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Commentator: George Grove
Translator: Pauline D. Townsend
LIFE OF MOZART
Translated From the German by Pauline D. Townsend.
With A Preface By
George Grove, Esq., D.C.L.
London Novello, Ewer & Co.
FAC-SIMILES
Fac-simil? No. 1 is of Mozart's letter to Bullinger from Paris, after the death of his mother .
Fac-simile No. 2 is of the original MS. of "Das Veil-chen," now in the possession of Mr. Speyer, of Herne Hill .
O Calpe! dir donnerts am Fusse, Doch blickt dein tausendj?hriger Gipfel Ruhig auf Welten umher. Siehe dort w?lkt es sich auf Ueber die westlichen Wogen her, W?lket sich breiter und ahnender auf,-- Es flattert, O Calpe! Segelgewolk! Fl?gel der H?lfe! Wie prachtig Wallet die Fahne Brittaniens Deiner getreuen Verheisserin! Calpe! Sie walltl Aber die Nacht sinkt, Sie deckt mit ihren schw?rzesten, Unholdesten Rabenfittigen Gebirge, Fl?chen, Meer und Bucht Und Klippen, wo der bleiche Tod Des Schiffers, Kiele spaltend, sitzt. Hinan!
NEXT to pianoforte music for amateur musical entertainments, the quartet for stringed instruments was the favourite form of chamber music. The performers were occasionally highly cultivated amateurs, but more often professional musicians, thus giving scope for more pretentious compositions. The comparatively small expense involved enabled others besides noblemen, even those of the citizen class who were so inclined, to include quartet-playing among their regular entertainments. Jos. Haydn was, as is well known, the musician who gave to the quartet its characteristic form and development. Other composers had written works for four stringed instruments, but the string quartet in its well-defined and henceforth stationary constitution was his creation, the result of his life-work. It is seldom that an artist has been so successful in discovering the fittest outcome for his individual productiveness; the quartet was Haydn's natural expression of his musical nature. The freshness and life, the cheerful joviality, which are the main characteristics of his compositions, gained ready and universal acceptance for them. Connoisseurs and critics, it is true, were at first suspicious, and even contemptuous, of this new kind of music; and it was only gradually that they became aware that depth and earnestness of feeling, as well as knowledge and skill, existed together with humour in Haydn's quartets. He went on his way, however, untroubled
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