed it, so it sounds, and the same certainty,
the same moderation, is apparent in every part of the artistic
construction.
The Symphony in E flat major (543 K., part 3) is a veritable triumph of
euphony. Mozart has employed clarinets here, and their union with the
horns and bassoons produces that full, mellow tone which is so important
an element in the modern orchestra; the addition of flutes gives
it clearness and light, and trumpets endow it with brilliancy and
freshness. It will suffice to remind the reader of the beautiful passage
in the andante, where the wind instruments enter in imitation, or of
the charming trio to the minuet, to make manifest the importance of the
choice of tone-colouring in giving characteristic expression. We find
the expression of perfect happiness in the exuberant charm of euphony,
the brilliancy of maturest beauty in which these symphonies are, as it
were, steeped, leaving such an impression as that made on the eye by the
dazzling colours of a glorious summer day. How seldom is this unalloyed
happiness and joy in living granted to mankind, how seldom does art
succeed in reproducing it entire and pure, as it is in this symphony!
The feeling of pride in the consciousness of power shines through the
magnificent introduction, while the allegro expresses purest pleasure,
now in frolicsome joy, now in active excitement, and now in noble and
dignified composure. Some shadows appear, it is true, in the andante,
but they only serve to throw into stronger relief the mild serenity of a
{G MINOR SYMPHONY, 1788.}
(35)
mind that communes with itself and rejoices in the peace which fills it.
This is the true source of the cheerful transport which rules the last
movement, rejoicing in its own strength and in the joy of being. The
last movement in especial is full of a mocking joviality more frequent
with Haydn than Mozart, but it does not lose its hold on the more
refined and elevated tone of the preceding movements. This movement
receives its peculiar stamp from its startling harmonic and rhythmical
surprises. Thus it has an extremely comic effect when the wind
instruments try to continue the subject begun by the violins, but
because these pursue their way unheeding, are thrown out as it were, and
break off in the middle. This mocking tone is kept up to the
conclusion, which appears to Nägeli ("Vorlesungen," p. 158) "so noisily
inconclusive" (_so stillos unschliessend_), "such a bang, that the
unsuspecting hearer does not know what has happened to him."[46]
The G minor symphony affords a complete contrast to all this (550 K.,
part 2). Sorrow and complaining take the place of joy and gladness. The
pianoforte quartet (composed August, 1785) and the Quintet (composed May
16, 1787) in G minor are allied in tone, but their sorrow passes in the
end to gladness or calm, whereas here it rises in a continuous climax
to a wild merriment, as if seeking to stifle care. The agitated first
movement begins with a low plaintiveness, which is scarcely interrupted
by the calmer mood of the second subject;[47] the working-out of the
second part intensifies the gentle murmur--[See Page Image]
{MOZART'S INSTRUMENTAL MUSIC.}
(36)
into a piercing cry of anguish; but, strive and struggle as it may, the
strength of the resistance sinks again into the murmur with which the
movement closes. The andante, on the contrary, is consolatory in tone;
not reposing on the consciousness of an inner peace, but striving after
it with an earnest composure which even attempts to be cheerful.[48]
The minuet introduces a new turn of expression. A resolute resistance is
opposed to the foe, but in vain, and again the effort sinks to a
moan. Even the tender comfort of the trio, softer and sweeter than the
andante, fails to bring lasting peace; again the combat is renewed, and
again it dies away, complaining. The last movement brings no peace, only
a wild merriment that seeks to drown sorrow, and goes on its course
in restless excitement. This is the most passionate of all Mozart's
symphonies; but even in this he has not forgotten that "music, when
expressing horrors, must still be music" (Vol. II., p. 239).[49]
Goethe's words concerning the Laocoon are applicable here ("Werke"
XXIV., p. 233): "We may boldly assert that this work exhausts its
subject, and fulfils every condition of art. It teaches us that though
the artist's feeling for beauty may be stirred by calm and simple
subjects, it is only displayed in its highest grandeur and dignity when
it proves its power of depicting varieties of character, and of throwing
moderation and control into its representations of outbreaks of human
passion." And in the same sense in which Goethe ventured to call the
Laocoon graceful, none can deny the grace of this symphony, in spite of
much harshness and
{C MAJOR SYMPHONY.}
(37)
keenness of expression.[50] The nature of the case demands the
employment of quite other means to those of the E flat major symphony.
The outlines are more sharply defined and contrasted, without the
abundant filling-in of detail which are of such excellent effect in
the earlier work, the result being a greater clearness, combined with
a certain amount of severity and harshness. The instrumentation agrees
with it; it is kept within confined limits, and has a sharp, abrupt
character. The addition of clarinets for a later performance gave the
tone-colouring greater intensity and fulness. Mozart has taken an extra
sheet of paper, and has rearranged the original oboe parts, giving
characteristic passages to the clarinets, others to the oboes alone, and
frequently combining the two. No clarinets were added to the minuet.
Again, of a totally distinct character is the last symphony, in C
major (551 K., part 4), in more than one respect the greatest and best,
although neither so full of passion as the G minor symphony, nor so
full of charm as the E flat major.[51] Most striking is the dignity and
solemnity of the whole work, manifested in the brilliant pomp in the
first movement, with its evident delight in splendid sound-effects.:
It has no passionate excitement, but its tender grace is heightened by
a serenity which shines forth most unmistakably in the subject already
alluded to (Vol. II., p. 455, cf. p. 334), which occurs unexpectedly
at the close of the first part. The andante reveals the very depths of
feeling, with traces in its calm beauty of the passionate agitation and
strife from which it proceeds; the impression it leaves is one of moral
strength,
{MOZART'S INSTRUMENTAL MUSIC.}
(38)
perfected to a noble gentleness. The minuet recalls to mind the cheerful
subject of the first movement. There is an elastic spring in its motion,
sustained with a delicacy and refinement which transports the hearer
into a purer element, where he seems to exist without effort, like the
Homeric gods. The finale is that masterpiece of marvellous contrapuntal
art, which leaves even upon the uninitiated the impression of a
magnificent princely pageant, to prepare the mind for which has been the
office of the previous movements. We recognise in the principal subject
which opens the movement--[See Page Images]
the motif of which Mozart made frequent use even in his youth (Vol. I.,
p. 259); here he seems anxious to bid it a final farewell. He takes it
again as a fugue subject, and again inverted:--
Then other motifs join in. One, in pregnant rhythm--
asserting itself with sharp accents in all sorts of different ways, and
connected with a third motif as a concluding section:--
All these subjects are interwoven or worked out with other subordinate
ideas, both as independent elements for
{SYMPHONIES.}
(39)
contrapuntal elaboration, and in two, three, or fourfold combinations,
bringing to pass harmonic inflections of great force and boldness,
sometimes even of biting harshness. There is scarcely a phrase, however
insignificant, which does not make good its independent existence.[52]
A searching analysis is out of the question in this place; such an
analysis would serve, however, to increase our admiration of the genius
which makes of strictest form the vehicle for a flow of fiery eloquence,
and spreads abroad glory and beauty without stint.[53]
The perfection of the art of counterpoint is not the distinguishing
characteristic of this symphony alone, but of them all. The enthralling
interest of the development of each movement in its necessary connection
and continuity consists chiefly in the free and liberal use of the
manifold resources of counterpoint. The ease and certainty of this mode
of expression makes it seem fittest for what the composer has to say.
Freedom of treatment penetrates every component part of the whole,
producing the independent, natural motion of each. The then novel art
of employing the wind instruments in separate and combined effects was
especially admired by Mozart's contemporaries. His treatment of the
stringed instruments showed a progress not less advanced, as, for
instance, in the free treatment of the basses, as characteristic as it
was melodious. The highest quality of the symphonies, however, is their
harmony of tone-colour, the healthy combination of orchestral sound,
which is not to be replaced by any separate effects, however charming.
In this combination consists the art of making the orchestra as a living
organism express the artistic idea which gives the creative impulse to
the work, and controls the forces which are always ready to be set in
motion. An unerring conception of the capacities for development
{MOZART'S INSTRUMENTAL MUSIC.}
(40)
contained in each subject, of the relations of contrasting and
conflicting elements, of the proportions of the parts composing the
different movements,[54] and of the proportions of the movements to
the whole work; finally, of the proper division and blending of the
tone-colours--such are the essential conditions for the production of a
work of art which is to be effective in all its parts.
Few persons will wish to dispute the fact that Mozart's great symphonies
display the happiest union of invention and knowledge, of feeling and
taste. We have endeavoured also to show in brief outline that they are
the characteristic expression of a mind tuned to artistic production,
whence their entire organisation of necessity proceeds. But language,
incapable of rendering the impressions made by the formative arts, is
still more impotent in seeking to reproduce the substance of a musical
work.[55] Points that can be readily apprehended are emphasised
disproportionately; and the subjectivity of the speaker or writer
intrudes itself upon the consideration of the music. It has been
lately questioned, for instance, whether Mozart's compositions were the
absolute and necessary results of certain definite frames of mind, and
a comparison has been made between him and Beethoven upon this point.
If it is intended by this to draw attention to Beethoven's art, as
proceeding from his _spiritual_ being (Geist), in contrast to that of
earlier composers--of Mozart especially--which came from the _mind_
(Seele),[56] an important point is indicated. But if this distinction is
made exhaustive, or essentially qualitative, the right point of view
is thereby disturbed. There can be no doubt that Beethoven has struck
chords in the human mind which none before him had touched--that
{THE RIGHT MEANING OF THE SYMPHONIES.}
(41)
he employs the means at his command with a power and energy of
expression unheard before; that by him--the true son of his time--the
strife of passions and the struggle for individual freedom are more
powerfully and unhesitatingly expressed than by any of his predecessors.
But human nature remains the same, and the genuine impulses of artistic
creation proceed from universal and unalterable laws; the artist does
but impress his individual stamp upon the composing elements of his
work; and if, under certain circumstances, this should fail to be
comprehended, it does not therefore follow that the work has no
meaning.[57] For neither can the form and the substance of a veritable
work of art be divided or substituted the one for the other, nor can
such a work take effect as a whole when it is not accepted and grasped
in all its parts.[58] It is this wholeness, this oneness, which brings
the mind of the artist most clearly before us. Let it be remembered
that Mozart's contemporaries dis-; covered an exaggerated expression of
emotion and an incomprehensible depth of characterisation in those very
compositions in which our age recognises dignified moderation, pure
harmony, perfect beauty, and a graceful treatment of form sometimes even
to the loss of intrinsic force; and it will be acknowledged that much
which was supposed to depend on the construction of the work lies really
in the changing point of view of the hearers. Those only who come to the
consideration of the work with a clear and unbiased mind, taking their
standard from the universal and unchangeable laws of art--those only who
are capable of grasping the individuality of an artistic nature, will
not go astray either in their appreciation or their criticism.
FOOTNOTES OF CHAPTER XXXIV.
[Footnote 1: The Greiners had quartet parties every Tuesday during Advent and
Lent (Car. Pichler, Denkw., I., p. 127. Jahrb. d. Tonk., 1796, p. 71).]
[Footnote 2: Luigi Boccherini (1740-1805), who was almost a contemporary,
followed his own bent in numerous quartets, quintets, and trios,
uninfluenced by the works of others, and not himself exerting any
lasting influence (Piquot, Notice sur la Vie et les Ouvrages de L.
Boccherini. Paris, 1851).]
[Footnote 3: The advertisement (Wien. Ztg., 1785, No. 75, p. 2191) ran: "Mozart's
works require no praise, and to quote any would be superfluous; we can
only assure the public that we are offering them a masterpiece. This
is confirmed by the fact that the quartets are dedicated to his friend
Joseph Haydn, Kapellmeister to Prince Estcrhazy, who honoured them with
all the approbation which one man of genius can bestow upon another."]
[Footnote 4: Dittersdorf, Selbstbiogr., p. 238.]
[Footnote 5: Nissen, Nachtrag, p. 62.]
[Footnote 6: Cramer, Magazin der Musik, II., p. 1273.]
[Footnote 7: Gyrowetz, Selbstbiogr., p. xx. Jahrb. d. Tonkunst, 1796, p. 77.]
[Footnote 8: A. M. Z., I., p. 855.]
[Footnote 9: Fétis attacked this introduction in the Revue Musicale, V., p. 601,
and maintained his opinion against Pernes (Ibid., VI., pp. 25, 32). An
equally lively onslaught upon Fétis was made in a detailed analysis by
C. A. Leduc (A. M. Z., XXXII., p. 117), and renewed (A. M. Z., XXXIII.,
pp. 81, 101) after an answer by Fétis (Rev. Mus., VIII., p. 821), and
also by C. M. Balthasar (A. M. ZM XXXIII., p. 493). Thereupon G. Weber
subjected the passage to a searching examination, and acknowledged
finally that the combinations of sound were unpleasing to his own ear.]
[Footnote 10: Càcilia, XIV., p. 2.]
[Footnote 11: Ulibicheff, II., p. 254.]
[Footnote 12: The conjecture of Fétis that the first violin follows the second at
the second instead of the third crotchet of the second bar, by reason of
a printer's error, is disproved by Mozart's own manuscript (also by his
Thematic Catalogue).]
[Footnote 13: Lenz, Beethoven, II., p. 78.]
[Footnote 14: The same object is entirely fulfilled by Beethoven in the
introduction to the Symphony in B flat major, to say nothing of the
Quartet in C major. The cheerful serenity pervading the symphony, and
the occasional stronger accents of passionate feeling, are, as it were,
prefigured in the introduction, where we hear the rolling of the storm
which is to clear and freshen the atmosphere.]
[Footnote 15: A. M.Z., III., p. 350.]
[Footnote 16: Joh. Bapt. Schaul, Briefe über den Geschmack in der Musik, p. 8.]
[Footnote 17: Cf. Musik. Briefe von einem Wohlbekannten, II., p. 40.]
[Footnote 18: Two bars are added as an extension of the conclusion as in the
minuet of the Quintet in C major (515 K.).]
[Footnote 19: There are groups of seven bars in the minuet of the later Quartet
in F major (590 K.), and of five bars in the trio.]
[Footnote 20: This movement has been scored by Beethoven; the original is in
Artaria's possession.]
[Footnote 21: A siciliana occurs among the variations in a sonata for pianoforte
and violin (377 K., 3), simpler and shorter than the one under
consideration, and altogether omitting the transition to the major key.
The same form is the basis of the rondo to the pianoforte Trio in G
major (496 K.), but freely carried out. The siliciana is employed,
according to old usage, for the slow middle movements of an early Sonata
in F major (280 K.), and of the pianoforte Concerto in A major (414 K.).]
[Footnote 22: The Hadyn quartets, written in 1787 for the King of Prussia, are
well known.]
[Footnote 23: From 1787 to 1797 Boccherini drew a considerable pension from
Frederick William II., for which he had to furnish annually some
quartets and quintets, compositions much loved and often played by the
King (Reichardt, Musik. Monatsschr., p. 17. Mus. Ztg., 1805, p. 232.
Picquot, Not. sur L. Boccherini, pp. 16, 112).]
[Footnote 24: In March, 1788, Mozart announced (Wien. Ztg., 1788, No. 27 Anh.)
three new quintets--these two, and the one arranged in C minor--at four
ducats a copy.]
[Footnote 25: Wien. Ztg., May 18, 1793, p. 1462.]
[Footnote 26: So also in the unfinished sketches of a number of qointet movements
(79.84 Anh., K.).]
[Footnote 27: Picquot, Not. sur L. Boccherini, pp. 19, 28, 123]
[Footnote 28: Prince Grassalcovicz reduced his full band to a "Harmoniemusik"
(Jahrb. d. Tonk., 1796, p. 77).]
[Footnote 29: Trûbensee and Wendt as oboists, the brothers Stadler as
clarinetists, Rub and Eisen hornists, Kautzner and Druben bassoonists
(Cramer, Magaz. Mus., I., p. 1400. Musik. Korresp., 1790, p. 31).]
[Footnote 30: Mozart arranged the "Entfuhrung" for wind instruments (Vol. II., p.
210).]
[Footnote 31: A. M. Z., XV., p. 668 (Schletterer, Reichardt, I., p. 327).]
[Footnote 32: Mozart praised Albert's good "Harmoniemusik" to his father from
Munich (October 3, 1777). A special wind band was engaged for the table
music at the Augarten (Jahrb. d. Tonk., 1796, p. 78).]
[Footnote 33: Nicolai speaks highly of the "Harmoniemusik," which was performed
every evening before the main guard at the court (Reise, IV., p. 558).]
[Footnote 34: Carpani, Le Haydine, p. 81. Gyrowetz, Biogr., p. 5.]
[Footnote 35: Musik. Korr., 1791, p. 366.]
[Footnote 36: The serenata has two minuets, the second of which is especially
Haydnlike in character. Perhaps they were intended to be omitted in the
rearrangement, for in Mozart's autograph score they are only copied and
inserted.]
[Footnote 37: The beginning of an eight-part allegro is among the sketches.]
[Footnote 38: The first bars of an adagio for clarinets and three basset-horns
were written out (93 Anh., K.), and an allegro for two clarinets and
three basset-horns (95 Anh., K.) was somewhat further advanced.]
[Footnote 39: So it is given by Meyer (L. Schröder, I., p. 357) for the year 1781
(cf. A. M. Z., XXIV., p. 268), and the tables in the Jahrb. d. Tonkunst,
1796, p. 92, agree with his statement.]
[Footnote 40: K. R[isbeck], Briefe ûb. Deutschld., I., p. 279.]
[Footnote 41: Nicolai, Reise, IV., p. 542.]
[Footnote 42: Nicolai, Reise, VI., p. 702.]
[Footnote 43: So Kalkbrenner told me in Paris, in 1837.]
[Footnote 44: Niemetschek, Biogr., p. 41. (Note: Misnumbered in the print
edition--DW)]
[Footnote 45: Rich. Wagner, Kunstwerk der Zukunft, p. 85. It was just this
"Cantabilität" with which Nàgeli reproached Mozart, who according to him
"cannot be termed a correct composer of instrumental music, for he
mingled and confounded 'cantabilität' with a free instrumental play of
ideas, and his very wealth of fancy and emotional gifts led to a sort of
fermentation in the whole province of art, causing it rather to
retrograde than to advance, and exercising a very powerful influence
over it" (Vorlesungen, p. 157). It certainly appears strange in our
times to see Mozart considered as the disturbing and exciting element in
the development of art; and Nägeli was thoroughly sincere and in earnest
in his musical judgments.]
[Footnote 46: E. T. A. Hoffmann says of this symphony (called the "swan song"):
"Love and melancholy breathe forth in purest spirit tones; we feel
ourselves drawn with inexpressible longing towards the forms which
beckon us to join them in their flight through the clouds to another
sphere." A. Apel attempted to turn the symphony into a poem, which was
to imitate in words the character of the different movements (A. M. Z.,
VIII., p. 453). Cf. Ludw. Bauer's Schriften, p. 471.]
[Footnote 47: It is characteristic that in the first and last movements the
second theme is only fully expressed when it enters for the second time
in the minor; in the major key it is far less expressive.]
[Footnote 48: A mistake long perpetrated in the andante has been pointed out
by Schumann (N. Ztschr., XV., p. 150. Ges. Schr., IV., p. 62). In both
parts four bars (I., 29-32; II., 48-51) are repeated twice, with altered
instrumentation; this is altogether inexcusable, for it causes the same
transition from D flat major to minor (G flat major, A flat minor) to
occur twice in succession. A glance at the original score makes the
matter clear. Mozart originally wrote the four bars 33-36 (II., 52-55),
and then added the other version on a separate page, probably as
being easier; they were copied one after the other by mistake. That
he intended the demisemiquaver passage for the wind instruments may
be inferred from the arrangement with clarinets to be presently noted,
where it is given to those instruments.]
[Footnote 49: Palmer (Evangel. Hymnologie, p. 246) finds no pain in this
symphony, only pure life and gaiety.]
[Footnote 50: H. Hirschbach says, apparently quite seriously (N. Zeitschr. Mus.,
VIII., p. 190): "There are many people who fight shy of Beethoven's
music, finding his earlier symphonies tolerable, but the later bizarre,
obscure, and so on; but Mozart's G minor symphony is acknowledged to
be a masterpiece, though here and there may be one who thinks this
so-called symphony really does not deserve the name, for it is
distinguished neither by originality nor workmanship, and is a
commonplace mild piece of music, requiring no great effort for its
production (even if we set aside the greater demands of the present
day), and it was apparently not considered as a great work by
Beethoven."]
[Footnote 51: It has been called, I do not know when or by whom, the "Jupiter"
symphony, more, doubtless, to indicate its majesty and splendour than
with a view to any deeper symbolism.]
[Footnote 52: Sechtcr gave a technical analysis in the appendix to Marpurg's
Kunst der Fuge (Wien: Diabelli) II., p. 161. Lobe, Compositionslehre,
III., p. 393.]
[Footnote 53: Nägeli (Vorlesungen, p. 162) subjects this symphony to a searching
criticism, in order to prove that Mozart (to whom he allows great
originality and power of combination, extolling him as the first to form
the orchestra into a perfect organic whole) was wanting in repose, and
often shallow and confused.]
[Footnote 54: Ad. Kullak (Das Musikalisch Schöne, p. 80) remarks that numerous
calculations undertaken by him serve to show that Hadyn and Mozart, in
the majority of their works, keep pretty close to the law of proportion
laid down by Zeising (according to which a whole divided into unequal
parts will not give the effect of symmetry unless the smaller parts bear
the same ratio to the larger as the larger to the whole), and that in
some cases they follow it exactly.]
[Footnote 55: Mendelssohn's Briefe, II., p. 337.]
[Footnote 56: Marx, Musik. des Neunzehnten Jahrh., p. 68.]
[Footnote 57: Ad. Kullak, Das Musikalisch Schöne, p. 149.]
[Footnote 58: Ambros, Gränzen der Musik und Poesie, pp. 64,123, 141.]
===
MOZART 35
BY DAVID WIDGER