Again, the influence of the older masters and their works is observable in a certain harshness occasioned by independence in the disposition of parts, which Mozart does not by any means seek to avoid. In this respect he makes demands upon his audience as great and greater than those, for instance, of Bach and Beethoven, and may be compared to Sophocles, who, admired as he justly was by the ancients for his sweetness and charm, did not hesitate upon occasion to startle his hearers with his harsh severity. Mozart's severity is never the result of clumsy workmanship, but is a conscious and deliberate choice of means; neither is it employed as a stimulant, but rather as an incentive to a better appreciation of passages of perfect beauty. The sense of deliverance from conflict and obscurity, and passage into calmness and light, is so striking that it cannot be wondered at if the means whereby it is attained are little analysed.[ 75 ]
Among the compositions in precise or metrical style special interest attaches to the three-part pianoforte fugue in C major (394 K.). It opens with an introduction, more elaborate than a prelude, and entitled, therefore, a "fantasia." Such introductions, not always in free form (sometimes called "toc-cate"), were usually prefixed to a fugue or other composition in order to give it the character of an improvisation; several others by Mozart exist. The one in question, after a few slow bars, is a lively movement, varies its key continually, and does not carry out fully any motif or passage; this agitated unrest gives it a pathetic character, and excites expectation; the whole movement is brilliant and effective.
It closes on the dominant, thus announcing its nature as an VAN SWIETEN AND CLASSICAL MUSIC. introduction. The fugue which follows is in striking contrast, firm and quiet, yet full of life and latent emotion:—[See Page Image]
The two first bars, with their intervals of fourths, announce a more serviceable than individually expressive subject, but the agitated motif which follows has a very original character, heightened by its auxiliary notes and by its rapid succession of sharp dissonants. A gentle, almost melancholy, tone pervades the whole fugue, and is expressed also by its frequent passage into a minor key. Apart from its interesting technical elaboration, it is important by reason of its characteristic expression, and may serve as an illustration of Mozart's complete mastery of the fugue form. To this it may be added that the fugue we are considering is essentially adapted for the pianoforte both in conception and composition. This is not the case in the same degree with the G minor Fugue (401 K.), which is artistically worked out, but not equal to the C major either in breadth of expression or adaptation to the nature of > the instrument. The same may be said of the three-part fugue in D major, of which Mozart has written thirty-seven bars (443 Anh., 67 K.). The effect of the C minor fugue (426 K), also, rests neither on the sound effects of the pianoforte nor on those of the stringed instruments. It is so broadly conceived, so earnestly and with such ruthless severity carried out, that the external means of expression fall into the background before the energetic enunciation of the laws of form, obeyed consciously, but without servility.[ 76 ] Quite otherwise is the FUGUE FOR STRINGED INSTRUMENTS. case with the introduction, which, written originally for strings, is expressly adapted to their peculiarities of sound effect. The harmonic treatment, and more especially the enharmonic changes, are of extraordinary beauty and depth, and occasion remarkable effects of suspense and climax. Most admirable is the art with which the character of the movement as an introduction is maintained, and the defiant style of the following fugue clearly indicated, at the same time that the mind is tuned to a pitch of longing and melancholy which makes the entry of the categorical fugue a positive relief and stimulant.
A fugue for four stringed instruments in D minor, of which the first elaboration is indicated in the sketch (76 Anh. K.)—[See Page Image]
appears well suited to the instruments. Whether it was to form a movement in a quartet or an independent piece we have no means of ascertaining.
It appears fitting to cast a glance in this place on two works belonging to a later time, but falling within the same school of composition. These are the two "Pieces for an VAN SWIETEN AND CLASSICAL MUSIC. organ in a clock," in F minor,[ 77 ] which have been published, and are well known as Fantasia and Sonata for the Pianoforte, for four hands. They both consist of a slow movement and another in lively, metrical style; their design is similar, but not identical. The first, composed in December, 1790 (594 K), opens with a solemn Adagio, whose impression of great gentleness is not disturbed by some harmonic harshness; it keeps strictly within the limits of an introduction. The Allegro in F major, formed by the imitative treatment of an agitated motif, is divided sonata-like into two parts, and returns through an harmonic transition to the Adagio, which is modified in a masterly way, and leads to a calm conclusion. The whole piece is marvellously rounded off; and the restlessness of the Allegro contrasts with, but does not oppose, the gentle expression of the Adagio. Each forms the fitting complement to the other.
The second piece (608 K.), composed on March 3, 1791, is more broadly planned, and has a greater depth of feeling. It begins with the Allegro, the first bars of which serve to introduce a fugue, admirably disposed and full of lovely melody, with a general tone of serious contemplation. When the fugue has been brought to a close by a stretto with the subject inverted, a striking harmonic transition leads back to the opening motif, which passes into the Andante in A flat major. Its treatment as a middle movement is more weighty and elaborate. A well-developed motif recurs again and again in varied figuration, connected by different interludes, and gives a general impression of pure and satisfied grace, touched with a breath of melancholy recollection, the natural development of the powerful feeling and contemplative spirit of the Allegro. But this happy calm is of short duration. The first movement returns; the fugue recommences, rendered more animated than before by a countersubject, and breaks off with a passionate conclusion.
These two compositions are a fresh proof of Mozart's deep insight into the nature of the forms of counterpoint, which gave him power to use them as the free expression of his individual nature; he is entitled to the praise of having brought these forms to their fullest perfection, an incalculable gain to the development of music, which has proceeded in other directions since his time. It is sometimes regretted that Mozart should have wasted his genius and his labour upon compositions for a toy clock.[ 78 ] We may rather remark how like a true artist he set himself to perform the task before him, and produced a work which, keeping within its given conditions, forms, nevertheless, a great and harmonious whole.