MOZART.
Johann Chrysostomus Wolfgang Amadeus Mozart, one of the most remarkable of musical geniuses, and the only one of his contemporaries whose operas still hold the stage with unimpaired freshness, was born at Salsburg, Jan. 27, 1756. He was the son of Leopold Mozart, the Salzburgian Vice-Capellmeister, who gave him and his sister Nannerl their earliest instruction in music, and with such good results that the children travelled and gave concerts with great success. Before he was seven years of age he had composed several pieces for piano and violin, his earliest having been written at the age of five. At twelve he became court capellmeister in Salzburg. After his musical travels he went to Vienna, and there began his period of classic activity, which commenced with “Idomeneus,” reached its culmination in “Don Giovanni,” and closed with the “Requiem,”—the “swan-song” of his wonderful career. In his brief life Mozart composed more than fifty great works, besides hundreds of minor ones in every possible form of musical writing. His greatest compositions may be classed in the following order: “Idomeneus” (1780); “Entführung aus dem Serail” (1781); “Figaro’s Hochzeit” (“The Marriage of Figaro”), (1785); “Don Giovanni” (1787); “Cosi fan Tutti,” “Zauberflöte” (“The Magic Flute”), and “Titus” (1790); and the “Requiem” (1791, the year of his death). The catalogue of Mozart’s works is an immense one, for his period of productivity was unusually long. From the age of five to his death there was not a year that was not crowded with his music. Besides his numerous operas, of which only the more famous are given above, he wrote a large number of symphonies (of which the “Jupiter” is now the best known), sonatas, concertos, for all kinds of instruments, even to musical-glasses, trios, quartets, quintets, and sextets for all possible combinations of instruments, marches, fugues, masses, hymns, arias of extraordinary brilliancy, liturgies, cantatas, songs and ballads, and indeed every form of music that is now known. His style was studied by Beethoven, and so closely imitated that the music of his first period, if published without autograph, would readily be attributed to Mozart. His style was so spontaneous and characteristic that it has been well said there is but one Mozart. The distinguishing trait of his music is its rich melodic beauty and its almost ravishing sweetness. His melody pours along in a bright unbroken stream that sometimes even overflows its banks, so abundant is it. It is peculiarly the music of youth and spring-time, exquisite in form, graceful in technique, and delightful in expression. It was the source where all his immediate successors went for their inspiration, though it lacked the maturity, majesty, and emotional depths which were reached by such a Titan as Beethoven. Old as it is, and antiquated in form, especially as compared with the work of the new schools, its perennial freshness, grace, and beauty have made it immortal.
King Thamos.
The historical drama, “Thamos, King of Egypt,” was written by Freiherr von Gebler. Otto Jahn, in his Life of Mozart, gives the following sketch of its story:—
“Menes, King of Egypt, has been deposed by a usurper, Rameses, and, as it is thought, assassinated; but he is living, under the name of Sethos, as high priest of the Temple of the Sun, the secret being known only to the priest Hammon and the general Phanes. After the death of Rameses, his son Thamos is heir to the throne. The day arrives when Thamos attains majority, is to be invested with the diadem, and to select a bride. The friends of Menes seek in vain to persuade him to dispute the throne. He will not oppose the noble youth, whom he loves and esteems. But Pheron, a prince and confidant of Thamos, has, in conjunction with Mirza, the chief of the Virgins of the Sun, organized a conspiracy against Thamos, and won over a portion of the army. Tharsis, daughter of Menes, who is believed by all, even her father, to be dead, has been brought up by Mirza under the name of Sais. It is arranged that she shall be proclaimed rightful heir to the throne, and, as she will then have the right to choose her consort, Mirza will secure her beforehand for Pheron. When she discovers that Sais loves Thamos, and he her, she induces Sais to believe that Thamos prefers her playmate Myris, and Sais is generous enough to sacrifice her love and her hopes of the throne to her friend. Equally nobly Thamos rejects all suspicions against Pheron, and awards him supreme command. As the time for action draws near, Pheron discloses to Sethos, whom he takes for a devoted follower of Menes, and consequently for an enemy to Thamos, the secret of Sais’ existence and his own plans. Sethos prepares secretly to save Thamos. Sais also, after being pledged to silence by an oath, is initiated into the secret by Mirza and Pheron, and directed to choose Pheron. She declines to give a decided answer, and Pheron announces to Mirza his determination to seize the throne by force in case of extremity. Sais, who believes herself not loved by Thamos, and will not therefore choose him as consort, but will not deprive him of the throne, takes the solemn and irrevocable oath as Virgin of the Sun. Thamos enters, and they discover, to their sorrow, their mutual love. Sethos, entering, enlightens Thamos as to the treachery of Pheron, without disclosing the parentage of Sais. Pheron, disturbed by the report that Menes is still living, comes to take council of Sethos, and adheres to his treacherous design. In solemn assembly Thamos is about to be declared king, when Mirza reveals the fact that Sais is the lost Tharsis, and heiress to the throne. Thamos is the first to offer her his homage. When she is constrained to choose between Thamos and Pheron she declares herself bound by her oath, and announces Thamos as the possessor of the throne. Then Pheron calls his followers to arms, but Sethos steps forward and discloses himself as Menes; whereupon all fall at his feet in joyful emotion. Pheron is disarmed and led off; Mirza stabs herself; Menes, as father and ruler, releases Sais from her oath, unites her with Thamos, and places the pair on the throne. A message arrives that Pheron has been struck with lightning by Divine judgment, and the piece ends.”
To this drama Mozart composed the incidental music in 1779 and 1780 at Salzburg, where it was produced under Böhm and Shickaneder’s direction. The play did not keep the stage long. Mozart refers to this circumstance in a letter to his father, written Feb. 15, 1783:—
“I regret much not being able to make use of the music for ‘Thamos,’ for not having pleased here, it is included among the tabooed pieces, no longer to be performed. For the sake of the music alone it might possibly be given again, but it is not likely. It is really a pity.”
The music consists of five entr’actes and three choruses constructed in a large and majestic style and specially adapted to ceremonial performance. The first is a responsive chorus of maidens and priests (“Before thy Light, Sun-god, thy Foe the Darkness takes Wing”) sung in the temple of the sun at Heliopolis. The second (“Godhead, throned in Power eternal”) is also sung in the temple before Thamos’ coronation, at the beginning of the fifth act, and contains short snatches of solos for a priest and maiden, leading to a close in full harmony for the voices, and an instrumental finale of soft music during which the priest offers sacrifice upon the altar. The third opens with a majestic bass solo for the high priest (“Ye Children of Dust, come, with Trembling, adore ye”) and closes with a stately strain for all the voices (“We Children of Dust in our Reverence tremble”).
Although the play was shelved, the music was not lost. Mozart subsequently set the choruses to Latin and German words, and they were adapted as hymns and motets for church use. They are now familiar to musicians as “Splendente te Deus,” “Deus tibi Laus et Honor,” and “Ne Pulvis et Cinis.” Nohl says of them:—
“A certain solemnity pervades them such as few of his sacred works possess, and an elevation of feeling only surpassed in the ‘Flauto Magico.’ But the composer has relied on theatrical effect; and thus, in spite of his graver intentions, we find more worldly pomp than religious depth in these choruses, which Mozart worked out with all love and care, even in their most minute details, and which manifest the thoughtful mood that absorbed his soul.”
Davidde Penitente.
The cantata “Davidde Penitente” was the outcome of a work of love. Before his marriage with Constance Weber, Mozart vowed that when he brought her to Salzburg as his wife he would write a mass for the occasion and have it performed there. In a letter written to his father, Jan. 4, 1783, he says: “As a proof of the fulfilment of this vow, the score of a ‘half-mass’ is now lying by, in hopes of some day being finished.” Holmes, in his admirable Life of Mozart, says:—
“To exercise his pen in the grand contrapuntal style of church music was at all times agreeable to him; and he was now free from the local restrictions under which he had written his numerous masses at Salzburg, where neither the style, the length of the pieces, nor their instrumentation was left to his own discretion; hence, making due allowance for the effect of some few years in developing the composer’s genius, the great superiority of ‘Davidde Penitente,’ by which title this mass was in the sequel better known over all the earlier masses, as well for breadth of style as in true ecclesiastical solemnity.”
The “half-mass” which Mozart brought to Salzburg in fulfilment of his vow comprised only the Kyrie, Gloria, Sanctus, and Benedictus. The remaining numbers were supplied from another mass, and in this form the work was produced at St. Peter’s Church, Aug. 25, 1783, his wife taking the solo part. The original work is described as exceedingly majestic and beautiful, particularly the “Gratias” for five, and the “Qui Tollis” for eight-voiced chorus. Jahn says of them that the same wonderful and mysterious impression of the supernatural conveyed by the most beautiful numbers in his Requiem characterizes these choruses.
The “half-mass” was destined to undergo still more radical changes. In the spring of 1785 the committee of the society for the relief of the widows and orphans of musicians at Vienna wished to celebrate their annual festival with some new work, and commissioned Mozart to write a cantata. As the time was very short, he took the Kyrie and Gloria of the mass, set Italian words to them, and added four new numbers, in which form it was produced under the title of “Davidde Penitente” at the Burg-theatre, March 13, the solo singers being Fraulein Cavalieri,[32] Fraulein Distler, and Herr Adamberger.[33] The cantata comprises ten numbers. The first number is a chorus (“Alzai le flebile voci”) taken from the “Kyrie” of the mass; the second, an allegro chorus (“Cantiam le lodi”), from the “Gloria;” the third, a soprano solo (“Lungi le cure”), from the “Laudamus;” the fourth, an adagio chorus (“Sii pur sempre”) from the “Gratias;” the fifth, a very melodious soprano duet (“Sorgi o Signore”), from the “Domine Deus;” the sixth, a beautiful tenor aria (“A te fra tanti affanni”), written for Adamberger; the seventh, a double chorus (“Se vuoi, puniscimi”); the eighth, a bravura aria for soprano (“Fra le oscure Ombre”), written for Mademoiselle Cavalieri; the ninth, a terzetto (“Tutti le mie speranze”); and the tenth, a final chorus and fugue which, by general consent of the critics of the time, was called the “queen of vocal fugues.” Notwithstanding the introduction of specially-written arias, and the brilliant music assigned to the soprano, the cantata is regarded as one of the purest examples of Mozart’s church style.
[32] Catharina Cavalieri, born in 1761, died June 30, 1801. She was a singer in Italian and German opera in Vienna from 1775 to 1783; but as she never left that city her reputation was purely local. Mozart wrote for her the part of Constanza in his opera “Die Entführing.”
[33] Valentin Adamberger was born at Munich, July 6, 1743, and was famed for his splendid tenor voice. Mozart composed for him the part of Belmont in the “Entführing,” and highly esteemed him as a friend and adviser. He died Aug. 24, 1804.
The Masonic Cantatas.
Mozart became a member of the Masonic fraternity shortly after his arrival in Vienna in 1784, and devoted himself to its objects with all the ardor of his nature. In the following year his father visited him and was also persuaded to join, though not without considerable entreaty on the son’s part. He was a devoted member of the Church and entertained a deep reverence for its forms. The Church then, as now, was hostile to all secret orders, and was particularly inimical to the Masons because they had attacked certain alleged abuses in the cloisters. His prejudices were overcome, however, and he soon became as ardent a devotee of Masonry as his son. It formed one of the principal subjects of their correspondence; but unfortunately all these letters were destroyed by the cautious father a short time before his death, which occurred May 28, 1787. In only one letter do we find reference to the subject, and that in a guarded manner. On the 3d of April of that year Mozart heard of his father’s illness, and the next day he writes to him:—
“I have this moment heard tidings which distress me exceedingly, and the more so that your last letter led me to suppose you were so well; but I now hear that you are really ill. I need not say how anxiously I shall long for a better report of you to comfort me, and I do hope to receive it, though I am always prone to anticipate the worst. As death (when closely considered) is the true goal of our life, I have made myself so thoroughly acquainted with this good and faithful friend of man, that not only has its image no longer anything alarming to me, but rather something most peaceful and consolatory; and I thank my Heavenly Father that He has vouchsafed to grant me the happiness, and has given me the opportunity (you understand me), to learn that it is the key to our true felicity.”
Mozart’s membership in the order began at an opportune time for him. Though at the height of his fame he was at the very lowest depth of his finances; and both in 1787 and 1789, though he was Imperial Chamber Musician and his opera “Don Giovanni” was having a successful run, he was obliged to apply repeatedly to his friend and brother Mason, the merchant Puchberg of Vienna, for loans, and also to Herr Hofdämmel, who was about to become a Mason upon Mozart’s solicitation. During the short remainder of his life he was devotedly attached to the order, and he was buried in the dress of the brotherhood; but, strange to say, not one of the members accompanied their illustrious associate to the grave.
Four of Mozart’s works were directly inspired by Masonry. In 1785 he wrote a simple but beautiful lodge song for voice, with piano accompaniment (“Die ihr einern neuen Grade”). This was followed by the wonderfully beautiful “Freemason’s Funeral Music” for orchestra, written upon the occasion of the death of two brothers in the fraternity, of which Jahn says:—
“Mozart has written nothing more beautiful, from its technical treatment and finished effect of sound, its earnest feeling and psychological truth, than this short adagio. It is the utterance of a resolute, manly character, which, in the face of death, pays the rightful tribute to sorrow without being either crushed or stunned by it.”
In the same year he composed a small cantata, “Die Maurerfreude,” for tenor and chorus, in honor of Herr Born, the master of the lodge to which he belonged in Vienna, which is full of true feeling combined with graceful melody.
The second cantata, catalogued in Köchel “Eine Kleine Freimaurer Cantate, ‘Laut verkünde unsre Freude,’” better known by its title “Lob der Freundschaft” (“Praise of Friendship”) is notable as the last work written by Mozart. Its date is Nov. 15, 1791, only three weeks before his death. At this time he was engaged in finishing up his “Requiem,” which had such a depressing effect upon him that he was ordered by his physician to lay it aside. The rest he thus secured had such a good effect that by the middle of November he was able to attend a Masonic meeting and produce the little cantata which he had just written for them. On reaching home after the performance he said to his wife, “O Stänerl, how madly they have gone on about my cantata! If I did not know that I had written better things, I should have thought this my best composition.” It is constructed upon a larger scale than the cantata of 1785, and is very pleasing and popular, but lacks the spirit and earnestness of the former. It has six numbers: 1. Chorus, “Laut verkünde unsre Freude;” 2. Recitative, “Zum ersten Male;” 3. Tenor aria, “Dieser Gottheit Allmacht;” 4. Recitative, “Wohlan, ihr Brüder;” 5. Duet, “Lange sallen diese Mauern”; 6. Chorus, “Lasst uns mit geschlungen Händen.” It was Mozart’s swan-song. Two days after its performance he was stricken down with his last illness.
