LEOPOLD MOZART had every reason to be satisfied with the result of
his tour; the extraordinary talents of his children had been duly
appreciated,[1] honours of every kind had been heaped upon them, and
the three years exertions had produced a not inconsiderable pecuniary
gain.[2] In spite of repeated, and sometimes severe, attacks of illness,
the children returned to Salzburg in full health and vigour, and, what
was of not less importance, with their childlike simple minds unspoiled
by the exceptional degree of notice and admiration they had everywhere
excited. The little Orpheus rode round the room on his father's stick,
and sprang up to play with his favourite cat, in the middle of his
improvisations on the clavier.
During the journey he had amused himself by constructing an imaginary
kingdom, which he called Rücken; it was inhabited by children, of whom
he was king, and his invention of fresh gifts and qualities for his
kingdom and subjects was inexhaustible. So vividly was it impressed
on his imagination, that he made a servant, who was something of a
draughtsman, draw a map of it, to which he supplied the names of the
places.[3] A very favourite idea of his was to compose an opera, to be
performed entirely by young Salzburgers, of whom he drew up a list
with his father. His tenderness of heart was constantly displayed. One
morning on awaking, he began to cry bitterly, and
{STUDY IN SALZBURG.}
(50)
being asked the reason, answered that he longed to see his friends in
Salzburg, all of whom he then mentioned by name. When he heard that
Hagenauer's son Dominicus had entered the Monastery of St. Peter's
he burst into tears, imagining that he should never see him again.
Reassured on this point, he planned a visit to St. Peter's immediately
on his return home, and talked of the games that he and his friend would
play together.
Occasionally, Wolfgang displayed a considerable amount of
self-assertion. A gentleman of rank in Salzburg was uncertain how to
address the boy in conversation. The formal pronoun _Sie_ appeared
unbefitting a child, while _Du_ was too familiar for so celebrated an
artist; he took refuge in _Wir_, and began: "So _we_ have been in France
and England"--"_We_ have been introduced at court"--"_We_ have been
honoured"--when Mozart interrupted him hastily: "And yet, sir, I do not
remember to have seen you anywhere but in Salzburg."
But L. Mozart's satisfaction was not entirely without alloy. He was
too intimately acquainted with the Salzburg court to feel certain of
obtaining such a position as would enable him to educate his children
in a way befitting their talents. On this point he had written to
Hagenauer, shortly before their return:--
Everything depends on my having a position at home which is suitable to
my children. God (all too merciful to me, miserable sinner) has endowed
my children with such genius that, laying aside my duty as a father, my
ambition urges me to sacrifice all else to their education. Every moment
lost, is lost for ever, and if I never realised before how precious
the time of youth is, I know it now. You know that my children are
accustomed to work; if they once had an excuse for idleness, such as an
inconvenient house, or want of opportunity for study, my whole fabric
would fall to the ground. Custom is an iron path, and Wolfgang has still
much to learn. But how shall we be treated in Salzburg? Perhaps we shall
be only too glad to take our knapsacks on our backs and be off again.
At any rate, I offer my children to my country. If it will have none of
them, that is not my fault, and will be my country's loss.
So shrewd a man of the world had no idea of burying the pound that might
produce such excellent interest.
{INSTRUCTION IN COUNTERPOINT.}
(51)
The uneventful stay of nearly a year which L. Mozart made with his
children in Salzburg was employed in mechanical practice, and perhaps
still more in the study of composition. A detailed account of these
studies is not obtainable; but L. Mozart's wise and earnest views, his
clear apprehension that genius entails twofold labour and exertion on
its possessor, leave no doubt as to the severity and thoroughness of
his instruction to his son. An exercise book containing exercises
in thorough-bass and counterpoint is preserved in the Mozarteum at
Salzburg, bearing no date, but evidently falling within this period. The
intervals and scales are followed by a long list of short lessons on a
given melody generally in three parts, to be worked out harmonically and
according to the different kinds of simple counterpoint. (_Nota contra
notam; duoy quatuor nota contra notam; cum ligaturis; floridum_.) The
choral tunes which serve as Cantus firmus are taken from Fux's Gradus
ad Pamassum, which was no doubt employed as a textbook.[4] The lessons,
corrections, and brief notes are generally in the father's writing, the
working out and the fair copies of the corrected lessons are of course
made by Wolfgang; on one occasion he jokingly notes the different parts
as _Il Sign. d'Alto, il Marchese Tenore, il Duca Basso_. An observation
of the compositions of this period, which are still preserved, will show
us the result of the studies.
Archbishop Sigismund, incredulous of Wolfgang's powers, caused him, so
Barrington says, to be locked up for a week, seeing no one, during which
time he was to compose an oratorio, for which the Archbishop provided
the subject. Wolfgang stood the test triumphantly, and the oratorio was
publicly performed, with great success, during Lent, 1767.
This composition (35 K.) was printed in Salzburg (1767) with the
title:--
{STUDY IN SALZBURG.}
(52)
The Obligation of the First and Greatest Commandment, Mark 12, v. 30:
Thou shalt love the Lord Thy God with all thy hearty with all thy mind,
with all thy soul, and with all thy strength.
[See Page Image]
After this preface, the declaration "that there is no more dangerous
state for the soul than lukewarmness in the work of salvation" is given
as a reason for this musical representation "by which it is intended not
only to delight the mind but to elevate the soul."
In the first part the understanding and judgment of the lukewarm
Christian are stirred by the loving and indefatigable zeal of the
Christian Spirit, with the assistance of Divine Mercy and Justice. In
the second part, right
{FIRST ORATORIO, 1767.}
(53)
judgment is victorious, the will is prepared for surrender, to be
finally and completely freed from fear and wavering in the third and
last part.
The verses, richly garnished with Latin texts, have quite the prosaic
bombastic character of the period.
Mozart's original score[6] has the title in his father's writing:
"Oratorium di Wolfgango Mozart composto nel mese di Marzo, 1766." As
they were then in the Netherlands, we must suspect an error. But the
date 1766 is established by the "10 years old" on the title-page; he
must have set to work immediately after his return, quite at the end
of 1766, and the representation must have taken place in March of the
following year.
The score, which fills 208 pages, bears unmistakable traces of boyish
workmanship in the blotted notes, and in the uncertain writing and
spelling of the text of the songs (that of the recitatives is in another
and a firmer handwriting), but there is not a sign of boyishness in the
music itself. The whole composition is modelled on the Italian oratorio,
and shows a complete mastery of its forms. The introductory symphony is
an allegro in the usual two parts, simple in its execution, and with no
actual thematic elaboration, but precise and well rounded. The dialogue
is in recitative, and maintained throughout with correct declamation,
here and there displaying a fine sense of fitting expression, which
tells more for the independent power of comprehension than even
the surprising technical skill exhibited. Here and there comes an
accompanied recitative, with an effort after originality, depending
chiefly on the expression of the words, which are poor stuff in most
cases. For instance, after the lines--
Und der Verkehrte will sich bald ergeben,
Wenn ihnen fühlbar sollte vor ihnen schweben
Das Pein-und Schreckenbild des offnen Höllengrund,
{STUDY IN SALZBURG.}
(54)
which have been given in secco-recitative, comes the strongly accented
passage:--
[See Page Image]
{FIRST ORATORIO, 1767.}
(55)
They are in the usual form, the principal subject elaborated and
repeated after a short intermediate subject, with ritornellos differing
in length and character, according to the commonly accepted varieties.
The perfect decision of style and composition leaves the inexperienced
hand of the scholar hardly visible, and it is plain that the boy has
taken in and turned to account all that he has heard. But although the
work may be considered on a level with most of the similar compositions
of the time, it cannot be said to be distinguished from them by
individual character. It conforms on all important points to the Italian
style, although there is now and then a sentimental colouring suggested
by Graun's German verses.
The melodies are simple and good, with here and there a pure and
dignified phrase, and a delicate expression of deep feeling. Witness
the passage in the second soprano air, "Du wirst von deinem Leben genaue
Rechnung geben," which is afterwards well made use of in the recitative.
The very moderate embellishment of the whole work is in great measure
the father's addition. The third tenor air rises above the level of the
rest; the words, although themselves certainly not inspired, have given
opportunity for the expression of a tender earnest mood in a charming
flowing melody whose well-chosen harmonies and admirable instrumentation
shadow forth unmistakably the later Mozart. He must himself have felt
the charm of this air, for, as we shall see, he repeated it in his first
opera. The finale of the oratorio is a pleasing terzet for two soprani
and tenor, with the parts in easy imitation. The orchestra is the
usual one of the day, stringed instruments, bassoons, seldom used
independently, two horns, and two oboes, sometimes replaced by two
flutes. The parts are, as was usual, carefully put together, but without
any pretence to more than technical skill; only the second tenor air has
an obbligato alto trombone accompaniment suggested by a reference in the
text to the trump of doom.[7]
{STUDY IN SALZBURG.}
(56)
A little cantata for two voices was also evidently composed for this
Lent. It bears the title "Grab-Musik, 1767" (42 K.), and is a dialogue
between the Soul and an Angel, the verses having a decided smack of the
local poet of Salzburg. The Soul is intrusted to a bass voice, which
was not employed in the oratorio. The cantata begins at once with a
Recitative for the Soul:
Meines Jesu gottlichs Herz
Das reget sich nicht mehr,
Und ist von Blut und Leben leer.
Was für ein hartes Eisen
Konnt dieses süsseste und allerliebste
Herz zerreissen!
Then follows the air--
Felsen spaltet euren Rachen, &c.
Here Wolfgang has striven to express the somewhat whining pathos of the
text both by the voice and the instruments, and the result is a bravura
song, handled with great skill. There can be no doubt that this song
made a great effect at the time, though its want of good taste shocks
us now. The succeeding soprano air, on the other hand, which closes with
the warning--
[See Page Image]
{GRAB-MUSIK, 1767.}
(57)
[See Page Image]
expresses a soft, not unpleasing sentimental mood, which is still
more toned down in the concluding duet. Yet even here we have fanciful
passages--accepted at the time as legitimate both in music and poetry,
as corresponding to a complex state of feeling.
For a later performance, probably before 1775, Mozart added a final
chorus, introduced by a short recitative, in unjson throughout, thus
bringing the whole piece simply and melodiously to a conclusion. A
little song (146 K.): "Kom-met her, ihr frechen Sünder, seht den Heyland
aller Welt," not in any way remarkable, belonging probably to the
beginning of 1770, was also intended for a Lenten performance.
Not long after Wolfgang's return from Paris, he paid a visit to the
Monastery of Seeon, where he was on friendly terms with the monks.
During dinner the abbot expressed his regret that no offertory had been
composed for the festival of St. Benedict. Wolfgang took advantage of
the first pause
{STUDY IN SALZBURG.}
(58)
to leave the dining-hall, and leaning on the ledge of the window
opposite the door, he wrote his offertory "Scande coeli limina" (34
K.). It begins with a pleasing soprano solo, a gentle flowing melody
accompanied by the violins; then comes a lively chorus with drums
and trumpets, somewhat cramped in style and pedantic in the imitative
arrangement of its parts.
Among the monks was a certain Herr v. Haasy, called Father Johannes,
who was very fond of Wolfgang. The boy sprang towards him as soon as
he entered the monastery, climbed on his neck and stroked his cheeks,
singing the while:--
[See Page Image]
This scene excited great amusement, and the monks were never tired of
teasing him about his tune. When the fête-day of Father Johannes came
round, Wolfgang presented him with an offertory (72 K.). It begins in a
joyous burst with the words (Matth. xi. 11), "Inter natos mulierum non
surrexit maior"; then with the words "Ioanne Baptista" he introduces
the above melody as a birthday greeting to his friend. Apart from this
charming display of childish affection, the offertory, which in any
case belongs to his early boyhood, is a beautiful piece of music. The
subject, which is pursued throughout with a natural, easy movement of
the parts, has the caressing little melody running through it, and is
twice interrupted by the words (S. John i. v. 29), "Ecce Agnus Dei qui
tollit peccata mundi," given in a quiet, serious manner, that has a
charming effect. The greeting breaks out once more in the "Alleluia,"
which ends the piece.[8]
In the spring of 1767, Wolfgang again came forward as a composer in his
native town.
It was the general custom at the university to celebrate the close of
the scholastic year by a dramatic representation
{APOLLO ET HYACINTHUS.}
(59)
among the students. In the year 1661, a large theatre, supplied with
twelve scenes, was built to replace the smaller one hitherto used, and
excited great admiration.[9] According to custom, a Latin play, written
by the Professor of Poetry, or some other ecclesiastic, was represented
by the "Benedictine Muses," i.e., by the students. The subject was taken
from the Old or New Testament, more rarely from heathen mythology, and
was always intended to point some particular moral.[10] Following an old
usage, musical portions were interspersed through the tragedy or comedy,
as they were also in the Italian spoken drama, so that a short Latin
opera of a congenial tendency, with one part serving as a prologue, was
introduced between the acts of the drama, just as in the opera seria
the intermezzi or ballets came between the acts. Members of the
chapel undertook the composition, and some of the singers assisted the
performance by taking the more difficult parts.
On May 13, 1767, the Syntax, that is, the students of the second
class, performed the tragedy, "dementia Croesi." This time the
musical supplement was entitled "Apollo et Hyacinthus seu Hyacinthi
Metamorphosis," and composed by Wolfgang, who is set forth in the
printed text-book thus: _Auctor operis musici nobilis dominus Wolfgangus
Mozart, un-decennis, filius nobilis ac strenui domini Leopoldi Mozart,
Capello Magistri._
The old myth is treated with considerable freedom, after the manner of
an Italian opera; for the edification of pious youth Melia becomes the
beloved of Apollo and Zephyrus, Hyacinthus a comparatively insignificant
personage. The piece ends _en règle_ with a betrothal. A regular
dramatic treatment is not even attempted, only long detached airs and
duets, old-fashioned in style and form, and adapted of necessity to
the Latin text. The dialogue is in Iambics, the choruses and songs are
rhymed. The text is correct enough, but devoid of taste, and imitates in
some particulars the
{STUDY IN SALZBURG.}
(60)
libretti of the Italian opera. After a short overture in two parts,
simple and well put together, the action begins with a recitative
between Hyacinthus and Zephyrus, who betrays his love for Melia and
jealousy of Apollo; Æbalus and Melia appear and sacrifice to Apollo,
who is invoked by the chorus:--
Numen o Latonium
Audi vota supplicum,
Qui ter digno te honore
Certant sancte colere.
Nos benigno tu favore
Subditos prosequere.
The sacrifice is not accepted; a thunderbolt scatters them all, and
Æbalus tries to reassure Hyacinthus in an air:--
Sæpe terrent numina,
Surgunt et minantur,
Fingunt bella
Quae nos angunt
Mittunt tela
Quae non tangunt;
At post ficta nubila
Rident et iocantur.
Then Apollo appears, and begs for the protection of Æbalus, Jupiter
having banished him; after many civilities on either side, Apollo
returns thanks in an air. Hereupon follow the two first acts of the
tragedy. Then Æbalus informs his daughter that Apollo demands her
in marriage; she willingly consents, and expresses her delight in an
elaborate air.
Lætari, iocari
Fruique divinis honoribus stat,
Dum hymen optimus
Tædis et floribus Grata, beata
Connubia iungit et gaudia dat?
But now comes in Zephyrus with the tidings that Hyacinthus is slain by
Apollo. Melia thereupon declares that she cannot accept him, OEbalus
wishes to banish him, and Zephyrus expresses in an air the hopes to
which these
{APOLLO ET HYACINTH US.}
(61)
events give birth. Then enters Apollo, overwhelms Zephyrus with abuse,
and causes him to be borne away by the winds; Melia, enraged by this
fresh deed of violence, reproaches Apollo, and a duet follows, in
which she rejects and dismisses him, while he bewails his love and her
cruelty.
Hereupon follow the third and fourth acts of the tragedy. Then
Hyacinthus is borne in dying, and declares in an accompanied recitative
that Zephyrus is his murderer, which gives occasion to Æbalus to rage
duly in an air, followed by a duet between him and Melia, dreading the
anger of the offended god. But Apollo appearing, changes Hyacinthus into
a flower, extends his forgiveness to Æbalus and Melia, and betrothes
himself to the latter.
A concluding terzet expresses the general satisfaction.
This composition manifests throughout great decision of style, and in
many respects a very marked progress. The songs--in the old-fashioned
aria form--are more freely treated, the handling of the parts is more
independent, and a disposition to the imitative form is more marked than
heretofore. In the duet between Melia and Æbalus, for instance, and in
the first chorus, where the voices are treated harmonically, the violins
have an imitative phrase in the accompaniment.
Mistakes here and there in the text prove Wolfgang's Latin to be still
that of a learner. A droll little note written in 1769, to Madame
Hagenauer, shows that he was then working hard at it. The note runs as
follows:--
Dear Friend,--I hope you will excuse the liberty I take in troubling
you with these few lines; but since you told me yesterday that you
understood everything, and that I might write Latin to you as much as I
chose, I cannot refrain from sending you at once some Latin lines, and
when you have read them please send the answer back by one of your own
servants, for our girl cannot wait. (But you must send me the answer in
a letter.)
Cuperem scire, de qua causa, à quam plurimis adolescentibus ottium usque
adeo æstimetur, ut ipsi se nec verbis, nec verberibus, ab hoc sinant
abduci.
Even if the text were translated and explained to him, it would have
been strange if he had found no difficulty in the
{STUDY IN SALZBURG.}
(62)
language; and it is only another proof of the boy's musical apprehension
that his setting of the familiar German sacred texts has a more
distinctive character than that of this piece of declamatory school
rhetoric; the mere fact of being set to produce a brilliant work as
a task had its influence on the music, which is cold and stiff, and
sometimes devoid of taste. No doubt the long passages, the peculiar
turns given to the pompous or amorous melodies, all that appears to us
most tiresome was then most loudly applauded, and the truly surprising
ability shown in the working out may have passed at that time for
original productive power, which is just what we cannot grant it to have
been. Still, there are not wanting signs even of this, and the young
artist asserts his individuality at once whenever he has to express a
simple emotion, such as he can comprehend and enter into.
There is a little solo in the first chorus (G major, 3-4) which, in its
expressive simplicity, almost reminds us of Gluck. Again, in the duet
between Melia and Obalus there is a long well-worked-out cantilene,
which is not without beauty and expression, and is further distinguished
by original instrumentation. In this the first violins (muted) lead the
melody, the second violins and bass accompany _pizzicato_, two tenors
_coll' arco_, and two horns are introduced; a very striking variation on
the otherwise simple orchestral accompaniment, consisting of the string
quartet, two oboes, and two horns.
The duet between Melia and Apollo shows most dramatic talent, being the
only expression of an exciting situation and contrasting emotions. The
recitatives are not distinguished by characteristic expression in the
same degree as those of the sacred pieces; they are easy and flowing,
but quite in the style of the ordinary recitative of Italian opera; no
doubt because Mozart felt that such an expression of feeling as suited
the elevated, lyrical emotions of the cantata was unsuited to the
dialogue of an opera.
It is an astonishing proof of the productiveness and constant industry
of the young composer that, between December and May, three important
works were completed and performed. In the summer of 1767 we find him
preparing
{VIENNA, 1767.}
(63)
[See Page Image]
for a journey to Vienna, and composing four clavier concertos (37,39-41
K.), in F (April), B flat ( June), D and G major ( July), with the usual
orchestral accompaniment; once, only, trumpets are added. The form is
the usual one in three movements, like the symphony. The compositions
are not above the ordinary level, and have little either of original
or technical interest. It is noteworthy that even in these works, which
were to serve as show pieces, we can trace no signs of boyish pleasure
in odd or artificial effects; the love of tuneful melody, and the
endeavour to blend the orchestra and the solo part into an harmonious
whole, are as observable in his first compositions as in his last.
FOOTNOTES:
[Footnote 1: A marvellous account is given in the Historisch moralischen
Belustigungen des Geistes (Hamb., 1765), Stüclc VII. Aristide ou le
Citoyen, XVI. discours du 11 Octobre, 1766 (Lausanne). Hiller wöch.
Nachr., 1766,1., p. 174.]
[Footnote 2: Those who please can make an approximate calculation from L.
Mozart's different entries, of the whole sum received and expended
on the tour. The children received so many presents in jewellery and
trinkets that they might have set up a shop with them.]
[Footnote 3: So says Marianne Mozart (A. M. Z., II., p. 300).]
[Footnote 4: L. Mozart, who was well versed in theoretical literature, possessed
the original edition in Latin. (Vienna, 1725.)]
[Footnote 5: According to Kochel's probable conjecture, Joh. Adam Wieland was
born 1710; Curate in 1734; Vicar of Gotting and Anthering, 1766; Pastor
of Friedorfing, 1767; and died, 1774.]
[Footnote 6: The autograph was found by F. Pohl, in the Royal Library at Windsor,
A. M. Z., 1865, p. 225.]
[Footnote 7: The Agnus of L. Mozart's Lauretanian Litany in E flat major is a
solo, with obbligato alto trombones.]
[Footnote 8: These traditions, resting on the authority of Max Keller, the
Hofkapell-organist at Altötting, are alluded to by Prof Schafhutl in
his preface to the Offertorium, published at Munich, 1851.]
[Footnote 9: Hist. Univ. Salisb., p. 110.]
[Footnote 10: A list of the pieces produced from 1621 to 1727 is given in Hist.
Univ. Salisb., p. 112.]
====
MOSART
By Author