Read Ebook: Life of Mozart Vol. 3 (of 3) by Jahn Otto Grove George Commentator Townsend Pauline D Translator

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Duets and trios for stringed instruments were naturally held in less esteem than string quartets. Mozart composed in Vienna , for some unspecified occasion, a trio for violin, viola, and violoncello, in ? flat major , which consists of six movements, after the manner of a divertimento--allegro, adagio, minuet, andante with variations, minuet, rondo. The omission of the one instrument increases the difficulty of composing a piece full in sound and characteristic in movement, more than could have been imagined; the invention and skill of the composer are taxed to the utmost. It is evident that this only gave the work an additional charm to Mozart. Each of the six movements is broadly designed and carried out with equal care and devotion, making this trio unquestionably one of Mozart's finest works. No one performer is preferred before the other, but each, if he does his duty, may distinguish himself in his own province. With wonderful discrimination, too, every technical device is employed which can give an impulse to any happy original idea. How beautifully, for instance, is the simple violoncello passage which ushers in the adagio--

transformed into the emphatic one for the violin--

coined in due time, with climacteric effect, by the viola and violoncello. The violin-jumps in the same adagio--

are effective only in their proper position; and all the resources at command are made subservient to the art which is to produce the living work.

The variations demand special attention. The theme is suggestive of a national melody, and its effect is heightened by the different treatment of each part when repeated, which also gives fulness and variety to the variations. Each of these is artistically worked out in detail and of distinctly individual character; the last is especially remarkable, in which the viola, to a very lively figure, carries out the theme in its simplest enunciation as a true Cantus firmus. The whole impression is one of freshness and beauty of conception, elevated and enlivened by the difficulties which offered themselves. Nothing more charming can be imagined than the first trio of the second minuet; its tender purity charms us like that of a flower gleaming through the grass.

Haydn seems to have made no use of the increased resources offered by the quintet, although other musicians--Boccherini, for instance--cultivated this branch. It would appear to have been for some particular occasions that Mozart composed four great string quintets, in which he followed the track laid out in the first quartets. Two were composed in the spring of 1787, after his return from Prague--

C major, composed April 19, 1787 .

G major, composed May 16, 1787 .--

the other two--

D major, composed December, 1790 .

E flat major, composed April 12, 1791 .--

at short intervals, "at the earnest solicitation of a musical friend," as the publisher's announcement declares.

Mozart doubles the viola--not like Boccherini in his 155 quintets, the violoncello--whereby little alteration in tone, colour, or structure is effected. The doubling of the violoncello gives it a predominance which its very charm of tone

renders all the more dangerous: whereas the strengthening of the less strongly accentuated middle parts by the addition of a viola gives freer scope for a lengthy composition. The additional instrument gives increase of freedom in the formation of melodies and their harmonic development, but it also lays on the composer the obligation of providing independent occupation for the enlarged parts. A chief consideration is the grouping of the parts in their numerous possible combinations. The first viola corresponds to the first violin as leader of melodies, while the second viola leaves the violoncello greater freedom of action; these parts share the melodies in twos or threes, either alternately or in imitative interweaving; the division of a motif as question and answer among different instruments is especially facilitated thereby. Again, two divisions may be placed in effective contrast, the violins being supported by a viola, or the violas by the violoncello. But the device first used by Haydn in his quartets, of giving two parts in octaves, is perhaps the most effective in the quintets, a threefold augmentation being even employed in the trio of the E flat major quintet . Finally, it is easier to strengthen the violoncello by the viola here than it is in the quartet. It is not that all these resources are out of reach for the quartet, but that they find freer and fuller scope in the quintet. The effect of the quintet is not massive; it rests on the characteristic movement of the individual parts, and demands greater freedom in order that this movement of manifold and differing forces may be well ordered and instinct with living power. The increased forces require greater space for their activity, if only on account of the increased mass of sound. If the middle parts are to move freely without pressing on each other, the outer parts must be farther apart, and this has a decided influence on the melodies and the sound effects, the general impression becoming more forcible and brilliant. The dimensions must also be increased in other directions. A theme, to be divided among five parts, and a working-out which is to give each of them fair play, must be planned from the first. The original motif of the first Allegro of the C major quintet --

The motif of the first movement of the E flat major quintet --

is precisely rendered. But it is the germ whence the whole movement is to spring; all beyond itself is suggested by this motif, and is important only in relation thereto. The unfettered cheerfulness which runs through the whole of the movement is expressed in these few bars, given by the violas like a call to the merry chase. The opening of the C major quintet prepares us in an equally decided manner for what is to follow. The decision and thoughtfulness which form the ground-tone of the whole movement, in spite of its lively agitation, are calmly and clearly expressed in the first few bars.

The G minor quintet begins very differently, with a complete melody of eight bars, repeated in a different key. Few

instrumental compositions express a mood of passionate excitement with such energy as this G minor quintet. We feel our pity stirred in the first movement by a pain which moans, sighs, weeps; is conscious in its ravings only of itself, refuses to take note of anything but itself, and finds its only consolation in unreasoning outbreaks of emotion, until it ends exhausted by the struggle. But the struggle begins anew in the minuet, and now there is mingled with it a feeling of defiant resentment, showing that there is some healthy force still remaining; in the second part a memory of happy times involuntarily breaks in, but is overcome by the present pain; then the trio bursts forth irresistibly, as if by a higher power, proclaiming the blessed certainty that happiness is still to be attained. One of those apparently obvious touches, requiring nevertheless the piercing glance of true genius, occurs when, after closing the minuet in the most sorrowful minor accents--

Mozart introduces the trio with the same inflection in the major--

and proceeds to carry it out in such a manner that only a whispered longing may be detected underlying the gently dying sounds of peace. This turn of expression decides the further course of the development. The next movement, "Adagio ma non troppo, con sordini," gives us an insight into a mind deeply wounded, tormented with self-questionings; earnest reflection, doubt, resolve, outbreaks of smothered pain alternate with each other, until a yearning

cry for comfort arises, tempered by the confident hope of an answer to its appeal; and so the movement ends in the calm of a joyful peace instead of, as the first, in the silence of exhaustion. The conquered pain breaks out again in the introduction to the last movement, but its sting is broken--it dies away to make room for another feeling. The new ?motion is not merely resignation, but joy--the passionate consciousness of bliss, just as inspired, just as restlessly excited as the previous pain. But the exultant dithyramb has not the same engrossing interest for the hearers; man is readier to sympathise with the sorrows of others than with their joys, although he would rather bear his sorrow alone than his joy. This complete change of mood may well excite a suspicion of fickleness, but it is not the less true that the anguish of the first movement, and the exultation of the last, belong to one and the same nature, and are rendered with absolute truth of artistic expression.

The main characteristics of the other quintets are calmer

and more cheerful, but they are not altogether wanting in energetic expression of passion. The sharper characterisation made necessary by the division of the music among a greater number of instruments was only possible by means of the agitation and restless movement of the parts, even when the tone of the whole was quiet and contained. We find therefore various sharp or even harsh details giving zest to the whole--such, for instance, as the use of the minor ninth and the comparatively frequent successions of ninths in a circle of fifths; and the quintets have apparently been a mine of wealth to later composers, who have made exaggerated use of these dangerous stimulants. Greater freedom of motion stands in close connection with the better defined characterisation of the quintets. Polyphony is their vital element; the forms of counterpoint became more appropriate as the number of parts increased. The finales to the Quintets in D and E flat Major showed that Mozart was able to make use of the very strictest forms upon occasion. Both movements begin in innocent light-heartedness, but severe musical combinations are developed out of the airy play of fancy; ideas which have only been, as it were, suggested are taken up and worked out, severe forms alternate with laxer ones--one leads to the other naturally and fluently, and sometimes they are both made use of at the same time. The disposition of the parts is free, without any preconceived or definitive form, and its many delicate details of taste and originality give an individual charm to each separate part. The homophonie style of composition is not altogether disregarded for the polyphonic, but it is never made the determining element. Even a melody such as the second subject of the first movement of the G minor quintet, complete in itself as any melody can be, is made use of as a motif for polyphonic development. The freest and most elastic treatment of form is that of the last movements. The other movements are fully developed, and sometimes carried out at great length, but the main features are always distinct and well preserved; the outline of the finales is less firm, and capable of a lighter and more varied treatment.

Another branch of concerted music high in favour in Mozart's day was the so-called "Harmoniemusik," written exclusively for wind instruments, and for performance at table or as serenades. Families of rank frequently retained the services of a band for "Harmoniemusik" instead of a complete orchestra. The Emperor Joseph selected eight distinguished virtuosi for the Imperial "Harmonie," who played during meals, especially when these took place in the imperial pleasure-gardens. The performances included operatic arrangements as well as pieces composed expressly for this object. Reichardt dwells on the enjoyment afforded him in 1783 by the Harmoniemusik of the Emperor and the Archduke Maximilian. "Tone, delivery, everything was pure and harmonious; some movements by Mozart were lovely; but unluckily nothing of Haydn's was performed." First-class taverns supported their own "Harmonie" bands, in order that the guests might not be deprived of this favourite accompaniment to their meals.

Besides the great serenades, intended for public performance, the old custom was still practised of writing "Standchen," for performance under the window of the person who was to be thus celebrated; and the general desire that such pieces should be new and original provided composers with almost constant employment on them. Wind instruments were most in vogue for this "night-music." The instruments were usually limited to six--two clarinets, two horns, and two bassoons, strengthened

sometimes by two oboes. Such eight-part harmonies sufficed both the Emperor and the Elector of Cologne as table-music and for serenades; and at a court festival at Berlin in 1791 the music during the banquet was thus appointed. The "Standchen," in "Cosi fan Tutte" , and the table-music, in the second finale of "Don Giovanni," are imitations of reality.

Mozart did not neglect the opportunities thus afforded him of making himself known during his residence in Vienna. He writes to his father :--

I must apologise for not writing by the last post; it fell just on my birthday , and the early part of the day was given to my devotions. Afterwards, when I should have written, a shower of congratulations came and prevented me. At twelve o'clock I drove to the Leopoldstadt, to the Baroness Waldst?dten, where I spent the day. At eleven o'clock at night I was greeted by a serenade for two clarinets, two horns, and two bassoons, of my own composition. I had composed it on St. Theresa's day for the sister of Frau von Hickl , and it was then performed for the first time. The six gentlemen who execute such pieces are poor fellows, but they play very well together, especially the first clarinet and the two horns. The chief reason I wrote it was to let Herr von Strack hear something of mine, and on this account I made it rather serious. It was very much admired. It was played in three different places on St. Theresa's night. When people had had enough of it in one place they went to another, and got paid over again.

This "rather serious" composition is the Serenade in E flat major , which Mozart increased by the addition of two oboes, no doubt in June, 1782, when he also wrote the Serenade in C minor for eight wind instruments . He had at that time more than one occasion for works of this kind. The attention both of the Emperor and the Archduke Maximilian was directed towards him ; and since Reichardt heard compositions by Mozart at court in 1783, his attempt to gain Strack's good offices must have been successful. In the year 1782 Prince Liechtenstein was in treaty with Mozart concerning the arrangement of a Harmoniemusik , and he

had undertaken with Martin the conduct of the Augarten concerts, which involved the production of four great public serenades .

Both the serenades already mentioned are striking compositions, far above the ordinary level of their kind, and may be considered, both as to style and treatment, the precursors of modern chamber music. The first movement of the Serenade in E flat major had originally two parts, which Mozart afterwards condensed into one, giving it greater precision by the omission of lengthy repetitions. The addition of the oboes gives it greater fulness and variety; but it is easy to detect that they are additions to a finished work. The whole piece is of genuine serenade character. After a brilliant introductory phrase, a plaintive melody makes its unexpected appearance, dying away in a sort of sigh, but only to reassert itself with greater fervour. The amorous tone of the "Entf?hrung" may be distinctly traced in the adagio, and through all its mazy intertwining of parts we seem to catch the tender dialogue of two lovers. The closing rondo is full of fresh, healthy joy; the suggestion of a national air in no way interferes with the interesting harmonic and contrapuntal working-out. The Serenade in C minor is far from leaving the same impression of cheerful homage. The seriousness of its tone is not that of sorrow or melancholy, but, especially in the first movement, of strong resolution. The second theme is especially indicative of this, its expressive melody being further noteworthy by reason of its rhythmical structure. It consists of two six-bar phrases, of which the first is formed of two sections of three bars each:--

After the repetition of this, the second phrase follows, formed from the same melodic elements, but in three sections of two bars each--

and also repeated. On its first occurrence it forms a fine contrast to the passionate commencement, and lays the foundation for the lively and forcible conclusion of the first part, while in the second part its transposition into the minor prepares the way for the gloomy and agitated conclusion of the movement. The calmer mood of the andante preserves the serious character of the whole, without too great softness or languor of expression.

Mozart has perpetrated a contrapuntal joke in the minuet. The oboes and bassoons lead a two-part canon in octave, while the clarinets and horns are used as tutti parts. In the four-part trio the oboes and bassoons again carry out a two-part canon in which the answering part exactly renders the rhythm and intervals, the latter, however, inverted:--

Tricks of this kind should always come as this does, without apparent thought or effort, as if they were thrown together by a happy chance, the difficulties of form serving only to give a special flavour to the euphonious effect. The last movement, variations, passes gradually from a disquieted anxious mood into a calmer one, and closes by a recurrence to the subject in the major, with freshness and force.

This serenade is best known in the form of a quintet for stringed instruments, to which Mozart adapted it apparently before 1784 . Nothing essential is altered--only the middle parts, accompaniment passages, &c., are somewhat modified. Some of the passages and movements, however, especially the andante and finale, have lost considerably by the altered tone-colouring.

Various divertimenti for wind instruments, which have been published under Mozart's name, have neither external nor internal signs of authenticity. An Adagio in B flat major for two clarinets and three basset-horns , concerning which little is known, stands alone of its kind. The combination of instruments points here as elsewhere to some special, perhaps masonic occasion, the more so as a detached and independent adagio could only have been written with a definite object in view. The juxtaposition of instruments so nearly related, with their full, soft, and, in their deeper notes, sepulchral tones, produces an impression of solemnity, which is in accordance with the general facter of peace after conflict expressed by the adagio.

Mozart's works for wind instruments are distinguished by delicacy of treatment apart from virtuoso-like effects. Considering them, however, in the light of studies for the treatment of wind instruments as essential elements of the full orchestra, they afford no mean conception of the performances of instrumentalists from whom so much mastery of technical difficulties, delicacy of detail, and expressive delivery might be expected. Instrumental music had risen to great importance in Vienna at that time. A great number of available, and even distinguished musicians had settled there. Besides the two admirably appointed imperial orchestras, and the private bands attached to families of rank, there were various societies of musicians ready to form large or small orchestras when required; and public and private concerts were, as we have seen, of very frequent occurrence.

The appointment was, as a rule, weak, when judged by the standard of the present day. The opera orchestra contained one of each wind instrument, six of each violin, with four violas, three violoncelli, and three basses. On particular occasions the orchestra was strengthened , but most of the orchestral compositions betray by their treatment that they were not intended for large orchestras. The purity and equality of tone and the animated delivery of the Vienna orchestra is extolled by a contemporary, who seems to have been no connoisseur, but to have faithfully rendered the public opinion of the day. Of greater weight is the praise of Nicolai, a careful observer, who compared the performances of the Vienna orchestra with those of other bands. He asserted, when he heard the Munich orchestra soon after, that it had far surpassed his highly wrought expectations of Mannheim, and that he had been perfectly astonished at the commencement of an allegro. It was not a matter of small importance, therefore, that Mozart should have learnt all that could be learnt from the orchestras of Mannheim, Munich, and Paris, and then found in Vienna the forces at command wherewith to perfect this branch of his art. In this respect he had a great advantage over Haydn, who had only the Esterhazy band at his disposal, and never heard great instrumental performances except during his short stays in Vienna.

Mozart had much to do with raising the Vienna orchestra, particularly in the wind instruments, to its highest pitch of perfection. Among contemporary composers, who strove to turn to the best account the advantages of a fuller instrumentation,

Haydn undoubtedly claims the first rank. It is his incontestable merit to have opened the way in his symphonies to the free expression of artistic individuality in instrumental music, to have defined its forms, and developed

them with the many-sidedness of genius; he did not, how-I ever, bequeath to Mozart, but rather received from him the well-appointed, fully organised, and finely proportioned orchestra of our day. In his old age Haydn once complained to Kalkbrenner that death should call man away before he has accomplished his life-long desires: "I have only learnt the proper use of wind instruments in my old age, and now I must pass away without turning my knowledge to account."

The first of the seven Vienna symphonies is in D major ), and was composed by Mozart, at his father's wish, for a Salzburg f?te in the summer of 1782. He wrote it under the pressure of numerous engagements in less than a fortnight, sending the movements as they were ready to his father . No wonder that when he saw it again he was "quite surprised," not "remembering a word of it." For performance in Vienna he reduced it to the usual four movements by the omission of the march and of one of the minuets, and strengthened the wind instruments very effectively in the first and last movement by flutes and clarinets.

A lively, festive style was called for by the occasion, and in the treatment of the different movements the influence of the old serenade form is still visible. The first allegro has only one main subject, with which it begins; this subject enters with a bold leap--

and keeps its place to the end with a life and energy enhanced by harsh dissonances of wonderful freshness and vigour. The whole movement is a continuous treatment of this subject, no other independent motif occurring at all. The first part is therefore not repeated, the working-out section is short, and the whole movement differs considerably from the usual form of a first symphony movement. The andante is in the simplest lyric form, pretty and refined, but nothing more; the minuet is fresh and brilliant .

The tolerably long drawn-out concluding rondo is lively and brilliant, and far from insignificant, though not equal to the first movement in force and fire.

A second symphony was written by Mozart in great haste on his journey through Linz in November, 1783; it was apparently that in C major , which with another short symphony in G major , bears clear traces of Haydn's influence, direct and indirect.

Several years lie between these symphonies and the next in D major . This was written for the winter concerts on December 6, 1786, and met with extraordinary approbation, especially in Prague, where Mozart performed it in January, 1787The first glance at the symphony shows an altered treatment of the orchestra; it is now fully organised, and both in combination and detail shows individual independence. The instrumentation is very clear and brilliant--here and there perhaps a little sharp--but this tone is purposely selected as the suitable one. Traces of Haydn's influence may be found in the prefixing of a solemn introduction to the first allegro, as well as in separate features of the andante; such, for instance, as the epigrammatic close; but in all essential points we have nothing but Mozart. The adagio is an appropriate preface for the allegro, which expresses in its whole character a lively but earnest struggle. In this allegro the form of a great symphony movement lies open before us. The chief subject is completely expressed at the beginning--

and recurs after a half-close on the dominant with a characteristic figure--

thus allowing of the independent development of section B. Then, after a complete close on the dominant, there enters the very characteristic and originally treated second subject; the close of the part is introduced by the figure, D, so that a member of the chief subject, A, is again touched upon. The working-out in the second part is founded on the third section of the chief subject, C. These two bars, which there formed only an intermediate passage, are here treated imitatively as an independent motif; first B, then D, are added as counter-subjects, all three are worked-out together, tributary subjects reappear from the first part, until the chief subject, A, enters on the dominant in D minor, leading the way for the other motifs, which press in simultaneously, and glide upon a long organ point gradually back to the first subject, with which the modified repetition of the first part begins. In this lengthy working-out every part of the main idea is fully developed. The simple enunciations of the first part appear, after the elaboration of their different elements like utterances of a higher power, bringing conviction and satisfaction to all who hear. The springlike charm of the andante, with all its tender grace, never degenerates into effeminacy; its peculiar character is given by the short, interrupted subject--

which is given in unison or imitation by the treble part and the bass, and runs through the whole, different harmonic turns giving it a tone, sometimes of mockery, sometimes of thoughtful reserve. The last movement displays the greatest agitation and vivacity

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