To the three original movements of the symphony the minuet was added as a fourth, suggested probably by the Suite. The Suite, whether for orchestra or clavier, came to perfection in the seventeenth century, and consisted of a succession of dances in the same key, but differing in time, rhythm, and expression, and for the most part highly characteristic. Mattheson enumerates them as follows: minuet, gavotte, bourrée, rigaudon, gigue, polonaise, anglaise (country-dances, ballads, hornpipes), passepied, sarabande, courante, allemande;[ 31 ] others give allemande, courante, gigue, passa-caille, gavotte, minuet, chaconne, the chief forms being allemande, courante, sarabande, and gigue. An introduction, prelude, fantasia, or overture, preceded the dances, consisting, after the French fashion, of a slow and a lively INSTRUMENTAL MUSIC. movement, the latter generally elaborated, and returning to the former as a conclusion.[ 32 ] It is evident that the suite was the foundation of the Italian operatic symphonies—not of our modern symphony and sonata forms—but much was doubtless borrowed from the long list of dances as embellishment to the symphony proper. Whether or not Josef Haydn was the first to introduce the minuet into the symphony, it was he undoubtedly who gave it its peculiar and typical character. The minuet was the dance of good society, affording opportunity for the display of dignity, grace, and deportment. We cannot hear those minuets which best reflect the character of the dance without thinking of powder and hoops; and now that the manners it suggests have become obsolete, it can only be humorously reproduced.[ 33 ] Haydn did not parody the minuet of his time, but he divested it of its distinguishing dignity; he took it as it was danced by the middle-classes, and filled it with national cheerfulness and good-humour. He represented a certain amount of joviality and rollicking fun which would have been inadmissible in the salons of the noblesse, and he was inexhaustible in witty suggestions and surprises, without any taint of vulgarity or carelessness of musical treatment. This was being popular in the best sense of the word; the spirit was genuinely national, the form truly artistic; and so the minuet took its place in the symphony, and kept it. The position given to it in relation to the longer movements varied in early days; Mozart generally places it after the andante.
Mozart's first symphonies have only three movements, and it is perhaps not merely accidentally that the minuet is first introduced in the symphonies composed at Vienna in 1767 and 1768, but it is sometimes wanting in later works.
It is interesting to trace in his youthful works Mozart's MOZART'S SYMPHONIES. gradual progress in mechanism and practical skill. At first there is little melodious invention, but a sense of effect and a knowledge of form always exist, and by degrees the symphonies acquire body and character. Command of the orchestra makes itself felt by degrees; first the separate parts become free and independent, a special movement is given to the second violins by characteristic passages and imitative treatment, and the basses too gain life and independence; they are in free imitation for the first time in a Symphony in G major (no K.) belonging to the year 1771. As development proceeded the subjects became fuller, and the whole work gained in consistency and substance, although it still wanted finish and elaboration. The peculiar character of the string quartet became more and more prominent; for a long time it formed the nucleus of the symphony, the wind instruments strengthening the harmonies and emphasising some particular melody, but only very gradually contributing to effects of light and shade. Oboes and horns, trumpets too (generally without drums), are combined according to rule, and gave the orchestra a sharp clear tone, which was then admired; flutes were employed in movements of a gentle character, usually with muted stringed instruments. It was not until later that the bassoons were made independent of the basses, and then they served, like the tenors, for middle parts. Many and diverse experiments were made in the employment of new instrumental forces before the various parts of the orchestra were successfully combined into a self-contained and living whole.
Nothing whatever is known of Mozart's models in his instrumental music. We may take for granted that he knew Josef Haydn's symphonies, and that they were not without some influence on his genius; but few actual traces of them can be discovered, while his conception of the minuet was altogether different, and remained peculiarly his own.[ 34 ]
The jovial humour and the delight in musical drollery which are Haydn's characteristics are never predominant with Mozart; he preserves a national tone, truly, but the interest it excites is due to the ennobling and beautifying spirit which he throws into it. This side of Mozart's nature appears even in his earlier works, and makes us the more ready to ascribe any lapse into fun and drollery to the direct influence of Haydn. The last symphony, in E flat major, which is avowedly ambitious in conception, betrays undoubted external influence. Both the minuet and the lengthy and elaborate concluding rondo are decided imitations of Haydn. The andante is somewhat constrained ami unnatural, but there is a second and later andante at the close, which is much simpler.
Mozart's instrumental compositions up to the year 1772 are only interesting in so far as they show us how gradually and surely he gained possession of all the means his art could place at his command;[ 35 ] but from this date they begin to acquire an independent interest. It is remarkable that we possess no symphonies composed by Mozart between 1775 and 1777. Reflecting how carefully all the compositions of this time have been preserved, it is not probable that any can have been lost by accident. On the other hand most of the great serenades and concertos for violin and piano fall within these years; and it is quite possible that Mozart's growing discontent with his position and the displeasure of the Archbishop may have caused him to desist MOZART'S SYMPHONIES. from writing symphonies which were primarily intended for performance at court concerts. We have further proof that Mozart wrote no symphonies during these years in a letter from his father, on September 24, 1778, where he says: "When a thing does you no credit, it is better that it should be forgotten. I have sent you none of your symphonies because I feel sure that when you have come to riper years, and have a clearer judgment, you will be glad that they are forgotten, even though you may be satisfied with them now."
Even the more important among the later symphonies are sparing in the use of means, and precise in form, as indeed they were obliged to be, considering that several symphonies were performed in one evening.
And yet Mozart writes to his father from Paris (September 11, 1778) that he could not produce his symphonies there, since they did not suit the French taste: "We Germans like long pieces, but in truth they are better short and good." Progress is shown in greater freedom of treatment; the first movement of a Symphony in D major (202 K.) and the last movement of the Symphonies in G major (199 K.) and C major (200 K.), all belonging to 1774, are full of life and vigour. These qualities presuppose more individuality in the details, the interludes are developed with more independence, and the loosely connected violin and violoncello passages disappear altogether. Many of Mozart's special characteristics exist side by side with turns of expression common to the time; for instance, the second theme is sometimes an offshoot from the first, and the introduction of a new subject at the close of the part often gives a new impetus to the movement.
The Symphonies in G minor (183 K.) and in A major (201 K.) may serve as very opposite examples of Mozart's works of the kind. The first has a serious tone from the first subject onwards, the minuet and finale more especially being almost gloomy in tone, and the andante the same, only somewhat softened down. The second is full from beginning to end of cheerful humour and tender grace, and may serve as an example of the way in which a work of art INSTRUMENTAL MUSIC. of perfect mechanism and delicate shading may be produced from the simplest materials.
