The stringed instruments served as independent orchestra, and were generally only two violins and violoncello; the ORCHESTRA. tenors strengthened the violoncello, which went with the organ bass. The stringed instruments were strengthened as far as possible and treated so as to counteract the disadvantage they were at in contrast with the chorus, trombones and organ. When the violins are not with the voices, the passages are disposed so as to have the best effect, and they frequently play in unison; this explains the partiality for running passages for the violins, which are not expressive in themselves, but serve to amplify the rest. It was a higher task to give the violins a character really independent of the chorus—to make them carry out their own motif either in one part only, in opposition to the chorus, or in joint development. In almost all Mozart's masses the effort is visible, at any rate in some places, to treat the stringed instruments independently; as his artistic sense matured, they were used more freely, and with more careful reference to sound effects. As a variation in later works, the damper was sometimes employed, and more rarely, the pizzicato.
Besides stringed instruments, trumpets and drums were generally used, being almost indispensable for solemn high mass. The constant use of trumpets, as of trombones (sackbuts), was founded on the Bible, which speaks of their employment in the Jewish temple worship; and also careful and highly elaborated trumpet music played so considerable a part in court festivities, that it could not well be dispensed with in church ceremonials. In two masses (139, 167, K.), Mozart has employed, in addition to the two usual trumpets called "clarini," a tromba, which has only to sound the low notes C and G, and to strengthen the drums.[ 54 ] As regards other wind instruments, we know that in 1757, "Oboes and German flutes were seldom heard in the cathedral, and the French horn, never."[ 55 ]
This severity was afterwards relaxed, until the oboe was used alone or as the principal wind instrument, generally to support the voice or to strengthen the harmony. It was CHURCH MUSIC. allowed to assert its own individuality at a later time, but this could only be when it retained its proper place among the different combined wind instruments. Flutes were only rarely used to replace the oboe in soft passages; there were no clarinets in Salzburg. Bassoons served, as a rule, only to strengthen the bass; in various places where they, like the violoncello, were treated with some degree of independence it was so indicated in the score. Also when the tenors were associated with the wind instruments to complete the harmony they were supported by the bassoons. The horns at first closely followed the trumpets, but gradually attempts were made, by the use of sustained notes, to produce the sound effects peculiar to this instrument. The freer treatment of the wind instruments passed to the church from the opera, and those pieces which were altogether more freely treated than masses, prepared the way for the change. The orchestra of Mozart's two last Litanies is just as elaborate and careful as that of his operas, and the later one does not only employ obbligato solo instruments, but in many of its sections approaches modern instrumentation.
We are unfortunately in considerable ignorance as to what masters were studied by Mozart. What has usually been said of his diligent study of Bach, Handel, and the Italian masters, is neither demonstrable nor probable. There would scarcely be much opportunity at Salzburg for the study of any but Salzburg or south German musicians. It is well known that some of these, such as Eberlin, Michael Haydn, and Adlgasser, were earnestly studied and highly esteemed by Mozart. But he first became acquainted with Sebastian Bach[ 56 ] through Van Swieten in Vienna, although he may have come across detached organ or pianoforte compositions in Salzburg. He heard Handel's oratorios as a boy in London, but that was all, and even at Mannheim he took no great interest in the "Messiah." It was again Van Swieten who led him to this master.
We may grant a stronger influence to the Italian masters, ITALIAN INFLUENCE. although the older Italian church music was only exceptionally used at Salzburg.
Leopold Mozart speaks of a Gradual with which he had been much pleased as being the work of "the celebrated long-since deceased Lotti" (November 13, 1777). But we have seen with what zeal Mozart studied in Italy; and a youth with his genius learned rapidly, and could at once apprehend and retain whatever would be likely to benefit him. He must also have taken home with him from Italy much material for future use, as we have seen in the case of the compositions of Padre Martini. But what direction these studies took, and how far they extended, we are not informed. It is not probable that Mozart studied the old masters with the intention of forming his own style on theirs, but rather that he might gain that surer practice in technicalities which the tasks before him required.
CHAPTER XIV. INSTRUMENTAL MUSIC.
DURING the last half of the eighteenth century it had become the fashion in Italy and elsewhere to perform detached instrumental pieces as introductions or intermezzi during the pauses in Divine service.[ 1 ] They were written in the then customary symphony form; music of a lively and secular tone not being thought out of place in churches.[ 2 ] Brilliancy of effect was provided for by doubling the orchestra and other mechanical means,[ 3 ] besides forcible composition. Further innovations were made in allowing solo vocalists an opportunity of displaying their powers in church music; INSTRUMENTAL MUSIC. and, as a necessary consequence, distinguished instrumental performers also were allowed to add their share to the attractions of Divine worship.[ 4 ] Instrumental concertos were played usually at the conclusion of the service, without any regard to an ecclesiastical character.[ 5 ] We gather from Dittersdorf's account[ 6 ] of his competition with Spagnoletti at the festival of St. Paul at Bologna and its result, that fine performances were thought as much of in the churches as in theatres and concerts.
