These sonatas are unique of their kind; rich in new ideas and signs of the genius of their author, very brilliant and well suited to the instrument. Besides this, the violin accompaniment is so artistically combined with the pianoforte part that both instruments are kept in constant activity, and the sonatas require a violin-player of equal skill with the pianist. But it is impossible to give a full description of this very original work. The connoisseur must play it through for himself, and he will then be ready to acknowledge that we have not exaggerated its merits.
It appears from this that the violin part was usually treated as subordinate, exclusively intended for accompaniment; but not so with Mozart: his violin parts are completely independent, on an equality with the piano, and composed with special reference to the idiosyncrasies of the instrument. Indeed, the whole design of these sonatas avoids any interweaving of the parts, which are generally in strict counterpoint; even the simple form of imitation is comparatively seldom employed; the parts relieve one another, exchange melodies and passages, or move freely together. If, however, we compare the violin part so skilfully added to the Sonata in B flat major (570 K.), we shall find that it is no essential part of the design, but an evident addition; while in the violin sonatas proper, simple as the violin part may be, it cannot be subtracted without injury. The principal charm of these sonatas lies in the rich development of their harmonies. In this respect, too, the later sonatas are, as usual, superior to the earlier. With the exception of the short sonata for beginners (547 K.), that in E flat major (481 K.) is the easiest, but it is remarkably clear and pretty. The working-out of the first movement is formed by the delicate harmonising of the favourite subject already known to us (Vol. I., p. 259)—[See Page Image]
which recurs free in the second part, and is therefore judiciously used to bring the whole movement to a close. In the B flat major sonata also (454 K.) the interest of the working-out is essentially harmonic; the return to the first subject is as striking to those who hear it now as it could have PIANOFORTE TRIOS. been to Mozart's contemporaries. There are many similar touches which suffice to convince us how great an effect of novelty and boldness these sonatas must have produced. The first place must again be accorded to the slow middle movements by reason of their beautiful melodies, in the steady flow of which the art of not merely beginning well, but of maintaining the interest, and knowing where to leave off, may be admired and studied. In all of them a delicate and tasteful accompaniment, a rich and bold harmonic treatment—I need only mention the effective enharmonic changes in the andante of the B flat major sonata (454 K.), and in the adagio of the E flat major (481 K.)—give to the simple outlines a delicate warmth of colour. Each of these movements is fine of its kind, but the andante of the Sonata in A major (526 K.) is specially attractive from the earnestness of its tone.
In the same class may be reckoned the trios, or, as Mozart called them, terzets for piano, violin, and violoncello, which were also principally intended for the social circle of amateurs. Their composition for special occasions may be inferred from the fact that they all five fall within the summer and autumn of 1786 and 1788:—
G major, composed July 8, 1786 (496 K.).[ 32 ]
B flat major, composed November 18, 1786 (502 K.).
E major, composed June 22, 1788 (542 K.).[ 33 ]
C major, composed July 14, 1788 (548 K.).
G major, composed October 27, 1788 (564 K.).
In June of the latter year Mozart asked his friend Puchberg if he did not intend to give a musical party soon, for he had written a new trio. This was the trio in E major; and a later distinct mention of a trio written for Puchberg probably refers to the same. There can at least be no question as to the superiority of this trio in design and originality, as well as in the effective treatment of the instruments. The first movement is full of fire and energy, the imitative working-out of the second subject being MOZART'S PIANOFORTE MUSIC. wonderfully heightened in effect by a bold harmonic inflection. The second movement, with something of the character of a national melody, is fresh and charming, and has rhythmic and harmonic points which give it a piquancy altogether modern. The last movement, though not devoid of expression and delicacy, is inferior in vital energy to the first, and seems somewhat too long, perhaps because an exclusive attention to brilliancy loses its effect upon hearers of our day. External influences account for the fact that the succession of the trios is not in accordance with their merit and importance. The two last are inferior not only to that just mentioned, but also to the two first. In these, as usual, the middle movements stand highest; in the first movement of the trio in B flat major (2) there is no new second subject, but the first is employed again with some modification; the second part, therefore, opens with an entirely new and independent melody. The trio in C major (548 K.) is very easy, and seems to have been intended for some particular person. The last (564 K.) was first written by Mozart as a sonata for pianoforte alone. When he had occasion to add the two stringed instruments, he had the original composition copied, added the violin and violoncello parts, and altered what had to be altered for the piano. The original sonata may be easily traced, except here and there, where the alterations have gone deeper, and the different instruments, except in the variations, have little independence. In contrast with the emancipation of the violin part in the violin sonatas, the violoncello part of the trios is always in the background. It is treated as a bass instrument, and only exceptionally leads the melody or takes an independent part; of bravura it has little or none, and thus the original effects of which the combined instruments are capable seldom occur. One remarkable instance of such an effect, however, is in the last movement of the first trio (496 K.) at the passage in G minor, where the violin repeats four times the melancholy bar—[See Page Image]
