CHAPTER XXXIII. MOZART'S PIANOFORTE MUSIC.
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. 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. 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. 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. 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 ]—
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.
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. 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. 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. 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. 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. 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 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. 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. 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. 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. 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. 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. 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. 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. 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 ]
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. 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. 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. 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. 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.
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. 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. 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. 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. 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 MOZART'S PIANOFORTE MUSIC. 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 PIANOFORTE CONCERTOS. 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.
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] PIANOFORTE CONCERTOS. 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 MOZART'S PIANOFORTE MUSIC. 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.)
| [Volume I.] | [Volume III.] |