The sonata now signifies a composition for a solo instrument, consisting of several movements, differing in time, measure, and key, but sufficiently allied in design and grouping to form a coherent whole. In its earlier stage two movements often composed a sonata, but afterwards three or four became the rule. One of the movements is in slow time, and forms the appropriate expression of a calm, serious, or tender mood. It soon became usual to place this movement in the middle, with the instinctive feeling that a composed and self-concentrated mood ought to succeeed to a demonstrative or passionate one. If the more animated movement were preceded by the slow one, the latter would lose its independent character, and become a mere introduction to the former. The second of the lively movements served as a conclusion, and was invariably cheerful, sometimes even merry in tone. The music being principally intended for social entertainment, was so constructed as to leave a pleasant, cheerful impression. When a fourth movement was added it was generally in the same tone, and sometimes preceded, but more often followed, the slow movement. During his Vienna period Mozart's sonatas, both solo and accompanied, have but three movements, while his symphonies, quintets, and quartets are always furnished with minuets.
The three movements of the sonata have only gradually MOZART'S PIANOFORTE MUSIC. assumed their present form. One of Mozart's earlier sonatas, in A major (331 K), consists of an andante with variations, a minuet, and rondo; another, in D major (284 K.), has a middle movement, consisting of a rondo en polonaise, followed by a theme with variations. Afterwards, however, he adhered to the regular sonata form, with the first movement as its most characteristic part, forming the point of departure for the development of all modern instrumental music. It has already been remarked that the essential elements of the sonata movement consist in the treatment of the principal motif in the first part, and in its working out in the second.
The contrapuntal elaboration of a theme in strict form was the groundwork of the first part, and was followed by the characteristic treatment of well-defined motifs, side by side with a free use of figures and passages. An important point was the delivery of a second theme, independent of the first and sharply distinguished from it. This was always in the dominant of the principal major key (C major—G major), or in the relative major of the principal minor key (C minor—E flat major). These are the two main pillars of the movement. Their further development, their connection by means of interludes, and the conclusion of the part, are not further hampered by rule, except that the part must close in the dominant. The province of the second part was the working out of one or more motifs employed in the first part, or altogether new. The treatment was either mainly harmonic or mainly thematic, and had for its object the organic development of the given elements, the enhancing of the interest, and the effective return to the first part. Upon this elaboration, and leading back to the first theme, were concentrated all the power and genius of the master. The repetition of the first part entailed many modifications, partly because the second theme was obliged to appear in the principal key in which the movement closed; it allowed also of alterations in grouping the different phrases, of amplifications or curtailments, and especially of such a long-drawn climax at the close as should almost entitle the repeated second part to be considered as a third part.
Mozart found these elements ready to hand, and gave them the stamp of his own individual nature. In his hands the second subject, distinctly enunciated, became not only an independent but a counter-subject rising in characteristic relief from the body of the part. But his originality is principally displayed in the formation of the themes. Their predominant characteristic is songlike melody, which Nägeli (Vorlesungen üh. Musik, p. 156), with a mistaken view of the nature of instrumental music, considered to be the degradation and ruin of pianoforte-playing. With truer judgment Mozart has followed the injunctions of Ph. Em. Bach, and after him Haydn, and has striven to write melodiously. Mozart's musical training was founded on song—and his inclinations led him to song—in a greater degree than was the case with his two predecessors. When once' the pianoforte composer had renounced the severe polyphonic method—when once he had come to regard his theme not as material for pedantic elaboration, but as a free melody capable of giving expression to his artistic perceptions, then song became the point of departure for all his melodies. A transference to the instrument of the forms expressly constructed for the voice was impracticable; they could only be employed by analogy, in conformity with the nature of the instrument. Mozart never employed the form of the Italian cantilene in his pianoforte compositions, nor in his instrumental works generally; a glance at his Italian operas will show the difference in the treatment of the melodies. Wherever a comparison of instrumental with vocal works is possible, it must be made with the German operas, especially with the "Zauberflöte." In his instrumental works Mozart gave his emotions their natural expression without binding himself to any such set forms as those of Italian opera; with equal freedom he treated song in his German operas as the immediate outcome of his feelings. The developed forms of German instrumental music suggested this treatment. The essential conditions of a beautiful melody, founded on the relations of intervals, rhythm and harmonies, were perfectly fulfilled in Mozart's pianoforte compositions. Each melody is complete, uniform and full of his own charm of grace and MOZART'S PIANOFORTE MUSIC. euphony. The delivery of such melodies must have given special prominence to those qualities in Mozart's playing which Haydn declared came from his heart; we are sometimes surprised in the concertos, for instance, to find the chief effect depending on a long, simply sustained melody, which he must have played in masterly fashion. This songlike and expressive treatment of the separate melodies was accompanied by an extraordinary wealth of melody. Instead of the connecting phrases which generally led out of the principal motif or were formed by free passages, Mozart introduced new melodies. This was made an occasion of reproach to him, as Dittersdorf says ("Selbstbiographie," p. 237): "Mozart is unquestionably a great original genius, and I know of no composer who possesses such an astonishing wealth of ideas. I only wish he were a little less prodigal of them. He gives his hearers no time to breathe; as soon as one beautiful idea is grasped, it is succeeded by another and a finer one, which drives the first from the mind; and so it goes on, until at the end not one of these beauties remains in the memory." We shall certainly not echo this complaint of Mozart's prodigality of ideas; but it cannot be denied that though the formation of independent melodies is an important and necessary step in advance, it does not reach the last stage of development. Mozart's melodies are not strung together without connection, both external and internal; but, in the shorter sonatas especially, where they are not worked out, they strike us as the indicated points in a design wanting as yet the detail of which it is capable.[ 24 ]
The gain was important in two respects. The close juxtaposition of melodies excluded, or greatly limited, the employment of connecting passages without sense or meaning. Of these Mozart makes comparatively little use. He used figures and passages chiefly as ornaments, and not as independent members of the movement. But where this form of transition seemed inevitable, he used it without ceremony, just as in architecture supports are worked into the artistic design, SONATAS. without any disguise of their structional importance. We may instance the broad and expressive treatment of his closes and half-closes, which are now so striking as to appear to many a special peculiarity of Mozart's style. This, however, they are not; they were then in general use, and proceeded from the desire to maintain the key with firmness and decision.
The greater freedom of modern music in this respect, and the substitution of graceful and original transition phrases for dry commonplaces is an undoubted progress. Mozart's transition phrases were, however, often elegant and interesting, as may be proved from a reference to his returns to the theme in the second parts, and to the varied development which he gives to the simple ground form of the organ point.
The second respect in which Mozart's method was a gain to music was in the clearness which it gave to his designs.
This clearness is an inseparable adjunct of Mozart's art; by means of it the main points of his structure were as clearly defined as an architectural ground-plan, and became the supports for elaboration and development. Mozart himself was far from exhausting the resources of the method which he founded; others have followed in his footsteps, and Beethoven, his intellectual heir, has displayed all the depth and wealth of that which he has inherited.
In the choice and arrangement of his melodies Mozart invariably displays delicate taste and discrimination. He is particularly happy in surprising his hearers with a new melody when they least expect it—at the close of the first theme, for instance, which generally brings with it a certain sense of satisfied completeness. But his most inimitable effect is produced when, just as the movement is drawing to a close, a perfect melody starts up in all its charm of fresh sweetness, reviving the interest of the hearers, and often giving an entirely new turn to the whole. As a striking example,