1. In D major, composed January 10, 1786 (485 K.).
2. In F major, composed June 10, 1786 (494 K.).[ 17 ]
3. In A minor, composed March 11, 1787 (511 K.).[ 18 ]
The two in F and D major are easy of comprehension and execution—cheerful, but not striking music; the latter is peculiar in that the oft-repeated theme recurs in different keys, thus necessitating changing modulations in the episodes.[ 19 ] The third, in A minor, is very original and beautiful.[ 20 ] The theme is somewhat piquant in its rhythm and harmonic treatment, and suggestive of a national melody— MOZART'S PIANOFORTE MUSIC. a mode of characterisation not often used either by Mozart or Beethoven. Its original modifications cause fresh surprise each time that it recurs. The second theme, effective by contrast with the first, is in itself both fine and expressive, and gives occasion for much appropriate and interesting treatment. The short middle movement, in A major, is lighter in style, but accords well with the chief theme, and leads back to it by a striking modulation. The whole piece is original in character; and the tone of melancholy which runs through it and constantly asserts itself forms a most attractive contrast to the restless movement of some of its parts.
The short Adagio in B minor (540 K.) (composed March 9, 1788) is also very beautiful, serious and even sad in tone, and otherwise interesting by reason of its harmonic inflections. Although this piece is written in perfectly regular form, in two parts with a coda, it reminds us in its whole style of an improvisation. This is still more the case with the so-called fantasias. It has already been remarked that preludes or fantasias were often prefixed as introductions to various kinds of compositions, either in the form of free improvisations or elaborate pieces that could be used on different occasions. A fantasia of this kind, prefixed to the beautiful fugue in C major, has already (Vol. II., p. 391) been noticed.
Mozart sent to his sister from Paris (July 20,1778) a short prelude, "not a prelude to lead from one key to another, but a sort of capriccio, to try the clavier," leaving the style of playing to her own judgment. "She received it at four o'clock," writes the father (August 13, 1778), "and at five, when I came home, she said she had thought of something, and if I liked it, she would write it down. She then began to play the prelude by heart. I rubbed my eyes and said: 'Where the deuce did you get that idea?' She laughed and drew your letter from her pocket." This is, no doubt, the unpublished prelude in C major (395 K.) which was in the possession of Mozart's sister. The essential character of this, as of the prelude in C minor (396 K.), is modulatory. There is no delivery of a regular melody, or working out of a definite motif, but the whole consists of varied and FANTASIAS. skilfully grouped passages and arpeggios, keeping both hands in equal activity, and displaying an abundance of rapid and often curious and striking changes of harmony. But even in this apparently unfettered straying through harmonies we cannot fail to be aware of organisation in the succession of the modulations, in the connection of the passages, and in the whole conception. The C major is in several detached contrasting movements, the C minor is founded on the definite form of a two-part sonata movement, but very freely treated.
The fantasia in D minor(337 K.—>(397 K. DW)) is of somewhat different design, in so far that the melodic element is more prominent, but at first only in oft-repeated phrases, which are continually prevented from developing into a perfect cantilene by the occurrence of a contrasting motif, or the outbreak of a quick stormy passage. The character of a gradual concentration of force is very clearly expressed. The tender and graceful theme which is at last allowed to assume its due proportions, can, however, be in no way considered as the proper result of such a preparation; it is not worked out, but first interrupted, and then brought to a rapid but not a satisfying conclusion, so maintaining the character of the piece as an announcement of something greater which was to come.
The well-known fantasia in C minor (475 K.), Mozart's performance of which so surprised Jos. Frank (Vol. II., p. 279),[ 21 ] is better worked out, and in every respect a more important work. Five movements, in various keys and tempos, are closely bound together into a whole by connecting passages or harmonic inflections. Each movement, though not completely separate, has yet a certain independence, with melodies of its own rounded into a simple song-like form; there is no attempt at the elaboration, or even the full development, of a motif, but everything presses onwards, each section leading as of necessity to the next, which is intended to form a lively contrast to what has preceded it. In spite of the MOZART'S PIANOFORTE MUSIC. predominance of a slow tempo, the whole work has a restless character, and the recurrence at the end of the serious and sustained commencement leads only to a provisional and unsatisfying conclusion. Here again, the essence of the fantasia is modulatory. The changes of harmony are frequent—often bar by bar—rapid and striking; the passages and even the melodies are so constructed as to lend themselves to this method. In spite of its length the fantasia preserves the character of an introduction, though not of necessity to the sonata with which it is printed. The mood which is so distinctly expressed in the two first bars of the adagio is preserved throughout the fantasia; it is a sad and sorrowful mood of doubting and questioning, of struggling and striving, of longing for deliverance from a heavy burden, for freedom from doubt and care; disheartened by failure, unrefreshed by consolation, it sinks at last into itself, and is heard no more. But there is no hopeless despair, no cynical irony in this music. It is expressive throughout of the composure of a man who even in combat never loses command over himself. The boldness of its harmonies, and the consistency of its tone were of unusual significance at the time of its composition. It is much to be regretted that the letter concerning it, which Mozart addressed to Frau von Trattnern (Vol. II., p. 279), has not been preserved.[ 22 ]
Above and beyond such detached movements as these, the form of pianoforte composition chiefly cultivated by Mozart was the sonata, either with or without the accompaniment of one or more instruments.[ 23 ] The foundation of the sonata proper, and of the definite form in which the chief movement of the sonata, at least, was cast—was laid by Kuhnau and Dom. Scarlatti, the latter of whom brought his extraordinary technical knowledge to bear with effect on the treatment and style of pianoforte music. From the middle of the last century the piano as a solo instrument has been increasing in favour, especially among amateurs, and it THE PIANOFORTE SONATA. naturally followed that this species of composition should be cultivated with corresponding attention. Ph. Em. Bach and his disciple Jos. Haydn fixed the form of the sonata in all essential respects, and by the intrinsic worth of their compositions, and the charm of their execution, brought the germ of perfection therein contained to the point of vital development. To them succeeded Mozart, carrying on their work in his own original manner.
It has already been demonstrated (Vol. I., p. 292) that the clavier sonata in its free development forms the basis of independent instrumental composition, and that every advance in the one direction acts favourably in the other; it will suffice here, therefore, to touch briefly on the main points of this species of composition.