in the Creed than elsewhere. An animated and elevated frame of mind was
vividly portrayed, with more cheerfulness and brilliancy than solemnity
or earnest devotion, and only at moments does the music show a
consciousness of the deep significance of the text. Mozart pays tribute
to his time; but his artistic nature did not allow him to sink into
triviality or commonplace; symmetry, beauty, and delicacy are never
found wanting. The remaining sections of the mass lend themselves more
readily to musical treatment. They express deep and universal sentiments
in words as simple as those of the Kyrie, and musical both in sound and
suggestion.
The Sanctus falls naturally into three well-defined parts. The first
words, "Sanctus, Dominus Deus Sabaoth!" intended to convey an impression
of the most exalted sublimity, are generally treated as a solemn
introduction to the more animated and fervent words, "Pleni sunt coli et
terra gloria Tua." Agitation rises into joyful emotion in the Osanna, to
which the form of a short fugal movement is usually given.
The Benedictus,[22] on the other hand, strives to express the secret
thanksgiving of the heart at the coming of the Lord. A mild fervour
penetrates the simple words, which seem to cast illumining beams on
every side. Mozart's artistic originality has so clearly stamped the
impress of his genius on the traditional form of the Benedictus that
his interpretation of it has become the customary one. It is, as a rule,
given
{BENEDICTUS.}
(251)
to solo voices, to which more prominence is given here than elsewhere.
Now and then single voices (65,139,194, K.), but more often all
the four--now alternately, now in unison--announce the message of
consolation; obbligato organ accompaniments serve still further to mark
the prominence given to this movement (259 K.). It has a charming
effect (258 K.) when the chorus recurring at intervals during the solos
enunciates with sustained expression the word "benedictus." The Osanna
is usually repeated either entire or abridged from the Sanctus, but it
is sometimes interwoven into the Benedictus (139, 262, K.)
The last movement falls naturally into two strongly contrasting
sections. The first, expressing the sentiments of contrition, of
anguished appeal for mercy, was treated with great partiality. The cry,
"Agnus Dei, qui tollis peccata mundi," and the prayer, "miserere nobis,"
furnish a natural grouping not seldom employed for alternations of solo
and chorus; the mood expressed is very favourable to musical treatment.
The "Dona nobis pacem" is in complete contrast, and in no movement of
the mass is the alteration in the spirit of church music more apparent.
The peace which is prayed for is vividly represented, and just as vivid
is the tone of cheerful confidence with which the prayer is offered.
The devout hearer was to be dismissed with a pleasant impression on his
mind, and therefore the deep earnestness of this petition for peace was
sacrificed in order to produce a feeling of self-satisfied enjoyment.
The music of the Dona maintains throughout this cheerful tone, and
though Mozart's variety and grace are as marked and effective here as
elsewhere, even with him earnestness and depth are rarely to be met
with.
We may now conclude this general description with a glance in detail
on Mozart's masses. We have already spoken of his first attempts. Some
unfinished masses, presumably the result of his studies under Padre
Martini, exist, bearing date 1771 and 1772. The furthest advanced, in
C major (115 K.), breaks off at the ninth bar of the Sanctus. It is
accompanied only by a figured organ bass,
{CHURCH MUSIC.}
(252)
and is strictly treated with the exception of the two fugues; it is
worked out in severe contrapuntal form almost throughout, as the Kyrie,
introduced by five bars of Adagio, will serve to show:--[See Page Image]
{MASS IN C MAJOR, 1772.}
(253)
The whole work reminds us forcibly of Padre Martini's church
compositions, and it is not surprising that the hand of a learner should
be here apparent. A Mass in F major (116 K.), which breaks off at the
words "sedet ad dexteram patris," is of the same kind, as well as a
Kyrie in C major (221 K.). An Osanna in C major (223 K.) and a Credo
("in remissionem" to "mortuorum") belonging to it seem also to have been
studies in counterpoint.
A Mass in C major (139 K.), probably belonging to the year 1772, is an
effort in quite another direction. Every means is employed to produce
an extraordinary effect, and it may be conjectured that this, like the
Pater Dominicus mass, was composed for some special occasion.[23] Every
section is treated as a detached independent movement.
The Kyrie begins with a slow pathetic passage in C minor, followed by
an animated allegro in C major 3-4, and by the Christe eleison as a solo
quartet, after which the Kyrie is repeated.[24] The solo voices are much
used in different combinations, apart from the short passages inserted
between the choruses. Laudamus is a duet for soprano and alto, Domine
a duet for tenor and bass, Quoniam a soprano solo, Et incarnatus a duet
for soprano and alto, Et in spiritum a tenor solo, and Benedictus a
soprano solo, to which the chorus sings Osanna. Even the Agnus Dei
begins with a tenor solo followed by a chorus; the last appeal before
the Dona is given to the solo quartet. These solo movements are well
rounded, and are both preceded and followed by long symphonies; the
effort to produce a pleasing effect is apparent in the whole work, and
a moderate amount of operatic bravura is not disdained. This brings into
stronger relief the pathos which is given to every passage capable of
it. The Qui tollis, Crucifixus, and Agnus, as well as the Kyrie, are in
the
{CHURCH MUSIC.}
(254)
minor key; striking harmonies are emphasised by means of the
accompaniment, and three trumpets contribute to the orchestral effects.
The solemn Crucifixus--[See Page Image]
{MASS SS. TRINITATIS, 1773.}
(255)
follows in evident contrast immediately upon the soprano solo--[See Page
Image] whereupon the chorus and orchestra, with three trumpets, fall in.
But the youthful master does not neglect the display of his skill in
counterpoint. Besides some few instances of more or less elaborate
imitation, the two customary fugues, the first on the theme--[See Page
Image] the second "et vitam" are furnished with two subjects and every
requisite for complete fugues. It is true that the strongly contrasting
original ideas exist only as such, and form no united whole, so that
we are all the more struck by the conventional treatment of the greater
part of the work; but it must be conceded, notwithstanding, that
progress has been made, and that the power is making itself felt which,
with a wider field, shall produce better and more original work.
The mass composed in 1773 "In honorem SS. Trinitatis" (167 K.) is for
chorus alone, without any solo movements: it displays no very high aim,
but earnestness and ability throughout. The Kyrie is long and elaborate,
without any sustained subject. In the Gloria the voices sustain
the harmony, accompanied by a lively violin passage. The Credo is
interesting through the persistent attempt to mould it into a firm
musical organism. Three motifs occur quite at the beginning,
apportioned in different combinations to the voices, viz., a rhythmical,
characteristic passage--[See Page Image] a more melodious phrase--
{CHURCH MUSIC.}
(256)
and a running passage:--[See Page Image]
{MASS SS. TRINITATIS, 1773.}
(257)
These three subjects form the essential substance of the Credo, the
first, with changing harmonies, forming the root whence the others
spring at fitting places, by which means the due expression of the words
and the musical exigences of the composition are alike provided for. The
continuous agitation is only once interrupted, at the short but grave
and dignified "Et incarnatus est," and at the words "Et in Spiritum
Sanctum." These points are emphasised by their separation from the rest
through a long symphony, and by a digressive mode of treatment which
reminds one of a solo. Towards the end of the broadly elaborated fugue,
"Et vitam," the violins return to the first motif of the Credo, the
voices take up the second motif with the "Amen," and the violins,
asserting the supremacy of the first, bring the whole to a conclusion.
The Benedictus is unusually grave for a chorus, but is relieved by
the easy grace of the violins. The thematic treatment of the principal
subject of the Dona--[See Page Image] gives it firmness and consistency;
the accompaniment becomes more prominent in the middle, and the
admirably well-sustained conclusion is dignified in mood and expression.
The Mass in F major (192 K.), composed on June 24,1774, is the work of a
finished artist, and has rightly been placed
{CHURCH MUSIC.}
(258)
next after the Requiem.[25] The whole mass, which reminds us of the
finest examples of the older Neapolitan school, is in the strictest
form of composition, none of the smaller sections forming an independent
movement; the most delicate use is made of the simplest materials. The
chorus and solos alternate throughout, the solo voices (never concerted)
supplying the finer shadows to the chorus, which in return serves for
response or repetition and conclusion. The accompaniment consists
only of a bass (figured for the organ) and two violins, but it is
independently worked out and effective both in tone-colouring and as a
contrast to the voices.
Every section of the mass is in counterpoint, and shows the firm hand of
a master. The unity of the whole and of the several parts, which is
the necessary consequence of this musical method, is apparent here to
a surprising degree. The parts combine to express and dilate upon
a well-defined idea, the separate features of which are not thrown
together arbitrarily or by chance. A subject which in one place is
merely indicated or foreshadowed becomes in another the main subject; in
short, the independence of each separate part produces the uniform clear
texture of the whole. Thus the Gloria begins with an important subject
for the soprano--[See Page Image]
{MASS IN P MAJOR, 1774.}
(259)
which is the groundwork of the whole movement, and--now entire and
unaltered, now abridged or modified--appears in different positions as
Cantus firmus; while the remaining parts, treated contrapuntally, give
due emphasis to each change of mood, until the whole concludes with a
grand Amen in unison. The same thing occurs in the Credo. The link here
is a motif--[See Page Image] which, borrowed from the intonation of the
Magnificat or of the Gloria in the third tone, has been often employed,
by Al. Scarlatti,[26] for instance, in a mass, and by Michael Haydn in a
gradual (Qui sedes, No. 3), as Alleluia. Mozart has made frequent use
of it. We find it again in the Sanctus of another mass (257 K.) in a
Symphony in B flat major (319 K.) composed in 1779, in a pianoforte
Sonata in £ flat major, composed in 1785, each time easily treated as
a connecting subject, until it finally appears as the theme of the last
movement of the Symphony in C major (551 K.) In the present work it
recurs again and again as Cantus firmus, or in imitation, always the
bond and support of the detached articles of faith. Then it becomes
the root of the subjects for single phrases, such as the magnificent
Crucifixus, the Confiteor and the fugued Et vit am. We scarcely
know whether to admire most the masterly skill which makes light of
difficulty, or the inventive imagination which can develop an idea from
so many and such varied-points of view, making the same subject express
calm faith in the Credo, bitter pain in the Crucifixus, and joyful
confidence in the Et vit am.
The Sanctus and Benedictus are short, fine contrapuntal movements, the
Benedictus especially simple and full of grace. The Agnus Dei is freer
in form. Three solo voices make the appeal, which the chorus answers
with "miserere nobis." The harmonic successions, and the beautiful
violin passage in the accompaniment, give a peculiarly affecting
{CHURCH MUSIC.}
(260)
character to this movement, which suggests a comparison with the
Requiem. The Dona is fine and pure, but the effort to give it a cheerful
and agreeable tone has robbed it of depth and significance.
Even the accompaniment of this mass has an importance of its own, and
there is more art and beauty contained in the two violin parts than in
many a fuller score. Not content with giving an independent course to
the voices, Mozart allows the accompaniment also to go its own
way, usually with a subject proper to it, treated freely, often in
counterpoint, and always with visible partiality.
Inventive genius, technical scholarship, and deep, clear comprehension,
are more evidently displayed by Mozart in this mass than ever before;
the subjects have an intensity, a charm of beauty which had scarcely
yet been suggested. Here, for the first time, we become aware of
that wonderful beauty, Mozart's most special endowment, which we
may designate sweetness, if we mean by that the perfect harmony of
a naturally developed artistic organism. The maiden freshness of its
manifestation here only increases the charm, and points to future
expansion.
The Mass in D major (194 K.), composed on August 8, 1774, has been
rightly placed next to the one we have been considering.[27] The whole
plan, the strict form, the flowing treatment, contrapuntal throughout,
the mature beauty, offer many points of resemblance, but the effort
after gracefulness is more apparent in the later mass, and is achieved
at the sacrifice of gravity and ideality. The Kyrie displays a very
similar conception. With the opening words of the soprano--[See Page
Image]
the foundation is laid on which the whole structure of the movement is
built. In part in imitative combinations, in part extended into a longer
subject, and in part connected with opposing subjects for the voices and
the violins, this
{MASS IN D. MAJOR, 1774.}
(261)
short theme is elaborated into a fine long movement, as interesting as
it is expressive. The Gloria and the Credo do not reach the same height;
the contrapuntal elaboration is only apparent in isolated passages, the
solos are expressive, but over-graceful, the music proceeds in a fine
flow, and delights the listener, but only now and then stirs deeper
feelings. On the other hand, the Sanctus, Benedictus (a solo quartet),
Agnus (alternate solo and chorus), are highly finished and tersely
composed movements, in which beauty of form and sentiment combine.
The somewhat lengthy Dona preserves its pleasing character, without
degenerating into trifling. The effort to please by mere gracefulness is
most predominant in the Mass in B flat major (275 K.), the date of which
is not known. The commencement with a soprano solo[28]--[See Page Image]
is characteristic of the whole mass. The solo element pre-dominates,
and a wealth of lovely, seductive, and expressive melodies is scattered
around; but neither the conception nor the execution takes a deep hold
on the mind. The chorus is generally full, one might almost say merry;
where harmonic or contrapuntal treatment comes to the front, it is
executed with masterly ease; and such passages stand out in all the
clearer relief against their surroundings. The principal passage of the
Credo is striking:--[See Page Image]
{CHURCH MUSIC.}
(262)
According to Lorentz it is a reminiscence--perhaps an accidental one--of
a favourite Volkslied, "Bauer hang' den Pummerl an." The introduction of
the following theme--[See Page Image]
{LATER MASSES, 1775-77.}
(263)
after a highly original and striking harmonic progression, cannot
fail to injure the effect. The Sanctus is a short fugued movement,
the Benedictus an unusually melodious soprano solo with an original
accompaniment; the Agnus goes deepest, and is serious in feeling as well
as wonderfully sweet. Works like the Masses in F and D major prove what
Mozart was capable of in church music if his genius could have had free
scope. But the "rapid advance of ecclesiastical reformation in
Salzburg under the wise and immortal prince, Archbishop Hieronymus
von Colloredo,"[29] had its effect on the treatment of the mass. The
limitation of its duration and the abolition of solo singing proper and
of fugues might appear to be the result of ecclesiastical rigour. But
Hieronymus was far more inclined to favour secular taste in church
music; and he was fond besides of displaying a royal magnificence and
splendour. This external influence is apparent in the conception and
treatment of the later masses composed after 1775, more particularly
in one belonging to 1776 (262 K.), with a Kyrie in counterpoint and two
elaborate fugues. Especially earnest and beautiful, both as to technical
workmanship and expression, are the movements on which the musical
treatment was becoming more and more concentrated, the Qui tollis (of
which the accompaniment recalls the fugue, Quam olim Abrahæ in the
Requiem), the Et incarnatus est, and Agnus Dei. Even the Benedictus
(where the chorus answers the "Benedictus" of the solos by "Osanna")
and the Dona are sustained in style. How fundamentally this mass differs
from that in F major is clearly shown by the ground-tones of the
Gloria and the Credo, which are animated and brilliant, but without any
intensity or depth of meaning. The same tendency is still more marked in
the remaining masses (220, 257, 258, 259, K.).[30] Increasing maturity
is manifest in the
{CHURCH MUSIC.}
(264)
firm and skilful handling of all available means, and the subjects
display uncommon fertility of invention. But real creative inspiration
is crushed by the obligation to compose after a set fashion.
We do not need to look further than such church music to become aware
that the Archbishop loved to bring the pomp and glitter of his royal
station into the services of the church. Such a task obliges the artist
to use his art more and more consciously as a means to an end. The
inevitable result is inequality and exaggeration, his genius and his
work being often at variance; the charm of mere grace leads to the
danger of softness and effeminacy, and fluent animation becomes
meaningless superficiality. The effort to be light and pleasing is
manifest in these masses by their superfluity of detail. We find an
over-abundance of beautiful melodies and harmonies, combined with
great freedom in the treatment both of voices and orchestra, and in the
working-out of the subjects.
There are isolated instances of deeper sentiment and more poetic
conception which are heightened in effect by the earnest technical
skill displayed in their working-out, and which give glimpses of happy
inspiration, not belonging of necessity to the fundamental conception of
the work.
Unhappily it is on these masses, in the composition of which Mozart's
genius could only move within very confined limits, that his fame as a
composer of church music chiefly rests; and musicians who have taken
him as their model have striven most to imitate these, his least
satisfactory works.
The great resemblance in plan and mechanism of the masses of
contemporary composers, such as Hasse, Nau-mann, Joseph and Michael
Haydn, proves a strict adherence to the rules of composition then in
force. A consideration of their works serves to heighten the effect of
Mozart's higher and nobler conceptions, of his poetical sentiment, and
of that sense of proportion which regards a work of art as a whole,
and recognises the limits imposed on it from without as the necessary
conditions of artistic production. Many excellent qualities may be
conceded to these musicians, but none of them attained to the harmonious
beauty of Mozart.
{CIRCUMSTANCES AFFECTING CHURCH MUSIC.}
(265)
The artists of a later age, who imitated and exaggerated the cramped and
obsolete forms, which had been the result of many circumstances, as
if they were in themselves an all-sufficient musical method, judged
Mozart's works by their own standard, and found them in many respects
unsatisfactory.[31]
Before condemning Mozart's readiness to adapt his compositions to
external conditions, we must consider the mode of thought of the time.
All art, more especially music, stood in the closest connection with
the ordinary affairs of life; operas, masses, instrumental works
were composed when, where, and how they were required, for particular
occasions, and particular performers. Occasions of the kind were eagerly
sought for, and furnished an impulse and incitement to the composer,
even when they somewhat hampered his productive powers. Exaggerated as
the reference to external circumstances and mechanical resources became,
it formed the groundwork, rightly understood, of thorough artistic
production.
The demand for church music was one that came with peculiar authority
at Salzburg, since the priest who commanded it was considered as the
mouthpiece of the Church; he also stood in the place of the sovereign,
arranging the performances and paying for them: respect for his position
was both natural and proper. Mozart was by nature easily led, so long as
his deeper feelings of antagonism were not stirred; then he was firm and
decided. Trained under the discipline of his father to fulfil every
duty conscientiously, and to turn to the best account whatever was
inevitable, he endeavoured, as long as circumstances made it advisable,
to satisfy the demands of the archbishop, and to make them conducive to
his own improvement.
{CHURCH MUSIC}.
(266)
In this he was guided by a nature so completely that of an artist as not
to feel cramped or bound even by real restrictions. Composition was a
joy and necessity to him, and a trifling impulse only was needed to
set his poetical activity in motion; this once accomplished, external
conditions served him for tools, and their just and appropriate use soon
became second nature to him.
The statement often made, and for the most part with a very imperfect
knowledge of the subject, that Mozart's masses are his weakest
works,[32] cannot be accepted without large reservations; and we have it
in our power to give a decided contradiction to Thibaut's assertion[33]
that "Mozart thought little of his masses, and often when a mass was
ordered, he objected that he was only made for opera. But he was offered
one hundred louis d'or for every mass, and that he could not refuse;
only he used to say, laughing, that he would take whatever was good in
his masses and use it in his next opera."
The apparent particularity of this story is pure invention, employed, as
so often happens, to give a colour to mere conjecture; and the invention
is clumsy. Mozart only wrote for the church in Salzburg; in Vienna he
did not compose a single mass to order, and only one, the unfinished one
in C minor, on his own account. Such fees as that above mentioned never
put his constancy to the test; we know that he received one hundred
ducats for an opera. Again, thoughtlessness in the composition of church
music is imputed to Mozart. He had strongly biassed opinions, but
they were honest convictions; and his church work was always thoroughly
earnest. Rochlitz tells us that at Leipzig,
{MOZART'S VIEWS ON CHURCH MUSIC.}
(267)
in conversation on church music, Mozart declared that a Protestant could
not possibly conceive the associations which the services of the Church
awoke in the mind of a devout Catholic, nor the powerful effect which
they had on the genius of an artist.[34]
Mozart's education was calculated to make him a good Catholic; a
conscientious observance of all that the Church prescribes and reverence
for her usages were combined in him with a clear and penetrating
intellect.[35] After his betrothal he wrote to his father (August 17,
1782), that he had heard mass and been to confession with his Constanze:
"It seems to me that I have never prayed so earnestly, or confessed
and communicated so devoutly as by her side--and it is the same with
her."[36]
I find no trace whatever of Mozart's having looked with disdain upon
church music. His way of expressing himself to Padre Martini directly
disproves the assertion; he took his church music with him on his
journeys, expecting to gain credit by it; and sent for some of it from
Vienna that it might be heard by Van Swieten, a severe critic.
So far from giving himself out as a mere operatic composer, who has a
mean opinion of church compositions, he recommends himself for the post
of under-kapellmeister, by saying, "The learned kapellmeister Salieri
has never devoted himself to church music, while I have made it my
peculiar study from my youth up."
It is an unjust reproach also that Mozart robbed his masses for his
operas. Among his numerous compositions of both kinds, a single Agnus
Dei (317 K.)--a soprano solo--contains in its opening bars a slight
suggestion of the aria "Dove sono," from "Figaro."
Next in importance to masses must be reckoned litanies and vespers; and
here we find the influence of the opera much more decided. The words
did not readily lend themselves to musical expression, nor to the
arrangement of
{CHURCH MUSIC.}
(268)
the movements. If the severity of ecclesiastical form was once relaxed,
the easier and more pleasing forms were most likely to be employed in
those places where the words were most opposed to musical expression.
The dissimilarity of the different parts was increased by the supposed
necessity of also representing the severe style, and of balancing a
_tour de force_ of counterpoint by a _tour de force_ of execution. In
this way certain conventional rules had become law, leaving little scope
for variety or originality.
Common to all litanies are the Kyrie with which they begin, and the
Agnus Dei with which they close; that which lies between (the petitions
varying according to the circumstances under which the litany was
composed) determines its musical character. In the Kyrie, other
petitions are added to the "Kyrie eleison" and "Christe eleison," which
give scope for a broader and more varied treatment, whereby the Kyrie
becomes one of the most important and impressive movements. The Agnus
Dei does not close with "Dona nobis pacem," but with "Miserere nobis,"
which prevents any suggestion of cheerfulness; the expression of anxious
beseeching was generally softened into deep solemnity at the close.
The invocations which form the substance of litanies are too numerous,
disconnected, and wanting in climax to be well adapted for composition;
and most of the petitions recited by the priest are equally incapable of
definite musical expression. The musical setting of the service, to
be appropriate, must be strictly liturgical, and the recurring refrain
stamps it with a typical formulistic character. Should this tradition
once be forsaken, its place must be taken by a setting full of lights
and shades, often heterogeneous in treatment, and accentuated in
accordance with form rather than reason. The distinguishing refrain
could only be used to link together conflicting elements, or else as a
vehicle for shades of sentiment, and a variety of expression would be
given to the simple petitions, "Ora pro nobis," "Miserere nobis," which
would be quite foreign to their nature.
The Litanies to the Virgin (Litaniæ Lauretanæ) were, on the whole,
cheerful and pleasing. When the devout
{LITANY TO THE VIRGIN, 1771.}
(269)
worshipper turned to the Virgin Mother, the image that rose to his mind
was that of a pure and holy maiden, and the veneration for all that
is womanly which her worship induced was apparent in the music as
elsewhere. The tone of the litanies sung in Italy before the images of
the Virgin in the streets is echoed in the compositions of most of
the Italian musicians, and is perceptible in many parts of Mozart's
litanies.
The first Litany in B flat major (109 K.), composed in May, 1771,
is precise in form, and firmly and ably treated, although in no very
elevated strain. The Kyrie, as in short masses, is composed of a single
animated choral movement, without any definite development of the
subject. The first part of the litany proper is divided between the
chorus and solo voices, the soprano being most prominent; the whole
work is interesting, melodious, simple in its harmonies, and singularly
popular in tone. Upon the delivery of the solemn "Salus infirmorum"
by the chorus follows a quick, vigorous choral passage to the words
"auxilium Christianorum." The solo voices raise the appeal "Regina
angelorum" to the Queen of Heaven, who seems to shed the glory of her
manifestation upon the minds of her worshippers. In the last movement,
the chorus comes in with "Agnus Dei, qui tollis peccata mundi," the
solo voices answer with the prayer, and the chorus winds up with the
"Miserere nobis." The tone is composed, more serious than melancholy,
and rising in intensity towards the close. The actual mechanism is
simple; the voices are seldom in true counterpoint, the modulations are
freely and firmly handled: the accompaniment makes little attempt at
independent significance.
Far more important is the second Litany in D major (195 K.), belonging
to the year 1774, the same in which the Masses in F and D major and the
"Finta Giardiniera" were written; the maturity of its conception and the
carefulness of its execution make it worthy to take a place beside these
works. The Kyrie is a grand, lovingly elaborated movement, a solemn
Adagio, followed by a serious sustained Allegro. The parts are
throughout in strict counterpoint, principal and accessory subjects kept
well in hand
{CHURCH MUSIC.}
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and carefully elaborated; the orchestra, too, is independently treated.
The expression is appropriate and dignified, and over the whole is
spread a peaceful calm, bespeaking the nature of the music to which it
forms the introductory movement.
The first section of the Litany proper gives us the impression of
a cheerful--one might almost say _sensuous_--spirit pervading each
petition, but always with a tone of delicate moderation. The musical
formation betrays the unmistakable influence of the opera, both in the
solo soprano passages and in the aria-like treatment of the principal
subject. Refrain is used with happy effect in the chorus, and the
accompaniment is easy and flowing throughout. The whole movement is
melodious, and full of tender grace and harmony. In quite another
style is the Adagio next following, where the words "Salus infirmorum,
refugium peccatorum, consolatrix afflictorum, auxilium Christianum,"
are taken together. The construction of this movement, the arrangement
and gradations of the details, the alternations of solo and chorus, the
characteristically careful elaboration of the accompaniment, are all so
admirably calculated and balanced, and the whole movement is pervaded
with so much earnestness and depth of sentiment, that beauty and
grandeur seem here indeed to be wedded together. The following section,
"Regina ange-lorum," is again in a lighter vein; the choruses are fresh
and animated, but the interpolated tenor solo is operatic in form and
weak in invention and expression. The "Agnus Dei" is divided between a
solo soprano and the chorus; the former, though evidently composed for
executive display, is not without feeling and dignity; the short choral
passages are excellent, both in workmanship and expression.
Very evident, also, is the loving care bestowed on the orchestral score;
its main strength lies in the delicately elaborated string quartet, but
the wind instruments are also effectively made use of to produce lights
and shadows. The mature and harmonious beauty of the numerous motifs and
characteristic passages conveys the unmistakable impression of Mozart's
genius.
Of a third Litany for four voices without accompaniment,
{LITANY TO THE HOLY SACRAMENT, 1772.}
(271)
the opening bars of the Kyrie (340 K.) and Sancta Maria in C major (325
K.), and of the Salus infirmorum in C minor (324 K.) are unhappily all
that is preserved.
The Litany to the Holy Sacrament, (Litaniæ de venerabili altaris
sacramento), has a more serious character than the Litany to the Virgin.
But appeals to the holy sacrament being of necessity abstract and
dogmatic, are less suggestive of a musical rendering than those
addressed to the Virgin Mary. On this account an operatic style is
more avowedly employed; but it is combined with solemn dignity and
thoughtfulness, and the two Litanies of this kind by Mozart are largely
conceived and carefully executed compositions.[37]
The first in B flat major (125 K.), composed in March, 1772, after the
Italian tour, strikes throughout the tone of the heroic opera, elevated
by deep and earnest feeling. The Kyrie is introduced by an instrumental
passage, announcing the principal subject, which, after a short, solemn
Adagio, is taken up by the chorus in Allegro molto. The plan of the
whole movement, containing a second subject placed as contrast to the
oft-repeated principal one, and a running orchestral accompaniment,
follows the operatic mode of construction.
The first movement of the Litany proper, "Panis vivus," is a soprano
solo which might have been transferred bodily from an opera seria; the
chief passages are given to the word "miserere." The solemn chorus
which follows, "Verbum caro factum," interesting from its delicate
modulations, and a characteristic passage for the violins, serves as an
introduction to the agitated "Hostia sancta." Four solo voices give the
chief motif in succession, with different modifications, and unite at
last to rise to an appropriate climax; the chorus twice interposes with
a short but weighty rhythmical passage,
{CHURCH MUSIC.}
(272)
giving cohesion and dignity to the whole movement. A new climax occurs
in the Adagio, where the chorus repeats the word "Tremendum" with an
expression of solemn awe. The short, lively passage given to the next
words, "ac vivificum sacramentum," is only to serve as a contrast to the
"Tremendum." The movement which follows "Panis omnipotentia verbi caro
factus," is again nothing but an operatic tenor song, full of passages
and pleasing expression. The grave harmonies of a short Adagio in B
minor, "Viaticum in domino morientium," prepare the way for something
new.[38] It was the custom to write a movement in elaborate counterpoint
on the words of "Pignus futuræ gloriæ," and Mozart was not one to shrink
from such a task. The bass theme, answered by the wind instruments in
a passage afterwards much employed, is announced with the force and
decision of joyful confidence, and is then exhaustively worked out into
a long fugue.[39] The one theme, hardly ever abridged or altered, runs
through the whole, but it is developed with an amount of variety,
especially in the modulation and in the orchestral climax, and with so
much fresh tunefulness, that this work alone would prove the youth of
fifteen years old to be possessed of the genius of maturity.
The Agnus Dei is a soprano solo, ornamented with many passages, all
alike truly and simply conceived and full of grace.[40] The chorus takes
up the Agnus Dei at the third repetition, and brings the movement to a
calm conclusion, making use of the solo motif altered and simplified.
The "Finis, I.O.D.G.," inscribed by Mozart, contrary to his custom, at
the end of his score, show that he set considerable store by this truly
admirable work.
The second Litany in E flat major (243 K.), composed in
{LITANY IN E FLAT MAJOR, 1776.}
(273)
March, 1776, also a carefully worked-out piece of music, displays the
same arrangement. The operatic treatment of some of the parts is more
conspicuous, because its tinsel glitter is in more marked contrast to
the mature earnestness of the work as a whole. The Kyrie, expressive of
mild calm, relieved by the agitation of the accompaniment, is simple
in plan and execution. Solo and chorus alternate; the principal motif
recurs at the end, after a middle part of smaller motifs grouped
together. The Miserere is delicately shaded and finely expressed.
After such harmonious renderings of a calm and collected mood, we
are surprised by the words "Panis vivus" as an elaborate tenor song,
altogether in the style of opera seria. In the succeeding movements,
where the text seldom lends itself readily to musical adaptation, the
hand of the master is visible in the admirable grouping of the larger
sections and of the separate subjects, not less than in the true and
beautiful expression of sentiment, and in the finely graduated and
shaded unity of tone. The words "Verbum caro factum" are used as a
solemn introduction; the Miserere has-a fine effect, commencing without
an accompaniment, as if moaned forth from an overburdened breast, then
increasing in intensity to a cry of anguish, and gradually sinking back
into itself. The next succeeding Hostia sancta stands out against this
dark background, its general tone as mild and consolatory as that of the
Kyrie. Solemn grandeur predominates again in the Tremendum ac vivificum
sacramentum, where the words "Tremendum" and "vivificum" are not
separated, but are compacted into a connected, symmetrical movement with
the words "Panis omnipotentia verbi caro factus, incruentum sacrificium,
cibus et conviva." The disposition of the harmonies is in strongly
marked but cleverly arranged opposition, intensified by the orchestra;
the stringed instruments elaborate a forcible passage, opposed by the
united oboes, horns, bassoons, and trombones. This noble and deeply
impressive movement stands alone, both as to form and intention. The
next following, "Dulcissimum convivium," a soprano solo resembling a
cavatina, is soft and tender in expression, and pre-eminently operatic;
the charm
{CHURCH MUSIC.}
(274)
of style, displayed also in the careful accompaniment, does not
compensate for fundamental weakness.
The "Viaticum in Domino morientium" is full of earnestness, and very
original in treatment. The soprano voices give out as subject the
chorale of the hymn to the Holy Sacrament, "Pange lingua gloriosi," as
a Gregorian plain-chant, accompanied by the wind instruments (oboes,
horns, bassoons, and trombones), and two muted violas, while the violins
are occupied with a quaver passage in _pizzicato_, generally in divided
chords. The effect of the whole is surprisingly serious and dignified.
The Pignus futuræ gloriæ follows. It is in counterpoint, and of
complicated workmanship. The chief subject of six bars comprises the
words "Pignus futuræ gloriæ, miserere nobis," but in the third bar, at
the words "miserere nobis," the three remaining parts are added--[See
Page Image]
and the subject given to them is differently elaborated along with the
continuation of the chief theme. After the first working-out a second
independent theme occurs--[See Page Image]
{UNFINISHED VESPER, 1774.}
(275)
and is thoroughly worked out, together with the first. We see more
of the actual workmanship in this than in others of Mozart's works
in counterpoint, and the voices are treated less as such and more as
abstract vehicles for contrapuntal development. The Agnus Dei is a
soprano solo; the passages for the voices, and the concerted treatment
of the accompanying instruments, give a uniform impression of grace and
elegance. This movement has a certain resemblance to many passages of
Mozart's later operas. At the close the chorus (as sometimes with Haydn)
takes up again the principal subject of the Kyrie, and works it into a
simple and appropriate ending to the Litany.
Mozart seems never to have composed an entire Vesper during this period,
but the two final movements of one, Dixit and Magnificat in C major
(193 K.), written in July, 1774, are preserved, and are serious works
in clever counterpoint. The Dixit is quite in the style of a short mass,
the different sections in counterpoint full of force and animation. The
Gloria Patri is an independent movement, with a slow introduction to
a short fugal movement on the words "et in sæcula saeculorum," with a
charming organ point. [See Page Image]
The Magnificat is grander in design and execution. The Virgin's song
of praise forms a grand movement (Allegro moderato), the theme of which
from the third plain-song tone of the Magnificat--
{CHURCH MUSIC.}
(276)
is introduced by the tenor, the bass immediately interposing a
counter-subject:--[See Page Image]
These give the groundwork of the whole movement, elaborated in various
forms of counterpoint, and bound together by other freely treated
episodical subjects. The Doxology is again independently treated in two
movements. The first is slow, and is animated by a varied accompaniment;
the second is a lively and conventional fugue.
First among minor church pieces we may consider the "Regina coeli." Two
of these works, belonging to May, 1771 and 1772 (108, 127, K.), are
of similar plan and treatment. The first line is made into an animated
chorus, with the constantly recurring Alleluia as a refrain; the second
is more moderate in tone, a soprano solo alternating with the chorus.
The "Ora pro nobis" is an Adagio for the solo soprano; the chorus chimes
in at the close with the Alleluia. The character of the whole is lively
and cheerful, almost merry, according to the prevailing tendency of the
age. Full opportunities for display are given to the solo voice, and
many of the turns and passages are operatic.[41] The earlier of the two
compositions, in C major, reminds us more of opera seria; the later,
in B flat major, is freer, and both voices and accompaniment have more
independent life. A third Regina coeli, evidently of later date (276
K.), in C major, combines the whole into a lively movement, in which the
solo voices interrupt the chorus. The claims of the vocalist are here
kept in abeyance, and the work is full of life and energy, with here and
there passages of a deeper significance, such as the beautiful "Ora pro
nobis."[42]
{SMALLER SACRED PIECES.}
(277)
A "Tantum ergo" in B flat major (142 K.), for soprano solo, with a
responding phrase for the chorus, closing with a lively Amen, is not
remarkable. A second composition, in D major, (197 K.) for full chorus,
if by Mozart at all, must have been written very hurriedly.
A Motett in C major (117 K.) must, according to the handwriting, be
ascribed to a very early date.[43] A lively chorus Benedictus sit Deus,
without actual thematic elaboration but with a free arrangement of the
parts, forms the introduction to a soprano air, Introibo domum tuam
domine treated like a cavatina, simply, although not altogether with
out embellishment. The conclusion is formed by a second lively chorus,
Jubilate Deo, of which the second subject is the eighth psalm tone--[See
Page Image] supported by the four parts of the chorus in succession, to
a florid accompaniment of the orchestra, the full chorus each time
responding with a lively "Jubilate." [44]
An Offertorium of uncertain date, "Benedicite angeli" (342 K.), is
exclusively founded on the fifth psalm tone. The verse--[See Page
Image] is repeated in unison eight times by the whole chorus, while the
orchestra, consisting of stringed instruments with two
{CHURCH MUSIC.}
(278)
horns, keeps the whole together, and gives it intensified expression by
means of a lively and varied accompaniment.
Some smaller choral works are some of them harmonic, some in more or
less strict counterpoint. To the former belongs the "De profundis" (93
K.), in which the words of Psalm cxxix. and the appended doxology are
set to music without abridgment, with little more rhythmical flow than
the declamation of the words demands, and in the simplest harmonic
progressions. A symmetrical work, quiet and serious, though without
great depth of tone, is formed out of these very simple materials.
The "Te Deum" (141 K.) resembles in its first movements many of the
shorter masses; the words are sung once, without a developed theme
or well-defined passages. The essential character of the work is
modulatory, the connection depending on the arrangement of the harmonies
and the harmonic groups; the voices merely sustain the harmonies,
without any prominent melodic peculiarities. The conclusion forms an
exception, the words, "In Te Domine speravi, non confundar in ætemum"
being worked into a conventional, moderately long fugue, issuing into a
powerful and effective closing phrase.
A motett, "Misericordias Domini" (222 K.), which Mozart composed at
Munich in 1775 as an exercise, is in counterpoint throughout. Padre
Martini, to whom he sent it (September, 1776), pronounced, as his
judgment on it, that it contained all which modern music demands--good
harmonies, rich modulations, moderation in the violin passages,
a natural and good arrangement of the parts--and he added that he
congratulated the composer on the progress he had made. It was not
without intention that the representative of counterpoint on the
principles of the old Roman school emphasised modern music, the "buon
gusto" of which did not altogether content him.[45]
Mozart divided the sentence "Misericordias Domini cantabo in æternum"
(Psalm lxxxviii.). The first words,
{MISERICORDIAS, 1775.}
(279)
"Misericordias Domini," are delivered in slow notes, the second half in
an agitated fugal passage, without change of tempo (moderato). The two
alternate, and are developed with much originality, especially the
first movement, where long-sustained notes for the voices serve as an
organ-point against a passage for the violins, and give rise to striking
harmonic transitions and progressions. The counterpoint of the second
part is artistic and elaborate; besides the principal subject of
the fugue there are two others leading out of it, treated in part
independently, in part in combination with the principal subject and
each other; the episodes are in strict counterpoint. The subject,
as Stadler remarked,[46] is borrowed from an offertory by Eberlin,
"Benedixisti Domine"; but Mozart's treatment, as a glance at the
opening will show, is thoroughly original.[47] This admirable work
has been overrated by Ulibicheff,[48] but very unfairly criticised by
Thibaut.[49] He says:--
The words are capable of division into two short sections: Misericordias
Domini (the mercy of the Lord), cantabo in æternum (I will sing for
ever), but the division is not a real one. For there can be only one
fundamental idea--either "Misericordias Domini" or "cantabo in æternum."
If the former, then the "cantabo" should be subordinate; if the latter,
the "Misercordias" must be included in the exultation. Mozart has so far
given way to the love of the picturesque, to which Handel also made
many sacrifices, that the "Misericordias" is to be sung softly, but the
"cantabe in æternum" energetically and in a lively fugued passage. When
the last motif has been worked out, the Grave is repeated, and then
again the fugue.
It is evident that the law by which thoughts are expressed in _speech_
does not altogether apply to _musical_ expression, but that with the
introduction of a new element new rules are
{CHURCH MUSIC.}
(280)
imposed. Since the words, intelligently interpreted, give the keynote to
the whole conception, it is the musician's task to embody the sentiments
inspired by them in such forms as he has at his disposal. The necessity
for avoiding contradictions or inconsistencies is no barrier, but rather
an incentive to his creative energy. But a contradiction may arise not
only from a misconception of ideas, but from the undue prominence of
some one point which, detached from the context, injures the effect
of the whole. This would be the case here, if, as Thibaut seems to
indicate, the idea of the mercy of God, and that of the praise offered
to it, were treated in absolute opposition and mechanical alternation
one with the other. But this is not so. The motifs given to the words
"cantabo in ætemum," both in themselves and in their working-out,
express nothing but firm conviction and desire to act upon that
conviction; we seem to view the spiritual condition of a human being
who, in spite of adverse fate and sorrowful experiences, is never weary
of praising the Lord. The "cantabo" is placed just as Thibaut demands
that it should be, as a contrast to the "Misercordias Domini and the
contrast is so harmoniously expressed and so consistently sustained as
in no way to injure the musical effect of the work as a whole.[50]
A very interesting composition, belonging to the year 1776, is the
Offertorium de Venerabili (260 K.), "Venite populi," for two choruses,
scored in eight parts.[51] It is imitative throughout, less strict in
form than usual; the voices seem to take actual delight in their free
movement; the two choruses and the separate parts are clearly divided
while maintaining natural relations with each other, and the whole work
is sharply cut and characteristic both in harmonies and in rhythm. The
principal movement is divided in the middle by a short, slow movement,
having the same motif, but in different combinations.
{VOICES AND ORCHESTRA.}
(281)
A "Sancta Maria, mater Dei" (273 K.), for chorus, composed in September,
1777, and an "Alma redemptoris mater" (277 K.), for solo and chorus,
of about the same date, judging by the style, are very differently
conceived: they are simple in design and in treatment, quiet and mild
in expression. Delicate lights and shades betray the hand of a master
conscious of his power to stir the feelings and satisfy the sense of
beauty of his hearers. Equal genius is displayed in the selection of
simple meins, and the ease with which the right effect is given at the
right moment; and every now and then a delicate harmonic inflection, or
a charming little motif in the accompaniment, leaves us in no doubt as
to Mozart's individuality.[52]
The survey we have taken of Mozart's church music will give some idea
of the industry with which he strove to master the various forms of his
art, as well as of the ease and fertility of his production, and the
truth of his artistic feeling. Remembering his activity in operatic
music, we are amazed at the wealth of his many-sided genius; but the
unceasing exercise of all his musical powers serves to explain in part
that marvellous acquaintance with all the technicalities and forms of
his art which not even the possession of great genius can account for in
so youthful a composer.
External circumstances influenced not only the conception and treatment
of church music, but the means at disposal for its performance. Mozart's
chief dependence in Salzburg was on the chorus, as is shown in a
letter (November 4, 1777), where he says that none of his masses can
be performed at Mannheim, because the chorus was bad, and the orchestra
must be the first consideration. This is confirmed by the works
themselves, of which the choruses are always the main substance; Mozart
found his materials ready to hand in the carefully instructed church
singers and chapel choir. He had himself received vocal training. Even
as a boy the correct delivery and good management of his voice excited
{CHURCH MUSIC.}
(282)
astonishment; and though he lost his voice on attaining manhood, his
intercourse with trained singers gave him an accurate knowledge of
the voice and its treatment. Careful as Mozart is to arrange each part
easily and conveniently for performance, yet he always reckons
on well-trained singers, and even exacts from the choristers, where
occasion requires, not a little skill in taking intervals and in
execution and intonation. Above all, he demands the intelligent delivery
of a singer who knows how much depends upon it.
The treatment of the solo voices as regards execution does not differ
in church and operatic music. Frau Haydn and Meissner, Marie Anna
Braunhofer and Jos. Spitzeder, had received good practical training,
but they were not such remarkable performers as to call forth new or
original creations. When the solo voices are not treated with a view to
executive display they are altogether in the style of chorus parts.
The organ, as the instrument appropriate to the church, invariably
accompanies the singing, so that in all Mozart's church compositions the
bass part is carefully figured, sometimes by his father's hand; it is
sometimes, but rarely, employed obbligato, as in the Benedictus (259
K.), and then treated in easy style. Next to the organ come three
trombones, essentially the support of the chorus, played in virtue of
his office by the "stadtthürmermeister" and two of his subordinates.
[53]
Following ancient tradition they sounded in the tutti in unison with
the three lower voices of the chorus; the trombones were generally left
unindicated in the score, and only the places marked where they were to
be silent. This curious prominence of the brass instruments, whereby the
soprano part is left unrepresented, was usual at that time, and
could not be dispensed with in the church. Trombones are seldom used
independently by Mozart, and then in the simplest manner.
The stringed instruments served as independent orchestra, and were
generally only two violins and violoncello; the
{ORCHESTRA.}
(283)
tenors strengthened the violoncello, which went with the organ bass. The
stringed instruments were strengthened as far as possible and treated
so as to counteract the disadvantage they were at in contrast with the
chorus, trombones and organ. When the violins are not with the voices,
the passages are disposed so as to have the best effect, and they
frequently play in unison; this explains the partiality for running
passages for the violins, which are not expressive in themselves, but
serve to amplify the rest. It was a higher task to give the violins a
character really independent of the chorus--to make them carry out their
own motif either in one part only, in opposition to the chorus, or in
joint development. In almost all Mozart's masses the effort is
visible, at any rate in some places, to treat the stringed instruments
independently; as his artistic sense matured, they were used more
freely, and with more careful reference to sound effects. As a variation
in later works, the damper was sometimes employed, and more rarely, the
_pizzicato_.
Besides stringed instruments, trumpets and drums were generally used,
being almost indispensable for solemn high mass. The constant use of
trumpets, as of trombones (sackbuts), was founded on the Bible, which
speaks of their employment in the Jewish temple worship; and also
careful and highly elaborated trumpet music played so considerable a
part in court festivities, that it could not well be dispensed with in
church ceremonials. In two masses (139, 167, K.), Mozart has employed,
in addition to the two usual trumpets called "clarini," a tromba,
which has only to sound the low notes C and G, and to strengthen the
drums.[54] As regards other wind instruments, we know that in 1757,
"Oboes and German flutes were seldom heard in the cathedral, and the
French horn, never."[55]
This severity was afterwards relaxed, until the oboe was used alone or
as the principal wind instrument, generally to support the voice or to
strengthen the harmony. It was
{CHURCH MUSIC.}
(284)
allowed to assert its own individuality at a later time, but this could
only be when it retained its proper place among the different combined
wind instruments. Flutes were only rarely used to replace the oboe in
soft passages; there were no clarinets in Salzburg. Bassoons served, as
a rule, only to strengthen the bass; in various places where they, like
the violoncello, were treated with some degree of independence it was
so indicated in the score. Also when the tenors were associated with
the wind instruments to complete the harmony they were supported by
the bassoons. The horns at first closely followed the trumpets, but
gradually attempts were made, by the use of sustained notes, to produce
the sound effects peculiar to this instrument. The freer treatment of
the wind instruments passed to the church from the opera, and those
pieces which were altogether more freely treated than masses, prepared
the way for the change. The orchestra of Mozart's two last Litanies is
just as elaborate and careful as that of his operas, and the later one
does not only employ obbligato solo instruments, but in many of its
sections approaches modern instrumentation.
We are unfortunately in considerable ignorance as to what masters were
studied by Mozart. What has usually been said of his diligent study
of Bach, Handel, and the Italian masters, is neither demonstrable nor
probable. There would scarcely be much opportunity at Salzburg for the
study of any but Salzburg or south German musicians. It is well known
that some of these, such as Eberlin, Michael Haydn, and Adlgasser, were
earnestly studied and highly esteemed by Mozart. But he first became
acquainted with Sebastian Bach[56] through Van Swieten in Vienna,
although he may have come across detached organ or pianoforte
compositions in Salzburg. He heard Handel's oratorios as a boy in
London, but that was all, and even at Mannheim he took no great interest
in the "Messiah." It was again Van Swieten who led him to this master.
We may grant a stronger influence to the Italian masters,
{ITALIAN INFLUENCE.}
(285)
although the older Italian church music was only exceptionally used at
Salzburg.
Leopold Mozart speaks of a Gradual with which he had been much pleased
as being the work of "the celebrated long-since deceased Lotti"
(November 13, 1777). But we have seen with what zeal Mozart studied in
Italy; and a youth with his genius learned rapidly, and could at once
apprehend and retain whatever would be likely to benefit him. He must
also have taken home with him from Italy much material for future use,
as we have seen in the case of the compositions of Padre Martini. But
what direction these studies took, and how far they extended, we are not
informed. It is not probable that Mozart studied the old masters with
the intention of forming his own style on theirs, but rather that he
might gain that surer practice in technicalities which the tasks before
him required.
THE FOOTNOTES OF CHAPTER 13
[Footnote 3: Schubart, Teutsch. Chron., 1775, p. 408; Dressier, Theaterschule, p.
42.]
[Footnote 4: J. E. Altenburg, Anleitg. zur heroisch-musik. Trompeter-
Pauker-Kunst. (Halle, 1795,1., p. 26).]
[Footnote 5: [Schinn und Otter] Biographische Skizze von Michael Haydn (Salzburg,
1808).]
[Footnote 6: K. R[isbeck] expresses himself to the same effect, Briefe e. reis.
Franz, I. p. 357. Michael Haydn became very industrious later in life.]
[Footnote 7: Wolfgang says of Schweizer (December 3, 1777), that he is as "dry
and sleek as our Haydn, only his language is more refined."]
[Footnote 8: This book (mentioned in Cäcilia IV., p. 290) contains the following
scores, in Mozart's handwriting:--
M. Haydn, In Te Domine speravi, fuga, a 4 voci, 2 viol., org.
Eberlin, Missa canonica, a 4 voci, org.
Eberlin, Hymnus, Recessit Pater noster, a 4 voci.
Eberlin, Hymnus, Tenebræ factæ sunt, a 4 voci, org.
Eberlin, Graduale pro dominica in palmis, Tenuisti a 4 voci, org.
Eberlin, Offertorium pro dominica in palmis Improperium, a 4 voci, org.
Eberlin, Communio pro dominica in palmis, Pater si potest, a 4 voci,
org.]
M. Haydn, Tenebræ, a 4 voci, org.
Eberlin, Three Motetti. In nomine Domini; Christus factus est; Domine
Jesu, a 4 voci.
M. Haydn, Ave Maria, pro adventu Domini, a sopr. solo c. rip.
Eberlin, Benedixisti, a 4 voci, org.
Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.
Eberlin, Kyrie, fuga, a 4 voci.
Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.]
[Footnote 9: Frz. Lorenz's "Haydns, Mozarts und Beethovens Kirchenmusik und
ihre katholischen und protestantischen Gegner," is a plea for impartial
judgment. Breslau, 1866.]
[Footnote 10: Cf. A. M. Z., XXIII., p. 683.]
[Footnote 11: Marpurg, Krit. Beitr., III., p. 195.]
[Footnote 12: A similar disposition is described by Mattheson (Neu eröff. Orch.,
I., p. 158).]
[Footnote 13: A short account is given by L[orenz], Deutsche Mus. Ztg., 1862, p.
265.]
[Footnote 14: The text of the masses and of other important church compositions
is given in Appendix VI. [to the German original of this work].]
[Footnote 15: They are denoted in the text by large initial capitals.]
[Footnote 16: Biogr. Skizzen von Michael Haydn, p. 48.]
[Footnote 17: The beginning of such a Kyrie is preserved. (Anh. 18 K.).]
[Footnote 18: The first words "Gloria in excelsis Deo" are intoned by the priest
from the altar in the prescribed way, and the choir fall in with the
words "et in terra pax"; the same thing occurs at the beginning of the
Credo, which the choir takes up at the words "Patrem omnipotentem."
The first words are consequently frequently left uncomposed; sometimes,
however, the choir repeat the words intoned by the priest.]
[Footnote 19: In accordance with this, the word "quoniam" is repeated before each
comma in some masses. (257 K.)]
[Footnote 20: The Credo of this mass (257 K.) is mutilated in the printed score,
the repeated--[See Page Image] with all that belongs to it having been
struck out.]
[Footnote 21: In earlier times the chief emphasis was laid on the words "et homo
factus est," which Beethoven makes so emphatic in his Mass in D.]
[Footnote 22: Mozart writes from Mannheim (November 4, 1777): "It is not the
custom here to write a Benedictus, but the organist has to go on playing
all the time."]
[Footnote 23: L. Mozart mentions a mass for Count Spaur, which may be this.]
[Footnote 24: In Italy three independent movements were made of the Kyrie,
Christe, Kyrie, the last being an elaborate fugue. In Dresden also this
was customary, and is to be found in the masses of Hasse, Naumann, and
other Dresden composers, as also in Bach's B minor mass.]
[Footnote 25: A. M. Z., XIX., p. 368.]
[Footnote 26: A. Reissmann's Gesch. d. Mus., III., p. 39.]
[Footnote 27: A. M. Z., XI., p. 460.]
[Footnote 28: The date upon a copy at St. Peter's, in Salzburg, December 22,
1777, can only refer to the performance.]
[Footnote 29: Biogr. Skizze von Michael Haydn, p. 18.]
[Footnote 30: The Masses (220, 257-59,262, K.), were bound together in a little
blue book, with the title in the father's hand, "V. Missæ in C," and
a suggestion of the subjects. The first has been taken out, and was
evidently the one which Wolfgang gave to the Abbot of the Holy Cross at
Augsburg, as he writes to his father (November 20, 1777).]
[Footnote 31: Sometimes his church music was mutilated and distorted, sometimes
operatic and other compositions were arranged for church performance. A
great deal was given out with his name in which he had little part,
such as a Mass in G Major (Anh., 23a K.), rightly omitted by Seyfried
(Cäcilia, V., p. 77; cf. VI., p. 129), another doubtful Mass in B flat
major (Anh., 233 K.), and finally, an unauthenticated Mass in G major
(140 K.), which, in my opinion, is unworthy of Mozart, but which Köchel
and Lorenz consider to be genuine.]
[Footnote 32: A. M. Z., XVI., p. 612. The criticism of Rochlitz (fur Freunde
der Ton-kunst, IV., p. 237) is feeble and colourless. Thibaut does not
scruple to include Haydn and Mozart in his censure on those who write
"our new masses and other church music in a purely amorous style, giving
them an altogether operatic stamp, and imitating the most popular, and
therefore the least refined operas" (Ueber Reinheit der Tonkunst, p.
10). The tendency of the romantic school was to favour the early Italian
church music, very often ignorantly, and to the prejudice of Mozart. Cf.
Tieck Phantas., I., p. 468.]
[Footnote 33: Ueber Reinheit der Tonkunst, p. 11.]
[Footnote 34: A. M. Z., III., p. 494.]
[Footnote 35: A. M. Z., III., p. 493.]
[Footnote 36: A. M. Z.f I., p. 116.]
[Footnote 37: It is very interesting to compare Michael Haydn's Litaniæ de
venerabili sacramento in G minor (Leipzig: Breitkopf and Härtel), which
was written at the same time and under similar circumstances. It is an
excellent work, displaying the cultivation of a master both in design
and execution. The fact of its being on the whole less graceful, and
more serious, only shows the difference of the artistic nature of the
two masters; the general conception is not essentially different, and
Michael Haydn also yields to operatic influence.]
[Footnote 38: This movement ended originally in B flat major. Mozart rightly
preferred to close the introduction in the dominant (F major), and thus
gave greater breadth to the finale.]
[Footnote 39: Mozart has abbreviated it in three places, and has altered wherever
necessary. The shortened fugue is printed in Cantate I.]
[Footnote 40: L. Mozart wrote at the beginning: "The solo of the Agnus Dei is
written in the bass for Herr Meissner."]
[Footnote 41: One of these Regina coeli--we do not know which--was composed for
Frau Haydn, and afterwards sung, as L. Mozart writes (April 12,1778), by
Ceccarelli.]
[Footnote 42: I have grave doubts of the genuineness of a short Salve Regina for
solo voices and chorus (92 K.).]
[Footnote 43: Perhaps this is one of the motetts which Wolfgang composed in
Milan in 1771. A second aria in cavatina form, "Quaere superna," with
an introductory recitative, "Ergo, inter est," in G major (143 K.), was
evidently intended for an interpolation.]
[Footnote 44: When Mozart was travelling in 1777, his father wrote to him
(October 4): "I inclose the chorale, which may be useful and even
necessary to you at some time or other; you ought to know everything."]
[Footnote 45: P. Martini, Storia Univ., II., p. 281.]
[Footnote 46: Stadler's Defence of the Authenticity of Mozart's Requiem, p. 10.]
[Footnote 47: An analysis is given in A. M. Z., X., p. 43; cf. XIII., p. 305.]
[Footnote 48: Ulibicheff, II., p. 333: Pour rompre la monotonie que des paroles
tant de fois répétées sur le même sujet devaient introduire dans un
morceau de 160 mesures, d'un mouvement grave, le compositeur avait les
ressources inépuisables de la modulation et de l'analyse contrapontique.
Il les employa avec la science de Bach, avec la gravité onctueuse des
maîtres catholiques du XVIIme siècle, avec le sentiment profond et le
goût qui n'appartenaient qu'à Mozart.]
[Footnote 49: Thibaut, Ueber Reinheit der Tonkunst, p. 109.]
[Footnote 50: Zelter was not satisfied with Thibaut's judgment (Briefw. m.
Goethe, IV., p. 37). Rochlitz (A. M. Z., XXVII., p. 461) attempts a lame
apology for Mozart.]
[Footnote 51: Two violin parts, _ad libitum_, meant for support, are added.]
[Footnote 52: The Offertory, Sub tuum præsidium (198 K.), a duet for soprano and
tenor, is simple and melodious, and has the soft and tender character
appropriate to the worship of the Virgin.]
[Footnote 53: Marpurg, Krit. Beitr., III., p. 195.]
[Footnote 54: Altenburg, Anl. z. Tromp.-Kunst, p. 108.]
[Footnote 55: Marpurg, Krit. Beitr., III., p. 195.]
[Footnote 56: Rochlitz's remarks on Bach's influence over Mozart are unfounded
(A. M. Z II., p. 641).]
====
MOZART
BY DAVID WIDGER
CHAPTER XIV. INSTRUMENTAL MUSIC.
DURING the last half of the eighteenth century it had become the fashion
in Italy and elsewhere to perform detached instrumental pieces as
introductions or intermezzi during the pauses in Divine service.[1] They
were written in the then customary symphony form; music of a lively and
secular tone not being thought out of place in churches.[2] Brilliancy
of effect was provided for by doubling the orchestra and other
mechanical means,[3] besides forcible composition. Further innovations
were made in allowing solo vocalists an opportunity of displaying their
powers in church music;
{INSTRUMENTAL MUSIC.}
(286)
and, as a necessary consequence, distinguished instrumental performers
also were allowed to add their share to the attractions of Divine
worship.[4] Instrumental concertos were played usually at the conclusion
of the service, without any regard to an ecclesiastical character.[5] We
gather from Dittersdorf's account[6] of his competition with Spagnoletti
at the festival of St. Paul at Bologna and its result, that fine
performances were thought as much of in the churches as in theatres and
concerts.
At Salzburg, as Mozart tells Padre Martini (p. 244), a sonata was
introduced between the epistle and the gospel, until Archbishop
Hieronymus replaced it by a gradual in 1763.[7] Seventeen compositions
by Mozart of this kind are preserved. The earliest of certain date
belongs to 1775 (212 K.), and others to 1776 (241, 244, 245, 263, K.)
and 1777 (274, 278, K.), but there are several almost certainly of
earlier date. His sacred sonatas were performed even during his absence,
according to his father (September 25, 1777). After his return, he
composed three pieces of the kind, the last in March, 1780 (328, 329,
336, K.).
They are all inscribed as sonatas, and all consist of a lively movement
of moderate length in two parts, and in regulation sonata form. The
church sonatas (sonad di chiesa) differ, indeed, from chamber sonatas
(sonad di camera) in being serious, dignified, often fugued and in
counterpoint, but the style has nothing in it that suggests a sacred
performance. The tone is neither solemn nor devotional, nor is the style
severe. The tone and treatment of the commencement remind us of the
first movements of the smaller sonatas and quartets; the subjects are
small, sometimes very pretty'; the treatment is free and skilful, and in
the later pieces not without touches of Mozart's originality. They are
usually written for two violins and violoncello, to which the organ was
always added, but never
{ORGAN SONATAS--NOBLE AMATEURS.}
(287)
obbligato nor with any regard to executive display; it has often only
its customary office of accompaniment to the violoncello, in which case
a figured bass part is written. Even when the organ part is independent
it is for the most part limited to what the skilful organist can make
out of the _continuo;_ its independence is very modest, and it never
aspires to a solo or any passages. Sometimes trumpets and drums are
added (263 K.) as well as oboes (278 K.) and horns (329 K.). With the
extension of the orchestra the design and treatment became grander and
more impressive, but still kept within comparatively narrow limits.
Unhappily these organ sonatas give us not the faintest idea of Mozart's
much-admired organ-playing.
Not only were these compositions composed for special occasions, but
all instrumental music at that time was in this sense occasional music.
Orchestral compositions were, with few exceptions, written with a
definite aim and under given conditions.
Musical performances were the customary evening entertainments given
by distinguished or wealthy persons, in default of better, such as
the theatre. Those who maintained their own _Kapelle_ required
daily performances, and in the evening, whether they were alone or
entertaining company, a well-appointed concert. Sometimes noble gentler
men became so proficient on some instrument that it pleased them to take
personal part in such concerts. Not to mention the noted examples of
Frederick the Great and the Emperor Joseph, the Elector Maximilian III.
of Bavaria was a performer on the bass-viol, and took part in the court
concerts, where his sister, Maria Antonia of Saxony, appeared as a
singer; sometimes also he played the violin in the symphony.[8] The
flute was an instrument much in vogue with noble amateurs, and was
played by the Margrave Friedrich von Bayreuth,[9] Duke Karl von
INSTRUMENTAL MUSIC.
(288)
Curland,[10] and Prince Joseph Friedrich von Hildburghausen;[11] the
Elector Karl Theodore, played the violoncello,[12] Prince Nicolaus
Esterhazy the baritone,[13] Archduke Maximilian the tenor.[14]
Archbishop Hieronymus adopted the violin[15] as his instrument, after
the example of the Emperor Peter III.[16] and the Crown Prince Karl
Wilhelm Ferdinand von Braunschweig, and he amused himself with it alone
after dinner;[17] in the evening he took part in the concerts given by
his choir.[18] L. Mozart writes to his son, who had a great dislike
to violin-playing in court music: "As a connoisseur, you will not be
ashamed of the violin-playing in the first symphony, any more than the
Archbishop and all the cavaliers who take part in it." The distinguished
amateurs did not indeed always improve the orchestra. On one occasion,
the Empress Maria Theresa having remarked in an undertone to Haydn
that she wondered what would become of four noble amateurs, who were
performing with him, if left to themselves, he played her the joke
of quietly absenting himself with his next colleague, and enjoyed the
complete discomfiture of the gentlemen. Brunetti, who always stood at
the Archbishop's side, used at difficult places quietly to take down his
viola and strike in; the Archbishop let it pass, and used even to say
when he came to these places, "now Brunetti will come in." Mozart had
not the most favourable opinion of the Archbishop's musical knowledge.
He writes to his father (Vienna, September 26, 1781) about the famous
bass singer, Fischer, "who has certainly an excellent bass voice,
although the Archbishop told him he sang too low for a bass, upon which
I assured His Grace that he would sing higher next time."
{COURT CONCERTS---THEIR LENGTH.}
(289)
Public performers took the principal parts in these concerts, which fact
was taken into consideration in forming the choir; care was taken to
attract foreign artists, and in the larger towns many public performers
depended on the daily concerts for their means of subsistence.[19] The
performances were long, and included a great deal of orchestral music.
Count Firmian's musical soirées lasted from five to eleven o'clock, and
at one concert several symphonies by J. C. Bach and four symphonies
by Martini were played.[20] Dittersdorf produced twelve new violin
concertos by Benda on one evening;[21] at a concert given by the Elector
of Bavaria Burney heard two symphonies by Schwindl, a song by Panzacchi,
a scena by the Electress of Saxony, a trio for bass-viols by the
Elector, a song by Rauzzini, a song by Guadagni, and a bass-viol solo by
the Elector;, and at a private concert in Dresden both parts contained a
symphony, a violin concerto, a flute concerto, and an oboe concerto.[22]
The evening's amusement was generally further provided for by
card-playing and conversation. Archbishop Hieronymus limited the
duration of his concerts. L. Mozart wrote to his son (September 17,
1778) that they only lasted from seven to a quarter past eight, and
included only four pieces--a symphony, a song, another symphony or
concerto, another song, and then _addio_.[23] The court composer took
the direction of the court music in turn with the kapellmeister every
alternate week, and the director for the time being had the choice and
{INSTRUMENTAL MUSIC.}
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arrangement of the music[24] except so far as it was dictated by
superior authority.
The position of Mozart's father gave him constant opportunities of
bringing his son's instrumental compositions before the public. The
fame of the band was enhanced by the performance of works by one of the
members, and at every festival something new was performed. Dittersdorf
relates that for the fête-day of the Bishop of Grosswardein he composed
not only a grand cantata with choruses and a solo cantata, but also two
grand symphonies at the beginning and close, a middle symphony, with
obbligato wind instruments, and a violin concerto.[25] In a similar
position, under Prince Esterhazy, Josef Hadyn produced his incredibly
numerous instrumental compositions. Mozart's fertility during the period
of his independent activity at Salzburg, from 1770 to the autumn of
1777, was equally great, but the merit of industry and fertility was one
which these great masters shared with many contemporary lesser ones.
The skilful treatment of the orchestra rests mainly on the composer
being so imbued with the spirit of the work as a whole as to be able to
render the separate parts conducive to the general effect. This can only
be accomplished by continuous practical study.
Most especially fortunate was Mozart, whose numerous appointed tasks,
not being merely abstract exercises, served him as studies for his
works. The danger was indeed great that the influence of the schools and
the force of traditional forms would tend to mechanical routine, but
it afforded another proof of Mozart's creative nature, that his
unintermittent labour in mastering the technicalities of his art never
interfered with the spiritual side of his genius.
Many forms were in use for instrumental composition during the last
century, of which, at the present day, we can scarcely even distinguish
the names or define the limits. The so-called French symphony (or
overture) introduced by Lulli, and established through the school of
Scarlatti,
{SYMPHONIES OR OVERTURES.}
(291)
consists of a short slow movement preceding a longer and more varied
one, and repeated at the close. This was opposed to the Italian
symphony, which contained three movements: an allegro at the beginning
and another at the end, separated by a slow movement in effective
contrast to them both. The first and the last allegro were, however,
different in character, the second being the quicker and more cheerful
of the two.
It was easy to sever the slender connection between the symphony and
the opera; and operatic symphonies were soon performed alone, as may
be proved by the symphonies to the "Finta Semplice," the "Sogno di
Scipione" and "Lucio Silla."
The continual demand for new symphonies co-operated with the increasing
capacity of the instrumentalists, and the fuller appointments of the
orchestra, in developing their importance and independence. In Italy,
Sammartini, commissioned by the governor, Pallavicini, first wrote
symphonies for full orchestra; he divided the tenors from the
violoncelli, gave the second violins an independent part, and rendered
service also to the technicalities of playing.[26] In Germany the
composers of the Mannheim Kapelle, who were of the first rank,
introduced this kind of composition with great success;[27] but Jos.
Haydn, who surpassed them all in his inexhaustible wealth of productive
power and in his thorough knowledge of his art, threw them quite into
the shade, and may justly be considered as the creator of the symphony.
The three movements were originally connected; but when the symphonies
became independent of the opera, this was only exceptionally the case
(74, 181, 184, K.).
The last Symphony of the year 1773 shows that even in its maturity an
artistic mind may cling to long-established customs. The delicately
elaborated Andante, full of original
{INSTRUMENTAL MUSIC.}
(292)
and tender sentiment, forms the climax of the work. The animated Allegro
which precedes it is, with just discrimination, toned down towards the
end to prepare for the Andante, whose yearning pathos leaves the mind
unsatisfied, and whose subjects are arranged to favour the transition
to the lively and restless concluding movement. As a rule, however, each
movement was treated as a self-contained whole, which gave freer scope
for the development of a definite idea.
In the formation of the separate movements the clavier sonata (in the
perfect form given to it by Ph. Eman. Bach, acknowledged as a master by
Haydn himself)[28] had a very considerable influence.
The first allegro was always in two parts; a short slow movement,
perhaps a reminiscence of the French symphony, was prefixed to it by
Haydn often, by Mozart rarely. A compact arrangement of well-defined
subjects takes the place of the long-drawn thread of loosely connected
phrases of the older symphonies. The first subject gives the tone of the
movement, a second follows, contrasting in expression and structure, and
generally a third is added; the connection is by means of free passages.
It was long held as a fixed rule that the first theme should close on
the subdominant, and that the second theme should be in the key of the
dominant, in which also the first part of the movement concludes. In the
second part the elaboration of the subjects begins. The composer might
please himself as to which of the subjects, or how many or in what new
combinations they were to be carried on; nor was there any definite rule
as to the method of elaboration, except that it always led back to the
principal key and the first theme, which closed on the dominant, and was
followed by the second theme, also in the principal key; the first part
might either be simply repeated with these modifications, or the change
of key might be thoroughly carried out. Sometimes the second part was
also repeated; and then followed the final winding-up by a coda, which
recurs to one or more of the chief subjects, and which was employed even
when the
{THE SYMPHONY.}
(293)
second part was not repeated. The elements of this form had already been
given in the aria, with its one main idea and its contrasting
motifs; but the organic perfection of the form was first attained by
instrumental music.
Ph. Eman. Bach declared that the chief and best quality of music was
melody,[29] and this principle once recognised, the laws of song were
adopted by instrumental music, although with many modifications, to
suit the different characters of the instruments and the necessities of
thematic elaboration. The chief improvement was the spirited development
of one or more subjects to replace the tedious middle movement of the
aria. The artistic development of the separate elements, according to
their true significance, introduced both contrast and climax; unity was
assured, since nothing foreign either to the form or the substance
was admitted; while the repetition of the first part, like a dialectic
exposition of an argument, provided a clear and satisfying conclusion.
This working-out part did not always receive its due share of honour,
and was often treated as a form of harmonic transition; but it asserts
itself more and more as the proper nucleus of the whole movement, and
has an important reaction on the formation and phrasing of the first
part. This becomes, as it were, the foundation prepared for the future
development which first displays the whole extent of the conception.
The coda was usually confined to a lengthened development of the closing
phrase, and gathered to a point in pregnant brevity the most essential
elements of the movement. It had its counterpart in the cadenza of the
aria. After what manner great vocalists constructed their cadenzas we
are unfortunately ignorant, but instrumental cadenzas reproduced the
principal subjects of the movement, just as was the case in the coda.
Beethoven, who brought the coda to perfection, has himself worked out
the cadenzas in the Concerto in E flat major; the cadenza in the
first part is identical in mechanism with the coda of one of his great
symphonies.
The original middle movement has preserved a slower
{INSTRUMENTAL MUSIC.}
(294)
tempo and a moderate tone, with simplicity both of design and
composition. The point of departure is the air (lied, romanze), or the
cavatine of operatic creation. Mozart, for instance, took a melodious
duet from his opera of "Hyacinthus," for the Andante of a symphony (p.
94). There is no question here of artistic symmetry or elaboration of
subjects; one main subject dominates the whole, often smothered with
embellishments, as the original stem of a tree is hidden by the creepers
which grow from its roots. The Andante is often, though not necessarily,
divided into two parts, one or both of them to be repeated, sometimes
with a coda added. In the second part a new statement of the subject
generally takes the place of its actual development, and the contrast
of major and minor keys is made use of. Frequent repetition of a simple
theme led to the introduction of variations, sometimes strict, sometimes
free in form, but in depth and originality always far inferior to
thematic elaboration in the proper sense of the term. The Andante,
therefore, long continued to be of minor importance, both as to length,
form, and substance.
It required not only the mastery of musical theory, but the complete
absorption of the individual in the artist before the innermost
sentiments of the human heart in all their depth and fulness could be
expressed in simple form, as the poet expresses them in lyric verse. The
Adagio of instrumental music is, in its most perfect form, essentially
a German creation, but it became what it is apart from the influence of
the newly awakened German poetry; each in its separate sphere felt the
vivifying spirit of the age like the fresh breath of spring, and awoke
together to life and beauty.[30] As the substance of the slow movement
grew in interest and importance, the form also became fuller and richer,
without, however, any essential alteration; the most magnificent of slow
movements have all the main points that we have
{SUITE--MINUET.}
(295)
noticed above, and are only in details freer and more full of life and
significance.
The closing movement, generally in 3-8, 6-8, or 2-4 time, has something
of a dance tone, though not of set purpose. The rondo form, very
freely treated, soon became predominant. The impressiveness of frequent
repetition of the same melody, the freedom and ease with which the
connecting phrases could be treated, the surprises to which ingenious
returns to the theme gave rise, all made this easy form very appropriate
to a closing movement. What was demanded from instrumental music was
such a pleasant sense of enjoyment as should relax the mind without
straining the attention, and a cheerful conclusion was considered
essential. But by a singular inconsistency the last movement was
sometimes made the field for the display of skill in counterpoint;
masters of the art required that a genuine artist should know how
to render cheerfulness and whimsicality, spirit and fun, even in
the strictest forms. So it is customary to this day to introduce
contrapuntal work into the scherzo, the proper field for musical wit and
humour. This, too, is a production of German instrumental music.
To the three original movements of the symphony the minuet was added
as a fourth, suggested probably by the Suite. The Suite, whether for
orchestra or clavier, came to perfection in the seventeenth century, and
consisted of a succession of dances in the same key, but differing
in time, rhythm, and expression, and for the most part highly
characteristic. Mattheson enumerates them as follows: minuet, gavotte,
bourrée, rigaudon, gigue, polonaise, anglaise (country-dances, ballads,
hornpipes), passepied, sarabande, courante, allemande;[31] others give
allemande, courante, gigue, passa-caille, gavotte, minuet, chaconne,
the chief forms being allemande, courante, sarabande, and gigue. An
introduction, prelude, fantasia, or overture, preceded the dances,
consisting, after the French fashion, of a slow and a lively
{INSTRUMENTAL MUSIC.}
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movement, the latter generally elaborated, and returning to the former
as a conclusion.[32] It is evident that the suite was the foundation of
the Italian operatic symphonies--not of our modern symphony and sonata
forms--but much was doubtless borrowed from the long list of dances as
embellishment to the symphony proper. Whether or not Josef Haydn was the
first to introduce the minuet into the symphony, it was he undoubtedly
who gave it its peculiar and typical character. The minuet was the
dance of good society, affording opportunity for the display of dignity,
grace, and deportment. We cannot hear those minuets which best reflect
the character of the dance without thinking of powder and hoops; and
now that the manners it suggests have become obsolete, it can only be
humorously reproduced.[33] Haydn did not parody the minuet of his time,
but he divested it of its distinguishing dignity; he took it as it was
danced by the middle-classes, and filled it with national cheerfulness
and good-humour. He represented a certain amount of joviality and
rollicking fun which would have been inadmissible in the _salons_ of the
_noblesse_, and he was inexhaustible in witty suggestions and surprises,
without any taint of vulgarity or carelessness of musical treatment.
This was being popular in the best sense of the word; the spirit was
genuinely national, the form truly artistic; and so the minuet took its
place in the symphony, and kept it. The position given to it in relation
to the longer movements varied in early days; Mozart generally places it
after the andante.
Mozart's first symphonies have only three movements, and it is perhaps
not merely accidentally that the minuet is first introduced in the
symphonies composed at Vienna in 1767 and 1768, but it is sometimes
wanting in later works.
It is interesting to trace in his youthful works Mozart's
{MOZART'S SYMPHONIES.}
(297)
gradual progress in mechanism and practical skill. At first there is
little melodious invention, but a sense of effect and a knowledge
of form always exist, and by degrees the symphonies acquire body and
character. Command of the orchestra makes itself felt by degrees; first
the separate parts become free and independent, a special movement is
given to the second violins by characteristic passages and imitative
treatment, and the basses too gain life and independence; they are
in free imitation for the first time in a Symphony in G major (no K.)
belonging to the year 1771. As development proceeded the subjects became
fuller, and the whole work gained in consistency and substance, although
it still wanted finish and elaboration. The peculiar character of the
string quartet became more and more prominent; for a long time it formed
the nucleus of the symphony, the wind instruments strengthening
the harmonies and emphasising some particular melody, but only very
gradually contributing to effects of light and shade. Oboes and horns,
trumpets too (generally without drums), are combined according to rule,
and gave the orchestra a sharp clear tone, which was then admired;
flutes were employed in movements of a gentle character, usually with
muted stringed instruments. It was not until later that the bassoons
were made independent of the basses, and then they served, like the
tenors, for middle parts. Many and diverse experiments were made in the
employment of new instrumental forces before the various parts of the
orchestra were successfully combined into a self-contained and living
whole.
Nothing whatever is known of Mozart's models in his instrumental music.
We may take for granted that he knew Josef Haydn's symphonies, and
that they were not without some influence on his genius; but few actual
traces of them can be discovered, while his conception of the minuet was
altogether different, and remained peculiarly his own.[34]
{INSTRUMENTAL MUSIC.}
(298)
The jovial humour and the delight in musical drollery which are Haydn's
characteristics are never predominant with Mozart; he preserves
a national tone, truly, but the interest it excites is due to the
ennobling and beautifying spirit which he throws into it. This side of
Mozart's nature appears even in his earlier works, and makes us the more
ready to ascribe any lapse into fun and drollery to the direct influence
of Haydn. The last symphony, in E flat major, which is avowedly
ambitious in conception, betrays undoubted external influence. Both
the minuet and the lengthy and elaborate concluding rondo are decided
imitations of Haydn. The andante is somewhat constrained ami unnatural,
but there is a second and later andante at the close, which is much
simpler.
Mozart's instrumental compositions up to the year 1772 are only
interesting in so far as they show us how gradually and surely he gained
possession of all the means his art could place at his command;[35]
but from this date they begin to acquire an independent interest. It is
remarkable that we possess no symphonies composed by Mozart between 1775
and 1777. Reflecting how carefully all the compositions of this time
have been preserved, it is not probable that any can have been lost by
accident. On the other hand most of the great serenades and concertos
for violin and piano fall within these years; and it is quite possible
that Mozart's growing discontent with his position and the displeasure
of the Archbishop may have caused him to desist
{MOZART'S SYMPHONIES.}
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from writing symphonies which were primarily intended for performance
at court concerts. We have further proof that Mozart wrote no symphonies
during these years in a letter from his father, on September 24, 1778,
where he says: "When a thing does you no credit, it is better that it
should be forgotten. I have sent you none of your symphonies because
I feel sure that when you have come to riper years, and have a clearer
judgment, you will be glad that they are forgotten, even though you may
be satisfied with them now."
Even the more important among the later symphonies are sparing in the
use of means, and precise in form, as indeed they were obliged to be,
considering that several symphonies were performed in one evening.
And yet Mozart writes to his father from Paris (September 11, 1778) that
he could not produce his symphonies there, since they did not suit the
French taste: "We Germans like long pieces, but in truth they are better
short and good." Progress is shown in greater freedom of treatment; the
first movement of a Symphony in D major (202 K.) and the last movement
of the Symphonies in G major (199 K.) and C major (200 K.), all
belonging to 1774, are full of life and vigour. These qualities
presuppose more individuality in the details, the interludes are
developed with more independence, and the loosely connected violin and
violoncello passages disappear altogether. Many of Mozart's special
characteristics exist side by side with turns of expression common to
the time; for instance, the second theme is sometimes an offshoot from
the first, and the introduction of a new subject at the close of the
part often gives a new impetus to the movement.
The Symphonies in G minor (183 K.) and in A major (201 K.) may serve as
very opposite examples of Mozart's works of the kind. The first has a
serious tone from the first subject onwards, the minuet and finale more
especially being almost gloomy in tone, and the andante the same, only
somewhat softened down. The second is full from beginning to end of
cheerful humour and tender grace, and may serve as an example of the way
in which a work of art
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of perfect mechanism and delicate shading may be produced from the
simplest materials.
If the minuets alone of the two symphonies be compared, it will be
acknowledged that an artist who within such confined limits can produce
impressions of delicate wit and humour on the one hand, and of gloomy
discontent and agitation on the other, has a full mastery of the forms
and capabilities of instrumental music.
The symphonies of that time do not, as a rule, attempt to express
passion or tragic emotion. They were, with few exceptions, intended to
promote social enjoyment; consequently their essential characteristics
are animation and brilliancy, or else calm serenity. The composer
concentrated his efforts on the form and mechanism of his composition;
to express deep feeling or the secrets of his own heart would have been
alike impossible to him as an artist and contrary to the spirit of the
time. A sharp line of division was drawn in theory and practice between
human and artistic emotions, and any display of subjective emotion was
discouraged. In the year 1774 "Werther" appeared; the strivings and
conflicts of the time which produced it had their influence on music;
but music had to pass through a longer and more arduous struggle before
attaining to a like freedom of inspiration and expression.
The evident striving of the youthful Mozart to express himself and his
innermost feelings in his music affords a significant indication of his
development as an artist. Life had not taught him the lessons of passion
and disappointment, and his nature was too sound and healthy to attempt
to anticipate or represent emotions which had not touched him; he shows
himself to us as he is.
The symphony was not then, as it is now, the grandest and most
comprehensive form of orchestral music. The first place was given to
the so-called serenata, a name originating in the circumstances of its
composition, and scarcely applied to a fixed or well-defined form. The
serenata was distinguished from the symphony in its narrow sense by
greater variety and wealth of ideas and treatment. Several instruments
are often grouped together in different combinations,
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and solo instruments are variously employed; also the number of separate
movements often reaches as many as eight.
For the arrangement and manipulation of the movements the perfected
forms of the symphony are employed, but with numerous modifications.
Serenades were introduced and sometimes also concluded by a march
(39, K.). This was concise in form and simple in treatment, very often
without even a trio; it was generally lively and cheerful. The detached
marches by Mozart which are preserved were doubtless intended for
introductions to serenades; they were often transferred from one to
another, and so were written separately.
The minuet is almost invariably inserted between each andante and
allegro, and therefore occurs two or three times in the symphony. The
omission of all the other forms of dance music, so amply represented
in the suite, is a proof that this form of instrumental music was not
intended for practical use, at least in this juxtaposition. Variations
were sometimes made in the character of the minuets by changes in
the instrumentation, more especially in the trio. Several trios were
frequently given to one minuet with appropriate instrumentation, making
use of obbligato violins (185, 203, 204, 250, K.), flutes (204 K.),
trumpets (250 K.), and sometimes the stringed instruments alone (100,
250, K.).
A grand allegro in two parts, as a commencement, and an allegro or
presto at the close, sometimes introduced by a short adagio, form the
main substance of the serenade as well as of the symphony, and the
movements are similarly treated. The slow movement between them is in
its turn between two minuets (62 K.), and there are sometimes two
slow movements, each with a minuet appertaining to them (99 K.), and
characterised by varied instrumentation. As time went on, an allegro was
inserted between the two slow movements, which, however, was rendered
distinct from the two principal quick movements by its lighter colouring
and tone; the instruments, too, are grouped with more diversity. For
instance (185 K.), the oboe and horn are employed obbligato in the first
andante and the
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following allegro, and in the second andante flutes are combined with
the stringed instruments.