There were some clavier sonatas written at that time too, which Nannerl was instructed to bring to Munich (December 21, 1774), the result being a commission from Baron Dürnitz for six sonatas (279-284 K.); they are often mentioned by Mozart on the Paris journey of 1777, and he played them frequently in Munich, Augsburg and Mannheim with great success. They consist, after the old fashion, of three movements; the fourth forms an exception to the general rule, containing a long adagio, two minuets (the second instead of a trio), and an allegro; the last is another exception, the first allegro being followed by a rondeau en polonaise—like the violin concerto (218 K.)—ending with variations. Mozart INSTRUMENTAL MUSIC. spoke of sonatas as difficult which are now given as lessons to beginners (February 2, 1778). Nevertheless it is no small praise to him that, after the lapse of ninety years, the judicious treatment of the instrument, the healthy freshness and finished form of these compositions entitle them still to be considered as the best foundation for a musical education. Any one capable of appreciating a work of art will find all its essential conditions fulfilled in these simple sonatas.
L. Mozart mentions in a letter (December 8, 1777) two four-hand sonatas, written by Wolfgang for himself and his sister. One may be the well-known B flat major sonata (358 K.) which Mozart wrote for from Vienna (June 27, 1781). The form is concise and little elaborated; the essential condition that each player shall contribute his independent share to the general effect is kept duly in view. A second sonata is not authenticated.[ 58 ]
A trio for clavier, violin, and violoncello (254 K.), belongs to August, 1776, which, according to Mozart's Munich letters (October 6,1777), Nannerl played at Salzburg with Janitsch and Reicha. It displays, like all the compositions of this period, completeness and roundness of form with maturity and cleverness of conception, and surprises us by its animation and the tender beauty of many of its turns of expression. The clavier is the chief instrument, then the violin, more simply treated, but independent. The violoncello does not yet receive full justice; it is only used as a bass, often effectively, but never overstepping its narrow province.
After the (violin?? DW) Concerto in D major (175 K.), composed in December, 1773, and played with applause at Mannheim (February 14, 1778), and, with a new finale, at Vienna (March 22, 1782), Mozart wrote no clavier music until January, 1776, when he composed a clavier Concerto in B flat major (238 K.), another in April in C major for the Countess Lützow (246 K.), and in January, 1777, one in E flat major for Madame Jenomy (271 K.). This industry CLAVIER CONCERTO (271 K.) was not the result of caprice or chance. Composition went hand in hand with his development as a virtuoso, and we can measure his progress by the increasing difficulty of his works. Unless he was to remain in Salzburg all his life,[ 59 ] a professional tour, to make himself known to the world, became more and more a necessity. Both brilliant execution as a virtuoso and a supply of original compositions would be necessary conditions for such a tour; Wolfgang's prudent, worldly-wise father took care that he should be prepared on all points to insure the success of the undertaking.
The most remarkable of the clavier concertos, which in form and treatment resemble the violin concertos, is the last (271 K.), which, in its freedom of form, breadth of design and passion of expression, approaches very near to the divertimento in B flat major (287 K.), which belongs to the same period. The very beginning is original, the clavier striking in with the first bars, and so giving a peculiar tone to the whole movement. Not less original is the entrance of the solo passage proper, the clavier falling in to the last bars of the gradually expiring tutti passage, with a shake of several bars length, out of which the subject springs; the same turn is afterwards made use of at the close of the first movement. The middle movement is called andantino, but expresses deep and painful emotion, and the cantilene repeatedly assumes a recitative-like character (in one beautiful climax the violins are in imitation), ending with a perfect recitative.[ 60 ] The last rondo (presto), a capital exercise for the fingers in its unceasing rapid movement, has a far more important character than is usual with concluding movements. A long cadenza leads back to the subject; the second time, however, it does not lead to the subject, but to a INSTRUMENTAL MUSIC. "menuetto cantabile," which, kept in check by an orchestral accompaniment, has more and more the character of a free fantasia, and at last goes back to the subject in a new cadenza, which leads to a brilliant conclusion.
A concerto for three claviers, written in February, 1776, in F major (242 K.), displays an increase in solo powers; a title-page, carefully written by the father, announces it as "Dedicato al incomparabile merito di S. Exc. la Sgra. Cont. Lodron, nata Cont. d* Arco et delle sue figlie le Sgre. Cont. Aloisia et Giuseppa." We must not look for the same contrapuntal independence of the three instruments which we find in Bach's concertos, but there is no mistaking the cleverness and delicate sense of effect which are displayed in the varied combinations of the instruments—the doubling of parts, the strengthening of the melody or of the bass, the position of the accompaniment, and the alternation of the instruments. The main object of the first movement is to give equal and yet individual effect to each of the three claviers, although the third is hardly on a level with the other two; in the two last movements the third instrument is still more in the background, being chiefly confined to accompaniment, so that in the finale it does not even take part in the cadenzas. This made it easier for Mozart to arrange the concerto for two instruments; the solo parts, so altered, are preserved in his handwriting. The tone of the concerto is lively and cheerful; the whole is treated in an easy and happy vein of humour, which entertains the players quite as much as the audience. Mozart seems to have been fond of this concerto, and he informs his father with some satisfaction that it had been successfully performed both at Augsburg (October 24, 1777), and at Mannheim (March 24, 1778).
The orchestra has a perfectly independent part in this composition; but there is no very marked distinction between tutti and accompaniment; the orchestra and clavier mutually support and further each other, and their union results in a perfect work of art.
It is easy to estimate the claims made by Mozart upon the clavier-player. The principal are simple and tuneful delivery of the melody, clearness and precision in the MOZART AS VIRTUOSO. embellishments (which were more numerous than at the present day, to suit the instrument then in use), skill and steadiness in the running passages and shakes. Technical difficulties, such as passages in octaves, thirds, or sixths, occur seldom or never at this period. The use of the left hand is also limited; rapidity is only required in accompaniment passages, and independence in the execution of left-hand melodies. What the composer was able to accomplish with the limited means at his command lies clear before us; the life which the virtuoso threw into his works by performances full of spirit and genius cannot be reproduced by any observation of form and mechanism.
