A decided progress is observable in the concertante for violin and viola[ 52 ] with orchestral accompaniment (364 K.), which was probably written in 1780. It displays perfect finish in the conception of the separate subjects and passages, power and melody in the development of the orchestral accompaniments, and true artistic skill in the placing of turns and phrases where they will be most effective. It is in the usual three movements, but a more solid foundation and wider scope than usual are given to the form, in order that the two solo instruments may have free play; the INSTRUMENTAL MUSIC. tutti passages are longer and more important, which entails more participation by the orchestra in the solo portions. This gives a symphony-like character to the whole, to which the solo instruments add a peculiar brilliancy. In relation to each other they are simply treated. They generally relieve each other, either repeating whole phrases or sharing them between them; when together, they are mostly in thirds and sixths, and there seldom occurs a true two-part passage in which the two instruments move freely and independently.
In this respect the concertone composed in 1773 (190 K.) is more artistic in design and in workmanship. Here the orchestra is in contrast with two solo violins, to which the oboe is added as a solo instrument; the violoncello, though not so freely treated as the others, is also often solo. The usual concerto form is given to the three movements, the middle movement being romance-like, but more elaborate than usual, to give employment to the solo instruments. The violoncello, though it does not take a leading part in this movement, has an independent passage as accompaniment throughout. The last movement is "tempo di menuetto," resembling those in the violin Concerto in A major (219 K.), the bassoon concerto (191 K.), the clavier concerto in C (246 K.), the triple concerto (242 K.), and the clavier trio in B flat (254 K.); the form of the minuet with several trios is treated with some freedom, and approaches that of the rondo. The forcible and independent treatment of the orchestra, both in the tutti and the solo passages, gives to the whole of this composition the character of a symphony; but the solo parts are grouped with greater variety, since there are four of them, and they do not as a rule repeat the same passages or join in unison. Sometimes the violins alternate with each other, sometimes the oboe joins them or opposes them, sometimes the oboe and violoncello are both in opposition to the violins, and sometimes all the four instruments move independently side by side. A strict and ingenious fugal structure was required to give unity to this manifold variety. In the first allegro especially the motifs are chiefly imitatively treated, and MOZART'S TREATMENT OF THE VIOLIN. sometimes the varied rendering of a phrase necessitates a change of instruments; the coming and going of the instruments and their combinations are carefully planned, as well as the part taken by the orchestra in producing the general effect. In the two last movements alternation is the predominant principle, and the parts are only ingeniously interlaced here and there. The work displays throughout more of skilful mechanism and clever elaboration than of original invention and beauty.
The judgment of connoisseurs on Mozart's technical treatment of the violin tends to show that the difficulties even in solo parts are comparatively small, but that an acquaintance with the idiosyncrasies of the instrument, which could only be gained violin in hand, is always apparent; all is made as smooth and easy as possible for the performer, at the same time that effects of striking originality are produced. Our idea of Mozart as a violin-player will gain in interest by a knowledge of his judgment on other violinists. As a child, he had become acquainted at Mayence with the violinist Esser, of whom the father writes later from Salzburg (December 7, 1780): "Esser is a merry old simpleton; but he plays (when he is in earnest) with a firm and remarkable execution, and has a finer adagio touch than is the case with most allegro players. But when he is in a joking mood he plays on the G string alone with the greatest ease, and plays pieces with a lead pencil on the strings wonderfully correctly and quickly.[ 53 ] He plays the viola d'amour charmingly.[ 54 ] But what struck me as particularly childish was his whistling of a recitative and aria equal to any singer, with all the expression, flourishes, shakes, &c., in a truly marvellous manner, accompanying himself on the violin pizzicato At the same time he laments that, like the rest of them, he cannot play without grimaces and absurdities." On this point, little Wolfgang, unimpressed by Esser's tricks and tours de force, had said that he played well, but made too much of it, and would do better to stick to what was written.
Of Ign. Frànzl (b. 1730), whom he heard at Mannheim, he wrote to his father (November 22, 1777): "I have had the pleasure of hearing Herr Frànzl play a concerto on the violin. I was extremely pleased. You know that I am no great lover of difficulties. He plays difficult passages so that one does not know that they are difficult, and thinks one can imitate him; which is true art. He has also a good round tone, every note is correct and clear; he has a charming staccato in one bow up as well as down, and I never heard such a double shake before. In a word he is, in my opinion, no juggler, but a very good substantial violinist."
Mozart wrote an oboe concerto for the celebrated oboist Gius. Ferlendi, of Brescia, who was in the Salzburg band in 1775; it does not seem to have been preserved. He tells his father (November 4, 1777) that he has made a present of it to the oboist Ramm at Mannhein, who was wild with delight, and played it five times with the greatest applause. He sent from Vienna for the little book containing the Ferlendi concerto, for which Prince Esterhazy had promised him three ducats. Another composition of Mozart's was a concerto for the flute, which, according to Schiedenhofen, was performed by Cosel in a serenade arranged by Wolfgang for his sister; this may have been the Concerto in G major (313 K.), which evidently belongs to this period. A certain Baron Thad. von Dümitz was an amateur on the bassoon; Mozart composed three concertos for him, one in C and two in B flat major (191 K.), short and unpretentious, as the instrument required; also a duet for bassoon and violoncello (292 K.).[ 55 ]
Although from his earliest years Mozart had excited lively admiration by his clavier and organ-playing, it will be better to consider his performances on these instruments later on, when we shall have the assistance of more direct testimony. We know little more of his studies[ 56 ] than that he practised CLAVIER COMPOSITIONS. the clavier much and diligently, which, indeed, requires no proof. Compositions by Wagenseil, Paradies, Bach, and Lucchesi are incidentally mentioned as subjects for home practice.
There now remains to consider only the compositions for the clavier, of which there are curiously few known. Some may have been lost, but it is a fact that after his first childish attempts Mozart composed comparatively little for the clavier during his residence in Salzburg. There was little opportunity of performing clavier compositions, the instrument was not used solo in the court concerts, private concerts were not profitable in Salzburg, and in society Mozart generally made use of the clavier to improvise or prelude. The lessons which he gave to ladies of rank afforded him an opportunity for composing, but for these pupils he could only write show-pieces.
To the earliest authentic clavier compositions belong the variations (179 K.) on a very popular minuet by the celebrated oboist Fischer, a bravura piece for the time, full of what were then considered difficulties.[ 57 ]
He had them sent to Munich in 1774 in order to make a show with them, and on the journey to Paris we hear that he had recourse to the Fischer variations when he was obliged to play in polite society; proving that he was not provided with many compositions of the kind.