C major, composed May 29, 1787 (521 K.).
Pianoforte music for two performers was then far from having attained the popularity which it now possesses, especially among amateurs. Those who wished to play for the sake of playing, and to give full effect to their performance, would not readily shackle themselves with a fellow-performer, and lose their absolute sway over the instrument. Duets were considered an exceptional kind of amusement, not without its peculiar charm. This charm consisted in the richer elaboration of material which they allowed, and in such a division and alternation of the parts as should set the MOZART'S PIANOFORTE MUSIC. two players in competition. Mozart, who excelled in this kind of treatment, often employed it, and even transfers entire cantilene with their accompaniments to the bass part, not always, as Marx rightly observes ("Lehre von der Musikalischen Composition," III., p. 601), with a good sound effect. Of the two great sonatas, that in F major is by far the most striking; the emphasis is not here laid upon the first movement. The adagio, and still more the rondo, are specially interesting from their beautiful motifs and the seriousness—even to grandeur—of their treatment. The other Sonata in C major is not trivial in conception, but depends more upon brilliant execution, and leaves a cheerful, pleasant impression.
Compositions for two pianofortes were more popular, as affording more scope for display to the performer, but the inconvenience attending their performance has prevented the cultivation of this branch of composition. It appears at one time to have been a favourite one with Mozart, owing, no doubt, to some special circumstances. The Fugue in C minor (426 K., Vol. II., p. 392) was composed on December 29,1783, and the Sonata in D major (448 K.) at the beginning of 1784; the latter is a capital bravura piece for the time at which it was written, effective even now, and interesting from the interweaving of the two parts. The first movement is the best, the working-out forcible and effective, though not elaborate; the andante is somewhat tedious, owing to the repetition of the entire first part. Several commencements now among the sketches in the Salzburg Mozarteum fall within this perio.d. A second fugue, in G major (45 Anh. K.), has already been noticed (Vol. II., p.388); the commencements of an Allegro in C minor (44 Anh. K.) and of an Adagio in D minor (35 Anh. K.) are so grand and forcible as to cause regret that they were not continued; a last movement in B flat major (43 Anh. K.) is calmer and more cheerful in character. It is remarkable how these few bars confirm the observation that the choice of a minor key was with Mozart an invariable sign of a special effort of his productive powers.
The sonatas with violin accompaniment composed by Mozart in Vienna were few in number. The first collection SONATAS FOR PIANOFORTE AND VIOLIN. which appeared in November, 1781 (Vol. II., p. 187), Six Sonatas, Op. 2 (376, 296, 377-380, K.), in F, C, F, B flat, G, E flat major, comprise some sonatas written at an earlier date—those in C and B flat major undoubtedly were, both upon external and internal evidence. That they were all intended for one collection is evidenced by the differences in their designs, probably for the sake of variety. Thus, the Sonata in C major begins with an elaborate Adagio leading into the Allegro in G minor (in depth of feeling these are the finest movements in the set); the last movement is in variations. In the Sonata in F major, variations are placed in the middle, and the last movement is a tempo di minuetto, treated rondo fashion. The first movement is especially prominent in the Sonatas in F major and E flat major. A Sonata in C major begun in 1782, "Pour ma très chère épouse" (404 K.), is unfinished. The fragment of a Sonata in A major, with an introductory Andante, followed by a Fugue in A minor (402 K.), only half worked-out, and completed by Stadler, belongs unquestionably to the period of Mozart's intercourse with Van Swieten. These were followed by:—
B flat major, composed April 21,1784, for Strinasacchi (Vol. II., p. 336), (454 K.).
E flat major, composed December 12, 1785 (481 K.).
A major, composed August 24, 1787 (525 K.).
F major, "Short Violin Sonata for Beginners," composed July 10, 1788 (547 K.).
The greater number of these were composed for pupils. The majority of amateur pianists were then ladies, and it was usual for them to be accompanied on the violin by their teachers or other friends; this kind of music found favour also in social reunions.[ 30 ] It follows, therefore, that these sonatas have no great depth of passion or scholarly treatment, but are well supplied with beautiful melodies and startling harmonic inflections, and are made interesting, sometimes even brilliant, to please the performers. A notice of the first six sonatas soon after their appearance says:—[ 31 ]
