I may remind my readers of the first movement of the Symphony in C major (551 K.). Who has not been charmed again and again by the last melody, which, like a shining meteor, sheds light and cheerfulness around? Similar, though not perhaps equally brilliant, effects are of constant occurrence; they have not been achieved, have scarcely even MOZART'S PIANOFORTE MUSIC. been attempted by any other musician. On the other hand, however, the partiality with which Mozart has treated the close and other less prominent points of his movements has been prejudicial to the so-called second subject; this is usually the weakest part. It should have a light and tender character, in contrast to the principal subject; it is frequently, however, insignificant in comparison to the other motifs, and gives the impression of having been neglected.
The further development of the fundamental scheme was accomplished by means not of the insertion of phrases connecting its principal members, but of the thematic treatment of these members themselves. Mozart's study of Bach and Handel led him in this direction, as was particularly shown in his later pianoforte works; an interesting example is afforded by the two movements in the Allegro and Andante in F major (553 K.), which are throughout in counterpoint. This work must not be considered as a relapse into the strict forms of counterpoint, such as the canon and the fugue, but as the free development of the laws to which polyphonic and contrapuntal forms are alike subject. Instrumental and especially pianoforte music, freed from the fetters of strict form, was in danger of advancing exclusively in the direction of homophonie development, and so becoming insipid. It is Mozart's merit to have brought polyphonic and thematic treatment, modified according to the altered character of the music and the nature of the instrument, to its freest and most beautiful expression. This is particularly noticeable in the "working-out" divisions of the movements, on which the main emphasis must necessarily fall, and which can only attain their full significance by means of this treatment. Mozart does not indeed develop them in length and breadth as Beethoven does, but he makes them, even when they are so condensed as to appear mere transition movements, the culminating point of the whole movement, the concentration of all its force and action. The mode of treatment is as free as the choice of subject; but the effect generally depends upon a thematic treatment which is often very artistically designed and woven together.
Not that the harmonic element is neglected—the boldest SONATAS. and most original modulations occur in the very places where close examination discloses the thematic as the vivifying element, the true impulse of the work. This free and intellectual treatment of the polyphonic method was distasteful to many of Mozart's contemporaries, who only accepted the traditional forms of counterpoint. Thus, a critic expresses himself as follows concerning the E flat sonata for violin and piano (481 K.):—
The pleasing style of this sonata by Herr M. will cause it to find favour with all lovers of the art. It is to be wished, however, that Herr M. would attach himself less closely to the passing taste of the day; his works would thereby gain a more universal and lasting worth. That Herr Mozart is not wanting either in the knowledge of harmony or the wealth of imagination which would enable him to offer us stronger meats is sufficiently vouched for by this and many other of his well-known works.
The same critic considered the working-out movement far too long:—
Although musical science has no actual rule in such cases, yet a difference of three pages is out of all reason.[ 25 ]
The slow middle movement and the last movement have not the accurate and well-defined form of the first. Two essentially easier forms are mainly employed, with many modifications, namely, variations and the rondo. The slow movement is, as a rule, founded upon the song form, and is therefore often designed in two parts; but the design is only very seldom developed as broadly and fully as in the first movement; the repetition of the theme more than once, with the then customary additions and embellishments,[ 26 ] led naturally to the adoption of variations. But in every case the first requirement was the composition of a movement melodious in form and substance, and owing its expression not to its connection with any other, but to its own intrinsic MOZART S PIANOFORTE MUSIC. feeling. The tone of sentiment then existing was favourable to the production of just such movements, and they therefore undoubtedly belong to Mozart's finest creations. These simple and expressive melodies, exquisitely formed and firmly handled, full of warm and deep emotion or of sentimental tenderness, seem to be the precious legacy of the time to which we also owe the purest strains of our lyric poetry. The calm with which they are for the most part permeated expresses in a rare degree the enjoyment and satisfaction of artistic activity. The very ease with which these movements are constructed, by means of the development of the main idea of variations on it and of freely treated and often contrasting secondary parts, shows how freely and naturally they proceeded from the heart of the musician. As an instance of detail we need only mention the delicacy and grace with which Mozart leads up to the conclusion, and leaves his hearers with a parting impression of perfect satisfaction.
The last movements are not by any means of equal merit with the other two. A large majority are in the easy rondo or variation form. The incredible ease with which Mozart poured forth melodies is more than ever apparent in these movements, but they are often loosely strung together without development, and sometimes trivial in character. The original intention of the movement, of enlivening the audience by a cheerful dance or something similar, is generally kept in view; the tone is one of more or less excited merriment, without depth or true humour. Mozart's enjoyment of dances, games, and jests of all kinds found expression in such performances as these. Their purity and grace of form shows however that, like a true artist, he lifts every manifestation of his nature into a higher sphere. Many of his last movements form exceptions to what has been said above, both by reason of their stricter form and of their more elevated tone.
The list of sonatas for pianoforte alone which Mozart composed in Vienna is not a very long one.[ 27 ] Of the first which appeared— SONATAS—DUETS. Three sonatas, Op. 6 (330-332, K.), in C, A, F major.
Three sonatas, Op. 7 (333, 284, K.), dedicated to the Countess Therese Cobenzl, in B flat and C major; the third is with the violin (454 K.)—