THERE can be no reason to doubt what has often been asserted and
maintained with proof, that Mozart was the greatest pianoforte-player
of his time. Although, however, the fame of a virtuoso among his
contemporaries is more brilliant and universal than that of a composer,
yet posterity can form but a vague idea of the performances which were
so enchanting to the hearers. It is impossible to give an accurate
or very intelligible account of Mozart's playing, but it will not be
without interest to note such of its characteristic features as are
still within our grasp.
"He had small, well-shaped hands," says Niemetschek (p. 66), "and moved
them so gently and naturally over the keys, that the eyes of his hearers
were charmed no less than their ears." Like most pianoforte-players, his
hands used involuntarily to assume the position they would have had in
playing. The notice in Schlichtegroll's "Nekrolog" even observes that
constant practising had rendered his hands awkward in ordinary use, and
that it was only with extreme difficulty that he could cut up his meat
at table!
"It was wonderful that he could do so much with them, particularly in
left-hand stretches. A great deal of his perfection must be ascribed to
the admirable fingering, which according to his own acknowledgment he
owed to a diligent study of Bach's works."[1] Mozart certainly appears
to have played Bach's clavier music from a very early age (in his
{MOZART'S PIANOFORTE MUSIC.}
(442)
letters to Breitkopf the father frequently orders Bach's last
compositions); and once at a party at Doles', when the conversation
fell upon Bach's playing, Mozart declared: "He is the father; we are the
lads. Those of us who can do anything owe it to him; and whoever does
not admit that is a ------."[2]
Mozart's criticisms on the playing of Nanette Stein (Vol. I., p.
361) and Vogler (Vol. I., p. 387) prove the value he attached to good
fingering as the foundation of firm and expressive execution. It is
well known that Ph. Em. Bach's[3] practical development of his father's
principles[4] laid the foundation of the present system of the art of
fingering, and it is equally certain that Mozart, and with and after
him Clementi, were the first to tread in the path so marked out.[5] He
insisted mainly that the player should have a "quiet, steady hand," the
natural ease, flexibility, and smooth rapidity of which should be so
cultivated that the passages should "flow like oil" (Vol. I., p. 361);
he did not counsel the practice of _tours de force_ which might be
prejudicial to these qualities. His first requirements were the delivery
of "every note, turn, &c., correctly and decidedly, and with appropriate
expression and taste" (Vol. I., p. 387). He cautions players against
over-rapidity of execution, not only of passages where the harmony is
strictly connected, but also of those where offences against strict time
seem more allowable. He was strongly opposed to violations of time.[6]He
believed (Vol. I.,
{MOZART AS A VIRTUOSO.}
(443)
p. 361) that Nanette Stein would never acquire the power of playing in
time, because she had not been accustomed to it from childhood. His own
playing always excited admiration from his accurate time, never giving
way to a _tempo rubato_ in the left hand, while at the same time playing
with perfect expression and deep feeling--and without making grimaces,
to which he had a great aversion (Vol. I., p. 361).
He placed correctness first in the list of qualities essential to
first-rate playing, and included among them ease and certainty in the
execution of unusual technical difficulties, delicacy and good taste in
delivery, and, above all, that power of breathing life and emotion into
the music and of so expressing its meaning as to place the performer for
the moment on a level with the creator of the work before him. We
must be content to accept the enthusiastic testimony of the public, of
connoisseurs, and of accomplished fellow-artists,[7] who all agreed
that Mozart indisputably ranked highest among virtuosi, by virtue of his
fulfilment of all these conditions.[8] When we find Clementi declaring
that he never heard any one play so intellectually and gracefully as
Mozart, Dittersdorf finding art and fine taste united in his playing,
and Haydn asserting with tears in his eyes that he could never forget
Mozart's playing, because it came "from the heart" (Vol. II., p. 350),
the simple expressions of such men are more eloquent than the most
emphatic hyperbole.
The union in Mozart of the virtuoso and the composer caused his
performances as a virtuoso to be more directly influenced by his
compositions than was usually the case. His pianoforte compositions
have left us only an imperfect image of these combined accomplishments,
partly because
{MOZART'S PIANOFORTE MUSIC.}
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the living breath of genius cannot be reproduced, partly because the
greater number of these works were written under the influence of
external circumstances, which denied free scope both to the composer and
the performer.[9]
Variations upon a well-known theme were at that time a favourite form of
improvisation, so much so that varying and improvising were terms often
used synonymously.[10] It is easy to understand the interest which
even a less educated public took in this form. A simple theme, either
familiar or of a kind to be easily understood, gives the hearers
something to be laid hold of, and it amuses them to recognise and
follow the air in its manifold disguises. The regular development and
elaboration of a motif, obliging constant attention from the hearers in
order to trace the connection of its different parts, was not expected
in these fashionable variations. What was looked for was such a
prominence given to some characteristic elements of the subject (whether
in the harmonic succession, in the rhythm or the melody) as should serve
constantly to suggest it to the mind, while affording a basis for a free
play of musical fancy. Such variations on a given subject may be in
some measure compared with arabesque and similar ornamentations in
architecture, which display complex and fantastic varieties of animal
and vegetable forms, but behind their apparent irregularities maintain a
constant reference to the constructive design.
Mozart never cultivated any other than this easy style of variation; and
we find a contemporary critic expressing the wish that he would write,
"not only these florid variations, but others in the style of the
two Bachs, with scientific inversions and imitations, and in
counterpoint."[11] But amateurs were fond of the easier form, and he
found frequent occasion to write variations for his pupils or other
friends. He did not care about them himself, and took no pains to have
them published. But finding favour with
{PIANOFORTE VARIATIONS.}
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the public, they were eagerly sought after and published,[12] often with
many inaccuracies; nor were all genuine that appeared under the name of
Mozart.[13] The following variations belong to the Vienna period, and
probably to the year 1784:
1. "Unser dummer Pöbel," from Gluck's "Pilgrims of Mecca" (Vol. II., p.
285, 455 K.)
2. "Come un agnello," from Sarti's "Fra Due Litiganti" (Vol. II., p. 345,
460 K.).
In 1785 were composed:--
3. September 12 (500 K.)
4. Duet, November 4 (501 K.)
Then follow:--
5. "Upon a Minuet by Dupont," composed April 9, 1789 (573 K.)
6. "Ein Weib ist das herrlichste Ding," from the second part of the "Two
Antonios," by Schikaneder, composed March 8, 1791 (613 K.)
The following were announced in 1785, but some of them certainly belong
to an earlier date:[14]--
{MOZART'S PIANOFORTE MUSIC.}
(446)
7. "Lison dormoit" (264 K.).
8. "La Belle Françoise" (353 K.).
9. "Salve tu Domine," from Paesiello's "Eingebildete Philosoph" (398
K.).
10. "La Bergère Silimène," with violin (359 K.).
11. "Hèlas, j'ai perdu mon amant," with violin (360 K.).
In 1786:--
12. "Marche des Manages Samnites," by Grétry (352 K.).
In 1787:--
13. "Ah, vous dirais-je maman?" (265 K.).
In all these, even the more pretentious of them, there is no appearance
of a higher object than passing amusement, secured by means of the
contrast of the different variations in time and measure, major and
minor, prominence of the right hand or the left, with all of which
devices we are now so over-familiar. It never occurred to Mozart to give
a deeper meaning to his variations by the grouping of the movements, nor
still less to torture a simple theme into all sorts of fantastic forms.
He confined himself to a tasteful embellishment of the subject; harmonic
and contrapuntal treatment was not altogether absent, but it was little
more than suggested as a sort of seasoning to the music. In many of
the earlier variations mechanical difficulties are brought into the
foreground. Certain favourite difficulties, such as the passing over of
the hands, long shakes or chains of shakes in one hand, while the other
has the subject, were always to be found; passages which now offer
neither novelty nor difficulty display nevertheless, upon closer
inspection, both elegance and originality. The equal use made of the
two hands is worthy of remark; a considerable amount of execution in the
left hand is presupposed in these as in most of Mozart's compositions.
In the later variations (3, 5, 6, 17) there is little or no bravura. The
theme is easily and gracefully treated; and no attempt is made to invest
with undue dignity what is merely a light and passing expression of
fancy. As one of the most interesting and successful compositions of
this kind may be mentioned the four-handed variations (4), which are
both graceful and amusing.
{SHORT PIANOFORTE PIECES.}
(447)
Sometimes variations form a component part (the middle or last movement)
of a sonata, either with[15] or without accompaniment (284, 331, K.).
This has caused no essential difference in their treatment; they
are neither wider in conception nor freer in execution, nor are they
connected by intermediate passages so as to form one whole--a device
often and successfully employed by Haydn and Beethoven.
Mozart's original themes are, for the most part, fresher and more
graceful than those he has borrowed. The accompanied sonatas give
greater scope for originality by the multiplication of the parts; and
very often the simple enunciation of the theme by one of the parts
allows a better defined expression of free contrapuntal treatment to
be given to it by the other parts. But, as we have said, these
modifications are unimportant; the form of the variation is here, as
elsewhere, simply light and entertaining.[16]
Various short pianoforte pieces, for particular occasions and persons,
were written during Mozart's Vienna period, as, for instance, the three
rondos:--
1. In D major, composed January 10, 1786 (485 K.).
2. In F major, composed June 10, 1786 (494 K.).[17]
3. In A minor, composed March 11, 1787 (511 K.).[18]
The two in F and D major are easy of comprehension and
execution--cheerful, but not striking music; the latter is peculiar in
that the oft-repeated theme recurs in different keys, thus necessitating
changing modulations in the episodes.[19] The third, in A minor, is very
original and beautiful.[20] The theme is somewhat piquant in its rhythm
and harmonic treatment, and suggestive of a national melody--
{MOZART'S PIANOFORTE MUSIC.}
(448)
a mode of characterisation not often used either by Mozart or Beethoven.
Its original modifications cause fresh surprise each time that it
recurs. The second theme, effective by contrast with the first, is in
itself both fine and expressive, and gives occasion for much appropriate
and interesting treatment. The short middle movement, in A major, is
lighter in style, but accords well with the chief theme, and leads
back to it by a striking modulation. The whole piece is original
in character; and the tone of melancholy which runs through it and
constantly asserts itself forms a most attractive contrast to the
restless movement of some of its parts.
The short Adagio in B minor (540 K.) (composed March 9, 1788) is also
very beautiful, serious and even sad in tone, and otherwise interesting
by reason of its harmonic inflections. Although this piece is written in
perfectly regular form, in two parts with a coda, it reminds us in its
whole style of an improvisation. This is still more the case with the
so-called fantasias. It has already been remarked that preludes or
fantasias were often prefixed as introductions to various kinds of
compositions, either in the form of free improvisations or elaborate
pieces that could be used on different occasions. A fantasia of this
kind, prefixed to the beautiful fugue in C major, has already (Vol. II.,
p. 391) been noticed.
Mozart sent to his sister from Paris (July 20,1778) a short prelude,
"not a prelude to lead from one key to another, but a sort of capriccio,
to try the clavier," leaving the style of playing to her own judgment.
"She received it at four o'clock," writes the father (August 13, 1778),
"and at five, when I came home, she said she had thought of something,
and if I liked it, she would write it down. She then began to play the
prelude by heart. I rubbed my eyes and said: 'Where the deuce did you
get that idea?' She laughed and drew your letter from her pocket." This
is, no doubt, the unpublished prelude in C major (395 K.) which was in
the possession of Mozart's sister. The essential character of this, as
of the prelude in C minor (396 K.), is modulatory. There is no delivery
of a regular melody, or working out of a definite motif, but the whole
consists of varied and
{FANTASIAS.}
(449)
skilfully grouped passages and arpeggios, keeping both hands in equal
activity, and displaying an abundance of rapid and often curious and
striking changes of harmony. But even in this apparently unfettered
straying through harmonies we cannot fail to be aware of organisation
in the succession of the modulations, in the connection of the passages,
and in the whole conception. The C major is in several detached
contrasting movements, the C minor is founded on the definite form of a
two-part sonata movement, but very freely treated.
The fantasia in D minor(337 K.-->(397 K. DW)) is of somewhat different
design, in so far that the melodic element is more prominent, but at
first only in oft-repeated phrases, which are continually prevented from
developing into a perfect cantilene by the occurrence of a contrasting
motif, or the outbreak of a quick stormy passage. The character of a
gradual concentration of force is very clearly expressed. The tender and
graceful theme which is at last allowed to assume its due proportions,
can, however, be in no way considered as the proper result of such
a preparation; it is not worked out, but first interrupted, and then
brought to a rapid but not a satisfying conclusion, so maintaining the
character of the piece as an announcement of something greater which was
to come.
The well-known fantasia in C minor (475 K.), Mozart's performance of
which so surprised Jos. Frank (Vol. II., p. 279),[21] is better worked
out, and in every respect a more important work. Five movements, in
various keys and tempos, are closely bound together into a whole by
connecting passages or harmonic inflections. Each movement, though not
completely separate, has yet a certain independence, with melodies of
its own rounded into a simple song-like form; there is no attempt at the
elaboration, or even the full development, of a motif, but everything
presses onwards, each section leading as of necessity to the next, which
is intended to form a lively contrast to what has preceded it. In spite
of the
{MOZART'S PIANOFORTE MUSIC.}
(450)
predominance of a slow tempo, the whole work has a restless character,
and the recurrence at the end of the serious and sustained commencement
leads only to a provisional and unsatisfying conclusion. Here again,
the essence of the fantasia is modulatory. The changes of harmony are
frequent--often bar by bar--rapid and striking; the passages and even
the melodies are so constructed as to lend themselves to this method.
In spite of its length the fantasia preserves the character of an
introduction, though not of necessity to the sonata with which it is
printed. The mood which is so distinctly expressed in the two first
bars of the adagio is preserved throughout the fantasia; it is a sad and
sorrowful mood of doubting and questioning, of struggling and striving,
of longing for deliverance from a heavy burden, for freedom from doubt
and care; disheartened by failure, unrefreshed by consolation, it sinks
at last into itself, and is heard no more. But there is no hopeless
despair, no cynical irony in this music. It is expressive throughout
of the composure of a man who even in combat never loses command over
himself. The boldness of its harmonies, and the consistency of its tone
were of unusual significance at the time of its composition. It is much
to be regretted that the letter concerning it, which Mozart addressed to
Frau von Trattnern (Vol. II., p. 279), has not been preserved.[22]
Above and beyond such detached movements as these, the form of
pianoforte composition chiefly cultivated by Mozart was the sonata,
either with or without the accompaniment of one or more instruments.[23]
The foundation of the sonata proper, and of the definite form in which
the chief movement of the sonata, at least, was cast--was laid by
Kuhnau and Dom. Scarlatti, the latter of whom brought his extraordinary
technical knowledge to bear with effect on the treatment and style of
pianoforte music. From the middle of the last century the piano as
a solo instrument has been increasing in favour, especially among
amateurs, and it
{THE PIANOFORTE SONATA.}
(451)
naturally followed that this species of composition should be cultivated
with corresponding attention. Ph. Em. Bach and his disciple Jos. Haydn
fixed the form of the sonata in all essential respects, and by the
intrinsic worth of their compositions, and the charm of their execution,
brought the germ of perfection therein contained to the point of vital
development. To them succeeded Mozart, carrying on their work in his own
original manner.
It has already been demonstrated (Vol. I., p. 292) that the clavier
sonata in its free development forms the basis of independent
instrumental composition, and that every advance in the one direction
acts favourably in the other; it will suffice here, therefore, to touch
briefly on the main points of this species of composition.
The sonata now signifies a composition for a solo instrument, consisting
of several movements, differing in time, measure, and key, but
sufficiently allied in design and grouping to form a coherent whole. In
its earlier stage two movements often composed a sonata, but afterwards
three or four became the rule. One of the movements is in slow time, and
forms the appropriate expression of a calm, serious, or tender mood.
It soon became usual to place this movement in the middle, with the
instinctive feeling that a composed and self-concentrated mood ought
to succeeed to a demonstrative or passionate one. If the more animated
movement were preceded by the slow one, the latter would lose its
independent character, and become a mere introduction to the former.
The second of the lively movements served as a conclusion, and was
invariably cheerful, sometimes even merry in tone. The music being
principally intended for social entertainment, was so constructed as to
leave a pleasant, cheerful impression. When a fourth movement was added
it was generally in the same tone, and sometimes preceded, but more
often followed, the slow movement. During his Vienna period Mozart's
sonatas, both solo and accompanied, have but three movements, while his
symphonies, quintets, and quartets are always furnished with minuets.
The three movements of the sonata have only gradually
{MOZART'S PIANOFORTE MUSIC.}
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assumed their present form. One of Mozart's earlier sonatas, in A major
(331 K), consists of an andante with variations, a minuet, and rondo;
another, in D major (284 K.), has a middle movement, consisting of a
rondo _en polonaise_, followed by a theme with variations. Afterwards,
however, he adhered to the regular sonata form, with the first movement
as its most characteristic part, forming the point of departure for
the development of all modern instrumental music. It has already been
remarked that the essential elements of the sonata movement consist
in the treatment of the principal motif in the first part, and in its
working out in the second.
The contrapuntal elaboration of a theme in strict form was the
groundwork of the first part, and was followed by the characteristic
treatment of well-defined motifs, side by side with a free use of
figures and passages. An important point was the delivery of a second
theme, independent of the first and sharply distinguished from it.
This was always in the dominant of the principal major key (C major--G
major), or in the relative major of the principal minor key (C minor--E
flat major). These are the two main pillars of the movement. Their
further development, their connection by means of interludes, and the
conclusion of the part, are not further hampered by rule, except that
the part must close in the dominant. The province of the second part
was the working out of one or more motifs employed in the first part,
or altogether new. The treatment was either mainly harmonic or mainly
thematic, and had for its object the organic development of the given
elements, the enhancing of the interest, and the effective return to the
first part. Upon this elaboration, and leading back to the first theme,
were concentrated all the power and genius of the master. The repetition
of the first part entailed many modifications, partly because the second
theme was obliged to appear in the principal key in which the movement
closed; it allowed also of alterations in grouping the different
phrases, of amplifications or curtailments, and especially of such a
long-drawn climax at the close as should almost entitle the repeated
second part to be considered as a third part.
{MOZART'S SONATAS.}
(453)
Mozart found these elements ready to hand, and gave them the stamp of
his own individual nature. In his hands the second subject, distinctly
enunciated, became not only an independent but a counter-subject rising
in characteristic relief from the body of the part. But his originality
is principally displayed in the formation of the themes. Their
predominant characteristic is songlike melody, which Nägeli (Vorlesungen
üh. Musik, p. 156), with a mistaken view of the nature of instrumental
music, considered to be the degradation and ruin of pianoforte-playing.
With truer judgment Mozart has followed the injunctions of Ph. Em. Bach,
and after him Haydn, and has striven to write melodiously. Mozart's
musical training was founded on song--and his inclinations led him to
song--in a greater degree than was the case with his two predecessors.
When once' the pianoforte composer had renounced the severe polyphonic
method--when once he had come to regard his theme not as material for
pedantic elaboration, but as a free melody capable of giving expression
to his artistic perceptions, then song became the point of departure
for all his melodies. A transference to the instrument of the forms
expressly constructed for the voice was impracticable; they could only
be employed by analogy, in conformity with the nature of the instrument.
Mozart never employed the form of the Italian cantilene in his
pianoforte compositions, nor in his instrumental works generally; a
glance at his Italian operas will show the difference in the treatment
of the melodies. Wherever a comparison of instrumental with vocal works
is possible, it must be made with the German operas, especially with the
"Zauberflöte." In his instrumental works Mozart gave his emotions their
natural expression without binding himself to any such set forms as
those of Italian opera; with equal freedom he treated song in his German
operas as the immediate outcome of his feelings. The developed forms
of German instrumental music suggested this treatment. The essential
conditions of a beautiful melody, founded on the relations of intervals,
rhythm and harmonies, were perfectly fulfilled in Mozart's pianoforte
compositions. Each melody is complete, uniform and full of his own charm
of grace and
{MOZART'S PIANOFORTE MUSIC.}
(454)
euphony. The delivery of such melodies must have given special
prominence to those qualities in Mozart's playing which Haydn declared
came from his heart; we are sometimes surprised in the concertos, for
instance, to find the chief effect depending on a long, simply sustained
melody, which he must have played in masterly fashion. This songlike
and expressive treatment of the separate melodies was accompanied by an
extraordinary wealth of melody. Instead of the connecting phrases
which generally led out of the principal motif or were formed by free
passages, Mozart introduced new melodies. This was made an occasion
of reproach to him, as Dittersdorf says ("Selbstbiographie," p. 237):
"Mozart is unquestionably a great original genius, and I know of no
composer who possesses such an astonishing wealth of ideas. I only wish
he were a little less prodigal of them. He gives his hearers no time to
breathe; as soon as one beautiful idea is grasped, it is succeeded by
another and a finer one, which drives the first from the mind; and so
it goes on, until at the end not one of these beauties remains in
the memory." We shall certainly not echo this complaint of Mozart's
prodigality of ideas; but it cannot be denied that though the formation
of independent melodies is an important and necessary step in advance,
it does not reach the last stage of development. Mozart's melodies are
not strung together without connection, both external and internal; but,
in the shorter sonatas especially, where they are not worked out, they
strike us as the indicated points in a design wanting as yet the detail
of which it is capable.[24]
The gain was important in two respects. The close juxtaposition of
melodies excluded, or greatly limited, the employment of connecting
passages without sense or meaning. Of these Mozart makes comparatively
little use. He used figures and passages chiefly as ornaments, and
not as independent members of the movement. But where this form of
transition seemed inevitable, he used it without ceremony, just as in
architecture supports are worked into the artistic design,
{SONATAS.}
(455)
without any disguise of their structional importance. We may instance
the broad and expressive treatment of his closes and half-closes,
which are now so striking as to appear to many a special peculiarity of
Mozart's style. This, however, they are not; they were then in general
use, and proceeded from the desire to maintain the key with firmness and
decision.
The greater freedom of modern music in this respect, and the
substitution of graceful and original transition phrases for dry
commonplaces is an undoubted progress. Mozart's transition phrases
were, however, often elegant and interesting, as may be proved from a
reference to his returns to the theme in the second parts, and to the
varied development which he gives to the simple ground form of the organ
point.
The second respect in which Mozart's method was a gain to music was in
the clearness which it gave to his designs.
This clearness is an inseparable adjunct of Mozart's art; by means of
it the main points of his structure were as clearly defined as an
architectural ground-plan, and became the supports for elaboration and
development. Mozart himself was far from exhausting the resources of
the method which he founded; others have followed in his footsteps, and
Beethoven, his intellectual heir, has displayed all the depth and wealth
of that which he has inherited.
In the choice and arrangement of his melodies Mozart invariably
displays delicate taste and discrimination. He is particularly happy in
surprising his hearers with a new melody when they least expect it--at
the close of the first theme, for instance, which generally brings with
it a certain sense of satisfied completeness. But his most inimitable
effect is produced when, just as the movement is drawing to a close, a
perfect melody starts up in all its charm of fresh sweetness, reviving
the interest of the hearers, and often giving an entirely new turn to
the whole. As a striking example,
I may remind my readers of the first movement of the Symphony in C major
(551 K.). Who has not been charmed again and again by the last melody,
which, like a shining meteor, sheds light and cheerfulness around?
Similar, though not perhaps equally brilliant, effects are of constant
occurrence; they have not been achieved, have scarcely even
{MOZART'S PIANOFORTE MUSIC.}
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been attempted by any other musician. On the other hand, however,
the partiality with which Mozart has treated the close and other less
prominent points of his movements has been prejudicial to the so-called
second subject; this is usually the weakest part. It should have a
light and tender character, in contrast to the principal subject; it is
frequently, however, insignificant in comparison to the other motifs,
and gives the impression of having been neglected.
The further development of the fundamental scheme was accomplished by
means not of the insertion of phrases connecting its principal members,
but of the thematic treatment of these members themselves. Mozart's
study of Bach and Handel led him in this direction, as was particularly
shown in his later pianoforte works; an interesting example is afforded
by the two movements in the Allegro and Andante in F major (553 K.),
which are throughout in counterpoint. This work must not be considered
as a relapse into the strict forms of counterpoint, such as the
canon and the fugue, but as the free development of the laws to which
polyphonic and contrapuntal forms are alike subject. Instrumental and
especially pianoforte music, freed from the fetters of strict form,
was in danger of advancing exclusively in the direction of homophonie
development, and so becoming insipid. It is Mozart's merit to have
brought polyphonic and thematic treatment, modified according to the
altered character of the music and the nature of the instrument, to its
freest and most beautiful expression. This is particularly noticeable in
the "working-out" divisions of the movements, on which the main emphasis
must necessarily fall, and which can only attain their full significance
by means of this treatment. Mozart does not indeed develop them in
length and breadth as Beethoven does, but he makes them, even when they
are so condensed as to appear mere transition movements, the culminating
point of the whole movement, the concentration of all its force and
action. The mode of treatment is as free as the choice of subject; but
the effect generally depends upon a thematic treatment which is often
very artistically designed and woven together.
Not that the harmonic element is neglected--the boldest
{SONATAS.}
(457)
and most original modulations occur in the very places where close
examination discloses the thematic as the vivifying element, the
true impulse of the work. This free and intellectual treatment of the
polyphonic method was distasteful to many of Mozart's contemporaries,
who only accepted the traditional forms of counterpoint. Thus, a critic
expresses himself as follows concerning the E flat sonata for violin and
piano (481 K.):--
The pleasing style of this sonata by Herr M. will cause it to find
favour with all lovers of the art. It is to be wished, however, that
Herr M. would attach himself less closely to the passing taste of the
day; his works would thereby gain a more universal and lasting worth.
That Herr Mozart is not wanting either in the knowledge of harmony or
the wealth of imagination which would enable him to offer us stronger
meats is sufficiently vouched for by this and many other of his
well-known works.
The same critic considered the working-out movement far too long:--
Although musical science has no actual rule in such cases, yet a
difference of three pages is out of all reason.[25]
The slow middle movement and the last movement have not the accurate and
well-defined form of the first. Two essentially easier forms are mainly
employed, with many modifications, namely, variations and the rondo.
The slow movement is, as a rule, founded upon the song form, and is
therefore often designed in two parts; but the design is only very
seldom developed as broadly and fully as in the first movement;
the repetition of the theme more than once, with the then customary
additions and embellishments,[26] led naturally to the adoption of
variations. But in every case the first requirement was the composition
of a movement melodious in form and substance, and owing its expression
not to its connection with any other, but to its own intrinsic
{MOZART S PIANOFORTE MUSIC.}
(458)
feeling. The tone of sentiment then existing was favourable to the
production of just such movements, and they therefore undoubtedly belong
to Mozart's finest creations. These simple and expressive melodies,
exquisitely formed and firmly handled, full of warm and deep emotion or
of sentimental tenderness, seem to be the precious legacy of the time to
which we also owe the purest strains of our lyric poetry. The calm with
which they are for the most part permeated expresses in a rare degree
the enjoyment and satisfaction of artistic activity. The very ease with
which these movements are constructed, by means of the development
of the main idea of variations on it and of freely treated and often
contrasting secondary parts, shows how freely and naturally they
proceeded from the heart of the musician. As an instance of detail we
need only mention the delicacy and grace with which Mozart leads up
to the conclusion, and leaves his hearers with a parting impression of
perfect satisfaction.
The last movements are not by any means of equal merit with the other
two. A large majority are in the easy rondo or variation form. The
incredible ease with which Mozart poured forth melodies is more than
ever apparent in these movements, but they are often loosely strung
together without development, and sometimes trivial in character. The
original intention of the movement, of enlivening the audience by a
cheerful dance or something similar, is generally kept in view; the tone
is one of more or less excited merriment, without depth or true humour.
Mozart's enjoyment of dances, games, and jests of all kinds found
expression in such performances as these. Their purity and grace of form
shows however that, like a true artist, he lifts every manifestation
of his nature into a higher sphere. Many of his last movements form
exceptions to what has been said above, both by reason of their stricter
form and of their more elevated tone.
The list of sonatas for pianoforte alone which Mozart composed in Vienna
is not a very long one.[27] Of the first which appeared--
{SONATAS--DUETS.}
(459)
Three sonatas, Op. 6 (330-332, K.), in C, A, F major.
Three sonatas, Op. 7 (333, 284, K.), dedicated to the Countess Therese
Cobenzl, in B flat and C major; the third is with the violin (454 K.)--
some must certainly have been composed earlier; then follow:--
C minor, composed October 14, 1784 (457 K.), with the fantasia (475 K.)
published in 1785 as Op. 11.
F major, composed January 3, 1788, in two movements (533 K.).
"A Short Pianoforte Sonata for Beginners," in C major (545 K.), composed
June, 1788.
B flat major, "for pianoforte alone," composed February, 1789 (570 K.).
B flat major (_D major--DW_) composed July, 1789 (576 K.).
Most, if not all, of these appear to have been composed for special
occasions. The most important is unquestionably the celebrated one in C
minor, the fire and passion of which, especially in the last movement,
surpass all previous efforts, and point to what Beethoven was to achieve
in the piano-forte sonata. The second, in B flat major, is pleasing and
gay; the working out of the first movement is free and full. The third,
in D major, is easy and cheerful, with more passages than usual.
Three four-handed sonatas[29] are also preserved:--
D major, composed November, 1781, for Aurnhammer's Soirée (381 K.).
F major, composed August 1,1786 (497 K.).
C major, composed May 29, 1787 (521 K.).
Pianoforte music for two performers was then far from having attained
the popularity which it now possesses, especially among amateurs. Those
who wished to play for the sake of playing, and to give full effect
to their performance, would not readily shackle themselves with a
fellow-performer, and lose their absolute sway over the instrument.
Duets were considered an exceptional kind of amusement, not without
its peculiar charm. This charm consisted in the richer elaboration of
material which they allowed, and in such a division and alternation of
the parts as should set the
{MOZART'S PIANOFORTE MUSIC.}
(460)
two players in competition. Mozart, who excelled in this kind of
treatment, often employed it, and even transfers entire cantilene with
their accompaniments to the bass part, not always, as Marx rightly
observes ("Lehre von der Musikalischen Composition," III., p. 601), with
a good sound effect. Of the two great sonatas, that in F major is by
far the most striking; the emphasis is not here laid upon the
first movement. The adagio, and still more the rondo, are specially
interesting from their beautiful motifs and the seriousness--even to
grandeur--of their treatment. The other Sonata in C major is not trivial
in conception, but depends more upon brilliant execution, and leaves a
cheerful, pleasant impression.
Compositions for two pianofortes were more popular, as affording more
scope for display to the performer, but the inconvenience attending
their performance has prevented the cultivation of this branch of
composition. It appears at one time to have been a favourite one with
Mozart, owing, no doubt, to some special circumstances. The Fugue in C
minor (426 K., Vol. II., p. 392) was composed on December 29,1783, and
the Sonata in D major (448 K.) at the beginning of 1784; the latter is
a capital bravura piece for the time at which it was written, effective
even now, and interesting from the interweaving of the two parts. The
first movement is the best, the working-out forcible and effective,
though not elaborate; the andante is somewhat tedious, owing to the
repetition of the entire first part. Several commencements now among the
sketches in the Salzburg Mozarteum fall within this perio.d. A second
fugue, in G major (45 Anh. K.), has already been noticed (Vol. II.,
p.388); the commencements of an Allegro in C minor (44 Anh. K.) and of
an Adagio in D minor (35 Anh. K.) are so grand and forcible as to cause
regret that they were not continued; a last movement in B flat major (43
Anh. K.) is calmer and more cheerful in character. It is remarkable how
these few bars confirm the observation that the choice of a minor key
was with Mozart an invariable sign of a special effort of his productive
powers.
The sonatas with violin accompaniment composed by Mozart in Vienna were
few in number. The first collection
{SONATAS FOR PIANOFORTE AND VIOLIN.}
(461)
which appeared in November, 1781 (Vol. II., p. 187), Six Sonatas, Op. 2
(376, 296, 377-380, K.), in F, C, F, B flat, G, E flat major, comprise
some sonatas written at an earlier date--those in C and B flat major
undoubtedly were, both upon external and internal evidence. That they
were all intended for one collection is evidenced by the differences in
their designs, probably for the sake of variety. Thus, the Sonata in
C major begins with an elaborate Adagio leading into the Allegro in G
minor (in depth of feeling these are the finest movements in the set);
the last movement is in variations. In the Sonata in F major, variations
are placed in the middle, and the last movement is a tempo di minuetto,
treated rondo fashion. The first movement is especially prominent in the
Sonatas in F major and E flat major. A Sonata in C major begun in 1782,
"Pour ma très chère épouse" (404 K.), is unfinished. The fragment of a
Sonata in A major, with an introductory Andante, followed by a Fugue
in A minor (402 K.), only half worked-out, and completed by Stadler,
belongs unquestionably to the period of Mozart's intercourse with Van
Swieten. These were followed by:--
B flat major, composed April 21,1784, for Strinasacchi (Vol. II., p.
336), (454 K.).
E flat major, composed December 12, 1785 (481 K.).
A major, composed August 24, 1787 (525 K.).
F major, "Short Violin Sonata for Beginners," composed July 10, 1788
(547 K.).
The greater number of these were composed for pupils. The majority
of amateur pianists were then ladies, and it was usual for them to be
accompanied on the violin by their teachers or other friends; this
kind of music found favour also in social reunions.[30] It follows,
therefore, that these sonatas have no great depth of passion or
scholarly treatment, but are well supplied with beautiful melodies and
startling harmonic inflections, and are made interesting, sometimes even
brilliant, to please the performers. A notice of the first six sonatas
soon after their appearance says:--[31]
{MOZART'S PIANOFORTE MUSIC.}
(462)
These sonatas are unique of their kind; rich in new ideas and signs
of the genius of their author, very brilliant and well suited to the
instrument. Besides this, the violin accompaniment is so artistically
combined with the pianoforte part that both instruments are kept in
constant activity, and the sonatas require a violin-player of equal
skill with the pianist. But it is impossible to give a full description
of this very original work. The connoisseur must play it through for
himself, and he will then be ready to acknowledge that we have not
exaggerated its merits.
It appears from this that the violin part was usually treated as
subordinate, exclusively intended for accompaniment; but not so with
Mozart: his violin parts are completely independent, on an equality with
the piano, and composed with special reference to the idiosyncrasies
of the instrument. Indeed, the whole design of these sonatas avoids any
interweaving of the parts, which are generally in strict counterpoint;
even the simple form of imitation is comparatively seldom employed;
the parts relieve one another, exchange melodies and passages, or move
freely together. If, however, we compare the violin part so skilfully
added to the Sonata in B flat major (570 K.), we shall find that it is
no essential part of the design, but an evident addition; while in the
violin sonatas proper, simple as the violin part may be, it cannot be
subtracted without injury. The principal charm of these sonatas lies in
the rich development of their harmonies. In this respect, too, the later
sonatas are, as usual, superior to the earlier. With the exception of
the short sonata for beginners (547 K.), that in E flat major (481 K.)
is the easiest, but it is remarkably clear and pretty. The working-out
of the first movement is formed by the delicate harmonising of the
favourite subject already known to us (Vol. I., p. 259)--[See Page
Image]
which recurs free in the second part, and is therefore judiciously used
to bring the whole movement to a close. In the B flat major sonata also
(454 K.) the interest of the working-out is essentially harmonic; the
return to the first subject is as striking to those who hear it now as
it could have
{PIANOFORTE TRIOS.}
(463)
been to Mozart's contemporaries. There are many similar touches which
suffice to convince us how great an effect of novelty and boldness these
sonatas must have produced. The first place must again be accorded to
the slow middle movements by reason of their beautiful melodies, in
the steady flow of which the art of not merely beginning well, but of
maintaining the interest, and knowing where to leave off, may be admired
and studied. In all of them a delicate and tasteful accompaniment, a
rich and bold harmonic treatment--I need only mention the effective
enharmonic changes in the andante of the B flat major sonata (454 K.),
and in the adagio of the E flat major (481 K.)--give to the simple
outlines a delicate warmth of colour. Each of these movements is fine of
its kind, but the andante of the Sonata in A major (526 K.) is specially
attractive from the earnestness of its tone.
In the same class may be reckoned the trios, or, as Mozart called them,
terzets for piano, violin, and violoncello, which were also principally
intended for the social circle of amateurs. Their composition for
special occasions may be inferred from the fact that they all five fall
within the summer and autumn of 1786 and 1788:--
G major, composed July 8, 1786 (496 K.).[32]
B flat major, composed November 18, 1786 (502 K.).
E major, composed June 22, 1788 (542 K.).[33]
C major, composed July 14, 1788 (548 K.).
G major, composed October 27, 1788 (564 K.).
In June of the latter year Mozart asked his friend Puchberg if he did
not intend to give a musical party soon, for he had written a new trio.
This was the trio in E major; and a later distinct mention of a trio
written for Puchberg probably refers to the same. There can at least
be no question as to the superiority of this trio in design and
originality, as well as in the effective treatment of the instruments.
The first movement is full of fire and energy, the imitative working-out
of the second subject being
{MOZART'S PIANOFORTE MUSIC.}
(464)
wonderfully heightened in effect by a bold harmonic inflection. The
second movement, with something of the character of a national melody,
is fresh and charming, and has rhythmic and harmonic points which give
it a piquancy altogether modern. The last movement, though not devoid of
expression and delicacy, is inferior in vital energy to the first,
and seems somewhat too long, perhaps because an exclusive attention to
brilliancy loses its effect upon hearers of our day. External influences
account for the fact that the succession of the trios is not in
accordance with their merit and importance. The two last are inferior
not only to that just mentioned, but also to the two first. In these, as
usual, the middle movements stand highest; in the first movement of the
trio in B flat major (2) there is no new second subject, but the first
is employed again with some modification; the second part, therefore,
opens with an entirely new and independent melody. The trio in C
major (548 K.) is very easy, and seems to have been intended for some
particular person. The last (564 K.) was first written by Mozart as
a sonata for pianoforte alone. When he had occasion to add the two
stringed instruments, he had the original composition copied, added the
violin and violoncello parts, and altered what had to be altered for the
piano. The original sonata may be easily traced, except here and there,
where the alterations have gone deeper, and the different instruments,
except in the variations, have little independence. In contrast with the
emancipation of the violin part in the violin sonatas, the violoncello
part of the trios is always in the background. It is treated as a
bass instrument, and only exceptionally leads the melody or takes
an independent part; of bravura it has little or none, and thus the
original effects of which the combined instruments are capable seldom
occur. One remarkable instance of such an effect, however, is in the
last movement of the first trio (496 K.) at the passage in G minor,
where the violin repeats four times the melancholy bar--[See Page Image]
and then slides on to the G, while the violoncello carries out
{TRIO FOR PIANOFORTE, CLARINET, AND VIOLA.}
(465)
an expressive bass passage in crotchets, and the piano in two parts
moves above both instruments in quavers; an effect of sound and motif
which has often been laid claim to in recent days as something new and
original. An insurmountable obstacle to the fuller development of
the trio (in which Beethoven later put forth all his creative powers)
consisted in the want of good violoncellists among the musical circles
for whom Mozart composed these works.
A trio in E flat major, for pianoforte, clarinet, and viola (498 K.),
composed on August 5, 1786, for Franziska von Jacquin, is very original
(Vol. II., p. 278). The unusual combination of instruments necessitated
unusual treatment. The viola is not a bass instrument, and is only
available for middle parts, so that the usual violoncello part could
not be given to it; this necessitated an altogether original design and
execution, and a dependence for effect upon a peculiarly light colouring
and transparent clearness. The viola, whether accompanying or leading
the melody, is treated throughout with special partiality, and has even
a certain amount of bravura. Mozart was fond of taking the viola himself
in his later years, and Franziska von Jacquin was an excellent pianiste,
so that we can understand his providing himself with a good part to
perform with his friends. The deeper tones of the clarinet are not
used, out of consideration to the viola; its full liquid tones are
particularly well adapted for the delivery of the melody. The plan of
the movements deviates from the ordinary course. The first is not an
Allegro, but an Andante 6-8 (signifying formerly a moderately agitated
tempo) which is played straight through with no repetition of the first
part. It is in three tolerably equal divisions, in each of which the two
beautiful subjects are enlarged upon in an easy but attractive manner,
the first of them especially--[See Page Image]
being scarcely ever lost sight of; the movement ends with a short coda.
The second movement is a minuet, the only one of the kind in Mozart's
pianoforte pieces, serious and
{MOZART'S PIANOFORTE MUSIC.}
(466)
broad in tone, somewhat elaborated in the trio, the motif of which is
taken up in the coda; on the whole, a fine and characteristic movement.
The concluding rondo is full of pretty melodies and brilliant passages,
and the different parts are delicately and independently treated.
A relatively much higher rank than that of the majority of the trios is
taken by the two quartets for pianoforte, violin, viola and violoncello,
of which the first, in G minor (478 K.), was composed on October 19,
1785; the second, in E flat major, on June 3, 1786 (493 K.). They are,
suitably to their enlarged resources, grander and broader in design, the
motifs are fuller, and thematic treatment comes to the foreground. The
details of the work are developed from within, and are made subservient
to the plan-of the whole. Notwithstanding, therefore, their more
elaborate treatment, the mode of expression is more definite, the
contents weightier, the expression more forcible and clearer.
The inclination of the present day, since Beethoven has raised chamber
music both in substance and form to a hitherto unapproachable height,
is to make beauty of form[34] predominate over force and depth of original
expression; it will be instructive, therefore, to cast a glance over a
criticism by Rochlitz, written in the year 1800:[35]--
In these compositions, written for a select and limited circle, the
spirit of the artist is displayed after a rare and singular manner, with
the grandeur and sublimity of an appearance from another world; there
are moments, it is true, of melting sadness or cheerful humour, but they
are only moments, and the composer breaks forth again in the greatness,
even fierceness, of his strength, or writhes in bitter sorrow--the
struggle ending, as it were, only in victory or death. That this may not
be taken for mere empty raving, let any one hear, well-executed--(which
can only be by persons who possess, together with the requisite skill,
both a heart and an understanding for music)--Mozart's quartet for
pianoforte, violin, viola and violoncello, in E flat major. Let it be
heard, studied, and then heard again.
{QUARTETS.}
(467)
As an illustration of passionate feeling, amounting even to harshness in
the force of its expression, we should rather quote the first movement
of the quartet in G minor. The following account from Vienna of "the
latest musical novelties at grand concerts," written in 1788, will give
some idea of the reception which these quartets met with on their first
appearance, and of the difficulties they presented to contemporary
performers:[36]--
The favourite pianoforte composer among lady amateurs is Kozeluch,
but Pleyel is beginning to be a dangerous rival to him. Pleyel's music
contains humour and more of original invention than Kozeluch's, although
the latter possesses elegance, regularity of form, and a certain flow
of ideas. Mozart is at present residing in Vienna as imperial
kapellmeister. He is considered as a remarkable man by every philosophic
lover of music. His genius was precocious, and he both composed and
played in his eleventh year (even earlier) to the admiration of all who
heard him. But what is truly remarkable is that this precocious child
should have blossomed into maturity as an accomplished musician. We know
the usual rapid course of such a prodigy by sad experience! We look in
vain for its fruits, for its stability. Not so with Mozart! But now
a few words on a curious phenomenon which he (or his celebrity) has
brought to pass. A short time ago appeared a solitary quartet (for
piano, violin, viola, and violoncello), very artistically arranged,
requiring extreme accuracy of delivery in all the four parts, but even
under the most favourable circumstances not likely to please any but
musical connoisseurs in a _musica di camera_. The report, "Mozart has
written a new and very remarkable quartet, and such or such a princess
possesses it and plays it!" was soon spread abroad, excited curiosity,
and caused the indiscretion of the production of this original
composition at a grand noisy concert. Many pieces can sustain their
reputation even under a mediocre performance; but this work of Mozart's
in the hands of indifferent amateurs, carelessly rendered, is simply
unendurable. It was so performed innumerable times last winter; at
almost every place which I visited I was taken to a concert, and there
entered a town-bred miss, or some other conceited amateur, to play this
quartet to the noisy company who pretended to find it the _goût_. But
it gave no real pleasure; every one gaped with _ennui_ at the long
_tintamarre_ of four instruments who did not keep together for four
bars, and whose contradictory _concentu_ gave no impression of unity of
sentiment. The obstinacy with which it was forced down everywhere was
indescribable. It is not enough to stigmatise this folly as an ephemeral
_manie du jour_ for
{MOZART'S PIANOFORTE MUSIC.}
(463)
it lasted throughout a whole winter, and (as far as I can learn) is
still only too often repeated. What a contrast if this masterpiece were
to be performed by four skilful musicians, in a quiet room where the
listening ear might catch the suspension of every note, in the presence
of only two or three attentive listeners! But this would give no
opportunity for display or the applause of the vulgar.[37]
The quintet in E flat major (452 K.) for pianoforte, oboe, clarinet,
horn, and bassoon is a composition of peculiarly charming effect; it was
composed by Mozart on March 30, 1784, for a concert which he gave in
the theatre, and, being excellently performed, was received with great
applause. He himself considered it, as he tells his father (Vol. II.,
p. 287), to be the best thing he had ever written, and he selected it to
play before Paesiello (Vol. II., p. 279). It must not be judged from the
various arrangements which have been made of it; it is accurately and
exclusively fitted for the instruments for which it was written. The
sound effects produced by the well-considered combinations of the wind
instruments are of surprising beauty, and the pianoforte maintains its
ground against its melodious rivals by means of its power of quicker
motion. The whole work is clear and easy in each of its multitudinous
details, and from beginning to end it is a true triumph of the art
of recognising and adapting the peculiar euphonious quality of each
instrument. This harmony of sound, combined with a somewhat strongly
accentuated harmonic treatment, constitutes the principal charm of the
work, which is not rich in thematic invention. Here and there Italian
echoes are heard in the melodies, but the German style predominates, as
it does in the quartets previously noticed.[38] Beethoven is known to
have emulated this work of Mozart's in his quintet (Op. 16); in no other
of his works, perhaps, does he so plainly appear to have set a
{PIANOFORTE CONCERTOS.}
(469)
pattern before him for imitation; for once he has not succeeded in
surpassing it.[39]
The pianoforte concertos, of which Mozart wrote seventeen in Vienna,
must be considered from a somewhat different point of view.[40] They are
as follows:--
F major, composed end of 1782 A major, composed early in 1783 C major,
composed early in 1783
Op. 4
(413 K., part 12). (414 K., part 10). (415 K., part 3).
E flat major, composed February 9, 1784, Op. 23 (449 K., part 14).
B flat major, composed March 15, 1784, Op. 67 (450 K., part 14).
D major, composed March 22, 1784, Op. 18 (451 K., part 13).
G major, composed April 12, 1784, Op. 15 (453 K., part 9).
B flat major, composed September 30, 1784, Op. 21 (456 K., part 11).
F major, composed December 11, 1784, Op. 44 (459 K., part 10).
D minor, composed February ro, 1785, Op. 54 (466 K., part 8).
C major, composed March 9, 1785, Op. 82, 6 (467 K., part 1).
E flat major, composed December 16,1785, Op. 82, 4 (482 K., part 6).
A major, composed March 2, 1786, Op. 82, 5 (488 K., part 2).
C minor, composed March 2, 1786, Op. 82, 5 (491 K., part 7).
C major, composed December 4, 1786, Op. 82, 1 (503 K., part 16).
D major, composed February 4, 1788, Op. 46 (537 K., part 20),
"Kronungsconcert."
B flat major, composed January 5, 1791, Op. 82, 2 (595 K., part 15).
The greater number of these were composed between 1783 and 1786, when
Mozart played much at concerts, and were intended for his own use; some
of them also for that of others (Vol. II., p. 294).[41] This accounts
for their great diversity of character and design. Of the three first
which were intended to come before the public together (Vol. II., p.
293),
{MOZART'S PIANOFORTE MUSIC.}
(470)
Mozart wrote to his father, while still at work upon them (December 23,
1782):--
The concertos are a happy medium between too easy and too difficult;
they are very brilliant, pleasing to the ear, without, of course,
being empty. Here and there are places which appeal exclusively to
connoisseurs, but even ignoramuses will be pleased with them without
knowing why.
It is plain that he knew what he intended. Of the later concertos he
writes (May 24, 1784):--
I cannot make a choice between the two concertos in B flat and D
(450, 451, K.). I consider them both tough morsels for the performers
(_Concerte die schwitzen Machen_): but the one in B flat is more
difficult than the one in D. I am very curious to hear which of the
three concertos in B flat, D, and G major (453 K.) you and my sister
like best; that in E flat does not belong to them, being quite peculiar
of its kind, and written for a small rather than a large orchestra. So
that we have only to do with the three concertos, and I am curious to
find whether your opinion agrees with the universal one here, and with
my own. They ought, it is true, to be heard with all the parts, and well
played.
The emphasis which Mozart laid on the orchestra is very noticeable.
The essential merit and originality of his concertos consists in his
combination of the orchestra and the solo instrument into a whole,
by means of the co-operation of all their separate and independent
elements.[42] The prominence given to the orchestra (which, it must
be remembered, owed to Mozart its richer composition, both of wind and
stringed instruments) in those larger portions of the work where it
occurs independent of the piano, as in the tutti of the ritornelli,
gives a symphonic character to the concertos. Even in those places
where the pianoforte asserts itself as the solo instrument the orchestra
participates so directly in the course of the pianoforte part as to
form a not disjointed whole; in fact, the concertos have been aptly
designated as symphonies with a part for the pianoforte.[43] Mozart's
art of blending the tone-colouring of the orchestra, which drew
{PIANOFORTE CONCERTOS.}
(471)
tears from his old father at the hearing of one of his new pianoforte
concertos, shows his delicate sense of euphony and accurate knowledge
of instrumental effects. The pianoforte, with its comparative want of
sustained tone, is at a disadvantage even with solo stringed or wind
instruments, far more so with a combination of them. This was still more
the case at that time, in consequence of the defective mechanism of the
instrument; and both art and ingenuity were required to make it at all
effective. When, after an elaborate ritomello, which has given a sense
of fulness and satisfaction to the hearers, the pianoforte enters,
Mozart aims at producing such a contrast, either by means of extreme
simplicity or of a brilliant pianoforte passage, as shall gain over
the listener to the peculiar charm of the new element, and excite his
attention, which is then kept up by the competition of the rival forces.
The composer has no intention of confining the orchestra within the
narrow limits of a modest accompaniment (for in that case why should
he have appointed it so fully?); he means it to put forth its whole
strength, as well as to support and raise the pianoforte part. An
inexhaustible succession of fine effects is thus produced. The delivery
by the orchestra of the melody in sustained chords supports, as it were,
the tendrils thrown out by the pianoforte, and gives a firm basis for
figures and passages containing bold harmonic successions: But while it
thus seems subservient to the solo instrument, the intensive strength
and the tender fragrance of its sound effects are made to form
an admirable contrast to the light and brilliant versatility, the
sharpness, and clearness of the pianoforte. It seems scarcely necessary
to illustrate by an example the universal characteristics of the
species, but I may instance the wonderfully fine andante of the Concerto
in C major (467 K.) Here the orchestral part is rich in striking
harmonic detail, and in fine and original sound effects, which so
completely enchant and satisfy the ear as scarcely to allow of a climax.
In contrast to this we have a surprisingly simple pianoforte part,
displaying the distinctive properties of the instrument without effort
or difficulty, and hovering, as it were, like a higher spiritual element
over the
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orchestral accompaniment, with which it is nevertheless inseparably
connected. Even Beethoven (who made a profound study of Mozart's
pianoforte concertos) cannot be said to have surpassed him in
this combination from within of different instrumental forces. The
superiority of his great pianoforte concertos rests upon other grounds.
It must not be supposed, however, that Mozart had no higher qualities
than a finely cultivated sense for the blending of tone colours. The
invention, elaboration and distribution of the motifs were governed by
the nature of the resources at his command; these had to be taken into
account in the first sketch of the work, that so justice might be done
them in its completed form; the germ must contain the capacity for
development under the most varied conditions. There is scarcely
one instance in the concertos of an important motif confided to the
orchestra or the pianoforte alone; they are all shared in common. But
when a subject is broadly and elaborately treated by the orchestra,
it is naturally kept in the background by the pianoforte, while other
motifs, merely announced by the orchestra, are rendered with their full
effect and embellishments by the solo instrument. This competition of
the two forces is most evident in the alternating effects given to the
working-out of the different subjects, but even in the brilliant figures
and passages the orchestra appears like a well-proportioned edifice,
decked with a profusion of arabesque-like ornament by the pianoforte.
Thus the charm of these concertos, most rightly so called, depends upon
the active co-operation of the contrasted elements, by means of which
the whole work is richly and brilliantly grouped, as a picture is
grouped by a judicious disposition of light and shade.
The division of the concertos into three movements, as well as the
formation of the movements after the analogy of the sonata, were found
ready to hand, and only further developed by Mozart. The first and
principal movement contains the essential ingredients of the sonata
form, namely, a second well-defined subject, and the working-out
division but it is freer, and, owing to its improved resources, more
fully appointed. A distinct first part with a repetition does not
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exist; in its place there appears the first ritornello, with the
solo movement belonging to it. The principal subjects, with their
working-out, are shared between the orchestra and the piano; but the
solo is no mere repetition of the orchestral part; it differs both
in the grouping and treatment of the subjects, and leads up to an
inevitable climax. A short ritornello brings this section to a close,
and introduces the working-out part, equally shared between the
pianoforte and orchestra. The severer forms of counterpoint are only
sparingly used, the harmonic element being the main support of an
animated figure treatment; the polyphonic and homophonie manner are
so blended throughout as to display the principal subjects from
ever-varying points of view, and to keep the interest alive and active
from first to last. This middle movement, on which as usual the main
interest is concentrated, leads back to the principal key and the
introductory ritornello. The latter is generally shortened, and the
first part is not literally repeated, but undergoes modifications in
arrangement and elaboration. The conclusion is formed by the customary
cadenza, which might also be introduced at other pauses, but was
invariable here. It gave opportunity for a free improvisation,
consisting of brilliant passages wrought into a sort of capriccio with
the addition of an elaborate variation on one of the subjects, or
of several subjects so condensed as to form a _resume_ of the whole
movement.[44] The cadenza thus forms the concluding coda of the
pianoforte part, and the orchestra brings the movement to an end in
similar fashion by a more or less elaborate ritornello. In this way the
first movements of the concertos are developed out of the general sonata
form, with such a regard to the relative claims of the orchestra and the
pianoforte as serves to distinguish them from corresponding movements of
the quartet and the symphony.
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The two other movements are altogether simpler in design and execution.
The slow movement is in song-form, its working out sometimes that of a
rondo, sometimes varied, but always simple and clear, and abounding
in charming detail. Here again Mozart has displayed a fund of deep
and noble sentiment in its purest form, and the fantastic and romantic
elements, mingled with a dreamy resignation, and an earnest endeavour
after the expression of individual feeling, are more apparent in these
movements than in any other of his compositions. Startling harmonic
progressions, scattered touches of piquancy contrasting with vague
sentimentality, and rhythmical whimsicalities, give all the greater
charm that they in no way interfere with simplicity of conception or
purity of form. I need only adduce by way of illustration the simple and
beautiful romanze of the Concerto in G major (453 K.), or the pleasing
and highly original Siciliana of the Concerto in A major (488 K.).
The andante of the C major concerto already mentioned is, however,
incomparably the finest (467 K.). The emotion is so pure and lofty that
the sorrowful impulses which prompt it, harshly expressed though they
may be in places, such as the following--[See Page Image]
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penetrate the music like memories of a long since vanquished grief
that has no more power to trouble the pure serenity of a mind which has
mounted from resignation to holy joy. This example, among many others,
should teach us that beauty does not consist in the mere rejection of
all that is harsh or keen, but in the maturity of the conception which
gives birth to the work, and in the harmony of the conditions under
which it is represented. Such fruits as these can only be offered by an
artist who has discovered the true secret of life.
The last movement of the concertos is always the easiest; it is
generally in rondo form, sometimes in variations, lively and cheerful
in tone; its predominant 2-4 time preserves its original character of
a dance; or sometimes it is in 6-8 time, after the fashion of a hunting
song, as in the rondo of the Concerto in B flat major (450 K.)
which closes in a long crescendo with a regular hunting flourish of
trumpets.[45] On the whole these last movements are more
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interesting than those of the other pianoforte compositions, and full of
graceful, even humorous, passages, of which the last movement of the
C minor Concerto (491 K.) may serve as an illustration. The peculiar
harmonic treatment gives the subject a character entirely its own, and
a new transition at the close invests it with a surprising charm. The
Concerto in D minor also (466 K.) confirms the oft-repeated observation
that Mozart's compositions in the minor keys are his deepest and most
important, for its last movement is distinguished above all others by
its fire and intensity of expression.[46] On the other hand, the middle
movements of these two symphonies (in E flat and B flat major), although
not wanting in grace, are inferior to their other two movements in force
and passion. It is true that the andante of the C minor symphony was
encored cm its first performance (Vol. II., p. 288), but the effect it
made depended not so much on its melodies, charming as they are, as on
the obbligato treatment of the wind instruments, which was an entire
novelty at that time.
There can be no doubt that Mozart's concertos afford the best standard
for our judgment of him as a pianoforte composer. The majority of them,
written for himself in his best days, take the highest rank among his
works. The first three (413-415 K.) intended for large audiences are,
as Mozart rightly indicates, light in character; so is the Concerto in E
flat major (449 K.), written for Fräulein Ployer, and the Concerto in
B flat major, probably intended for Fraulein Paradies (456 K.); next to
these may be placed the Concertos in D major (451 K.) and F major (459
K). They are all distinct in their main characteristics; some, such as
those in B flat major (450 K.), G major (453 K.), A major (414, 488 K.),
are cheerful and graceful; others, as the D minor (466 K.) and C
minor (491 K.), are passionately agitated; others again, serious and
self-contained, as the E flat major (452 K.)
FOOTNOTES OF CHAPTER XXXIII.
[Footnote 1: Cf. A. M. Z., I., p. 157.]
[Footnote 2: So Rochlitz says (Für Freunde der Tonk., IV., p. 309), and the
expression sounds very like Mozart. But when he speaks of a visit paid
by Mozart to Bach in Hamburg, shortly before he went to Leipzig (1789),
he forgets that Bach died in 1788, and Mozart was never in Hamburg.]
[Footnote 3: His "Versuch über die wahre Art das Klavier zu spielen" appeared
first in the year 1752; his numerous and widely known pianoforte
compositions aim principally at the enforcing of practical principles.]
[Footnote 4: An account of J. S. Bach's scientific method is given by Forkel
(Ueb. J. S. Bach, p. 11); a notice of the system of fingering formerly
in use will be found in Becker (Hausmusik in Deutschland, p. 58).]
[Footnote 5: A. E. Müller, in his "Anweisung zum genauen Vortrag der Mozartschen
Klavierkonzerte" (Leipzig, 1796), has applied the principles of Bach's
fingering to the more difficult passages of five concertos of Mozart.]
[Footnote 6: "Nothing made Mozart so angry as the maltreatment of his operas
in public performances, principally by exaggerating the rate of the
tempos," says Rochlitz (A. M. Z., I., p. 84).]
[Footnote 7: "It was his greatest and oft-lamented grievance," says Rochlitz (A.
M. Z., I., p. 49), "that he was generally expected to perform mechanical
juggling tricks and tight-rope antics on the instrument, which it amused
people to _see_."]
[Footnote 8: "Mozart is the most finished and best pianoforte-player that I have
ever heard," writes a correspondent from Vienna in 1787 (Cramer, Mag. f.
Mus., II., p. 1273). "Never shall I forget the divine pleasure afforded
me," says Rochlitz (A. M. Z., I., p. 113), "partly by the spirituality
of his compositions, partly by the brilliancy, as well as the
heart-melting tenderness of his execution." (Cf. I., p. 387).]
[Footnote 9: Frz. Lorenz, W. A. Mozart als Clavier-Componist (Breslau, 1866); a
fine description, rich in characteristic traits.]
[Footnote 10: Cf. Vol. I., pp. 177, 200, 285.]
[Footnote 11: Mus. Real-Ztg., 1788, p. 49.]
[Footnote 12: In 1785 Torricella announced "Neueste Fantasie-Variationen von
Mozart," as follows: "The eagerness with which the works of this famous
master are everywhere looked for, and the certainty with which they
command the esteem of the connoisseur by their art and elegance, and
touch the hearts of all by their tender melodiousness, have induced me
to publish these very beautiful variations for the benefit of the most
fastidious lovers of music, to whom I offer a new work calculated to do
honour to its author. I shall endeavour from time to time to place all
the remaining variations of this admirable master in the hands of an
appreciative public." Fräulein Aurnhammer supervised the publishing of
several of Mozart's variations (Cramer, Magaz. d. Mus., II., p. 1274).]
[Footnote 13: The variations on a theme by Dittersdorf (287 Anh., K.) are by
Eberl, according to his assertion in the Hamburg Correspondent (July 25,
1798, No. 118, Beil ), and his are also the variations so often printed
under Mozart's name on the theme, "Zu Steffen sprach im Traume" (288
Anh., K.). The variations on a theme from Sarti's "I Finti Eredi" (289
Anh., K.) are by Forster. Mozart's widow, in letters to Hartel (May
25, June 15, 1799), appealed to well-informed friends to support her
assertion that the variations "Une fièvre brûlante" (285 Anh., K.),
whose genuineness had already been doubted by Siebigke (Mozart, p. 68),
were not by Mozart, and she is undoubtedly right. 54 K. (after 547 K.)
and 137 Anh., K. (after 581 K.) are arrangements.]
[Footnote 14: The following should certainly be placed earlier: 14, 15 (24,
25 K), composed in his ninth year. 16 (179 K.), on Fischer's minuet,
composed in 1774 (Vol. I., p. 323). 17. "Mio caro Adone," from
Salieri's "Fiera di Venezia" (180 K.). 18. "Je suis Lindor,"from
Beaumarchais'"Barbier" (354 K.). The two latter were published in
Paris (Vol. II., p. 70). In July, 1781, Mozart mentions three airs with
variations, without specifying them more exactly.]
[Footnote 15: In the sonatas for piano and violin (377, 379, 481 K.), and in the
trios (496, 564 K. I.]
[Footnote 16: Compare the remarks by Marx on Mozart's variations (Lehre von der
Musik. Kompos., III., p. 84).]
[Footnote 17: It has been arbitrarily but not altogether unsuitably combined into
one sonata with two other movements, composed on January 8, 1788 (533
K.).]
[Footnote 18: The second Rondo in F major (616 K.) was originally written for a
musical box.]
[Footnote 19: Cf. Widmann, Formenlehre, p. 111.]
[Footnote 20: This Rondo is analysed by Marx (Lehre v. d. Mus. Kompos., III., p.
150).]
[Footnote 21: It was composed May 20,1785, and published by Mozart, together with
the sonata in C minor (457 K.), as Op. 11.]
[Footnote 22: A poetical exposition of this fantasia is given by Kanne (Wien.
Mus. Ztg., 1821, p. 386).]
[Footnote 23: Cf. Im. Faiszt, Beiträge zur Geschichte der Klaviersonate bis C. P.
Em. Bach (Cäcilia, XXV., pp. 129, 201; XXVI., pp. 1, 73).]
[Footnote 24: Cf. the excellent remarks by Marx (Lehre von der Musik. Kompos.,
III., p. 588), and for a more profound criticism (Ibid., III., p. 215).]
[Footnote 25: Musik. Real-Ztg., 1788, p. 50.]
[Footnote 26: Ph. E. Bach says in the preface to his six sonatas for the piano
with altered repetitions (Berlin, 1759): "The alteration at the repeat
is in the present day indispensable. It is expected from every performer
that he should change every idea in repetition, without any allowance
being made for the construction of the piece or the ability of the
performer."]
[Footnote 27: An analysis of them is given by Kanne (Wien. Mus. Ztg., 1821, Nos.
3-8, 19-30, 44-50). Cf. Lorenz, Deutsche Mus. Ztg., 1861, p. 321.]
[Footnote 29: The variations for four hands in G major (Oeuvr., VIII., 3) have
already been noticed (Vol. II., p. 446).]
[Footnote 30: Cf. the account iû C. Pichler's Denkwürdigkeiten, I., p. 90.]
[Footnote 31: Cramer, Magaz. d. Musik, I., p. 485.]
[Footnote 32: Notes and alterations have been inserted by Mozart in red ink.]
[Footnote 33: The finale is extant in a second and unfinished arrangement.]
[Footnote 34: By way of example I may remind the reader of the tender, yearning,
almost dreamlike impression made by the wonderful harmonic progression
in the larghetto of the Quartet in E flat major.]
[Footnote 35: A. M. Z., III., p. 27.]
[Footnote 36: Journal des Luxus und der Moden, 1788, p. 230.]
[Footnote 37: Forkel, who otherwise takes no notice of Mozart, says of this
article that it is evident that the author is a dilettante, without any
knowledge of art, and therefore only capable of judging from outward
appearances (Musik. Alman., 1789, p. 119).]
[Footnote 38: A second quintet for piano, oboe, clarinet, basset-horn, and
bassoon, was only commenced by Mozart (54 Anh., K.).]
[Footnote 39: A kind of legend has grown up among reminiscence hunters, to
the effect that the few and unimportant motifs which recall Mozart,
especially in the second movement, were introduced by Beethoven as a
homage to Mozart. A comparison of the two quintets is given after his
fashion by Lenz (Beethoven, III., p. 160).]
[Footnote 40: The most complete collection of Mozart's concertos in score,
agreeing with Breitkopf and Hartel's issue of the parts, is that
published in Paris by Richault; the collection begun in Offenbach by
André is not finished.]
[Footnote 41: Sketches of pianoforte concertos (56-61 Anh., K.) bear further
testimony to Mozart's lively interest in this species of composition. A
Concerto Rondo in A major belonging to October 19, 1782, is completed,
with the exception of some gaps in the instrumentation (386 K.).]
[Footnote 42: This is with justice emphasised by Rochlitz (A. M. Z., III., p.
28). Nägeli also testifies how Mozart "broke new ground for orchestral
compositions with his pianoforte concertos" (Vorles., p. 159).]
[Footnote 43: Siebigke, Mozart, p. 69.]
[Footnote 44: A collection of cadenzas to several concertos (175, 271,414, 435,
449, 451, 453, 456, 459, 488, 537, 595 K.) is preserved, and partially
published (624 K.). They appear to have been written down by Mozart for
pupils; they are neither difficult nor elaborate, and certainly give no
idea of his improvised cadenzas. Beethoven wrote cadenzas of his own to
the D minor concerto (466 K.) (Wien. Modeztg., 1836, Beil., 10. Werke,
70, 11, 12).]
[Footnote 45: The last movement of the Concerto in F major (433 K.) is a
rondo-like "Tempo di menuetto," after the old style (Vol. I. p. 325),
similar to one in a violin sonata (377 K.).]
[Footnote 46: The sketch of the beginning of a rondo first intended for this
concerto is prefixed to the Offenbach score of the Concerto in B
flat major (450 K.). Mozart rightly gave the preference to the very
dissimilar fiery theme of the present rondo.]
End of Project Gutenberg's Life Of Mozart, Vol. 2 (of 3), by Otto Jahn