"Your sincere Friend.
"Datum in domo verae amicitice."
Leopold Mozart was not a little annoyed by this act of friendship, which he was inclined to ascribe to the Kapellmeister Schmidt or to the organist Seyffert. It need scarcely be said that this "programme-music" is innocent either of originality or of instrumental colouring. Short characteristic pieces, such as Couperin and Rameau wrote, were composed by L. Mozart, in common with Eberlin, for a kind of organ with a horn stop, which had been erected by Joh. Roch. Egedacher on the fortifications above the town. Once a month, morning and evening, a piece was played on this instrument; in February it was the Carnival, in September a hunting song, in December a cradle song.[11]
Besides all this, L. Mozart wrote many concertos, particularly for the flute, oboe, bassoon, French horn, or trumpet (one of these is in Munich), innumerable trios (he offered a flautist, named Zinner, in Augsburg, fourteen trios for flute, violin, and violoncello), and divertimenti for various instruments,[12] marches, minuets, opera-dances, &c. Three clavier CHILDHOOD. sonatas are printed,[13] of which Faiszt remarks that they might well be the work of Leopold's great son, so strong is their similarity in form and spirit.[14] is compositions were for the most part only in manuscript, as was almost all the music of that day.[15] By way of practice in engraving, he engraved three trio sonatas himself in 1740, and revived the old accomplishment in 1778, when he engraved some variations for his son.
In later years he composed little or nothing; his position in Salzburg was so little to his mind that he did not feel himself called on to do more than his duty required; besides, the education of his children engrossed his whole time, and when his son had come forward as a composer, he would on no account have entered into competition with him.[16] L. Mozart was proud of the estimation in which his works were held abroad, as the following extract from a letter to his friend Lotter shows:
November 24, 1755.
I may tell you in strict confidence that I have received a letter from a distant place inviting me to become a member ——— don't be alarmed—or—don't laugh —— a member of the Corresponding Society of Musical Science.[17] Potz Plunder! say I. But do not tell tales out of school, for it may be only talk. I never dreamt of such a thing in my life; that I can honestly say.
But the elder Mozart acquired his chief reputation as a musician by the publication in 1756 of his "Attempt towards a Fundamental Method for the Violin."[18] This work was L. MOZART'S VIOLIN METHOD. spread abroad in numerous editions and translations, and was for many years the only published instruction on the art of violin-playing; proof enough that it rendered important service in its day, as far as technical knowledge was concerned. What makes the book still interesting to us is the earnest, intelligent spirit which speaks from it, and shows us the man as he was. He sought to impart to his pupils a sound, practical musical education; they were not only to practise their fingers, but were always clearly to, understand what they had to execute and why: "It is dispiriting to go on playing at random, without knowing what you are about" (p. 245); a good violinist should even be practised in rhetoric and poetry to be able to execute with intelligence (p. 107). He insists strongly that the pupil should not advance until he is quite able for what he has to learn: "In this consists the gravest error that either master or pupil can fall into. The former often lack patience to wait for the right time; or they let themselves be carried away by the pupil, who thinks he has done wonders when he can scrape out a minuet or two. Often, too, the parents or guardians of the beginner are anxious to hear him play some of these imperfect tunes, and think, with satisfaction how well their money has been spent on the lessons. How greatly they are mistaken!" (p.57, cf. 121.)
The study is not to be made too easy or simple; the learner must exert himself and work hard. Thus he writes at the beginning of the exercises (p. 90): "These are the passages for practice. The more distasteful they are, the better I shall be pleased; I have striven to make them so"; that is, to guard against their being played from memory.
The same ability is displayed in his principles of taste.