and then slides on to the G, while the violoncello carries out TRIO FOR PIANOFORTE, CLARINET, AND VIOLA. an expressive bass passage in crotchets, and the piano in two parts moves above both instruments in quavers; an effect of sound and motif which has often been laid claim to in recent days as something new and original. An insurmountable obstacle to the fuller development of the trio (in which Beethoven later put forth all his creative powers) consisted in the want of good violoncellists among the musical circles for whom Mozart composed these works.
A trio in E flat major, for pianoforte, clarinet, and viola (498 K.), composed on August 5, 1786, for Franziska von Jacquin, is very original (Vol. II., p. 278). The unusual combination of instruments necessitated unusual treatment. The viola is not a bass instrument, and is only available for middle parts, so that the usual violoncello part could not be given to it; this necessitated an altogether original design and execution, and a dependence for effect upon a peculiarly light colouring and transparent clearness. The viola, whether accompanying or leading the melody, is treated throughout with special partiality, and has even a certain amount of bravura. Mozart was fond of taking the viola himself in his later years, and Franziska von Jacquin was an excellent pianiste, so that we can understand his providing himself with a good part to perform with his friends. The deeper tones of the clarinet are not used, out of consideration to the viola; its full liquid tones are particularly well adapted for the delivery of the melody. The plan of the movements deviates from the ordinary course. The first is not an Allegro, but an Andante 6-8 (signifying formerly a moderately agitated tempo) which is played straight through with no repetition of the first part. It is in three tolerably equal divisions, in each of which the two beautiful subjects are enlarged upon in an easy but attractive manner, the first of them especially—[See Page Image]
being scarcely ever lost sight of; the movement ends with a short coda. The second movement is a minuet, the only one of the kind in Mozart's pianoforte pieces, serious and MOZART'S PIANOFORTE MUSIC. broad in tone, somewhat elaborated in the trio, the motif of which is taken up in the coda; on the whole, a fine and characteristic movement. The concluding rondo is full of pretty melodies and brilliant passages, and the different parts are delicately and independently treated.
A relatively much higher rank than that of the majority of the trios is taken by the two quartets for pianoforte, violin, viola and violoncello, of which the first, in G minor (478 K.), was composed on October 19, 1785; the second, in E flat major, on June 3, 1786 (493 K.). They are, suitably to their enlarged resources, grander and broader in design, the motifs are fuller, and thematic treatment comes to the foreground. The details of the work are developed from within, and are made subservient to the plan-of the whole. Notwithstanding, therefore, their more elaborate treatment, the mode of expression is more definite, the contents weightier, the expression more forcible and clearer.
The inclination of the present day, since Beethoven has raised chamber music both in substance and form to a hitherto unapproachable height, is to make beauty of form[ 34 ] predominate over force and depth of original expression; it will be instructive, therefore, to cast a glance over a criticism by Rochlitz, written in the year 1800:[ 35 ]—
In these compositions, written for a select and limited circle, the spirit of the artist is displayed after a rare and singular manner, with the grandeur and sublimity of an appearance from another world; there are moments, it is true, of melting sadness or cheerful humour, but they are only moments, and the composer breaks forth again in the greatness, even fierceness, of his strength, or writhes in bitter sorrow—the struggle ending, as it were, only in victory or death. That this may not be taken for mere empty raving, let any one hear, well-executed—(which can only be by persons who possess, together with the requisite skill, both a heart and an understanding for music)—Mozart's quartet for pianoforte, violin, viola and violoncello, in E flat major. Let it be heard, studied, and then heard again.
As an illustration of passionate feeling, amounting even to harshness in the force of its expression, we should rather quote the first movement of the quartet in G minor. The following account from Vienna of "the latest musical novelties at grand concerts," written in 1788, will give some idea of the reception which these quartets met with on their first appearance, and of the difficulties they presented to contemporary performers:[ 36 ]—
The favourite pianoforte composer among lady amateurs is Kozeluch, but Pleyel is beginning to be a dangerous rival to him. Pleyel's music contains humour and more of original invention than Kozeluch's, although the latter possesses elegance, regularity of form, and a certain flow of ideas. Mozart is at present residing in Vienna as imperial kapellmeister. He is considered as a remarkable man by every philosophic lover of music. His genius was precocious, and he both composed and played in his eleventh year (even earlier) to the admiration of all who heard him. But what is truly remarkable is that this precocious child should have blossomed into maturity as an accomplished musician. We know the usual rapid course of such a prodigy by sad experience! We look in vain for its fruits, for its stability. Not so with Mozart! But now a few words on a curious phenomenon which he (or his celebrity) has brought to pass. A short time ago appeared a solitary quartet (for piano, violin, viola, and violoncello), very artistically arranged, requiring extreme accuracy of delivery in all the four parts, but even under the most favourable circumstances not likely to please any but musical connoisseurs in a musica di camera. The report, "Mozart has written a new and very remarkable quartet, and such or such a princess possesses it and plays it!" was soon spread abroad, excited curiosity, and caused the indiscretion of the production of this original composition at a grand noisy concert. Many pieces can sustain their reputation even under a mediocre performance; but this work of Mozart's in the hands of indifferent amateurs, carelessly rendered, is simply unendurable. It was so performed innumerable times last winter; at almost every place which I visited I was taken to a concert, and there entered a town-bred miss, or some other conceited amateur, to play this quartet to the noisy company who pretended to find it the goût. But it gave no real pleasure; every one gaped with ennui at the long tintamarre of four instruments who did not keep together for four bars, and whose contradictory concentu gave no impression of unity of sentiment. The obstinacy with which it was forced down everywhere was indescribable. It is not enough to stigmatise this folly as an ephemeral manie du jour for MOZART'S PIANOFORTE MUSIC. it lasted throughout a whole winter, and (as far as I can learn) is still only too often repeated. What a contrast if this masterpiece were to be performed by four skilful musicians, in a quiet room where the listening ear might catch the suspension of every note, in the presence of only two or three attentive listeners! But this would give no opportunity for display or the applause of the vulgar.[ 37 ]
The quintet in E flat major (452 K.) for pianoforte, oboe, clarinet, horn, and bassoon is a composition of peculiarly charming effect; it was composed by Mozart on March 30, 1784, for a concert which he gave in the theatre, and, being excellently performed, was received with great applause. He himself considered it, as he tells his father (Vol. II., p. 287), to be the best thing he had ever written, and he selected it to play before Paesiello (Vol. II., p. 279). It must not be judged from the various arrangements which have been made of it; it is accurately and exclusively fitted for the instruments for which it was written. The sound effects produced by the well-considered combinations of the wind instruments are of surprising beauty, and the pianoforte maintains its ground against its melodious rivals by means of its power of quicker motion. The whole work is clear and easy in each of its multitudinous details, and from beginning to end it is a true triumph of the art of recognising and adapting the peculiar euphonious quality of each instrument. This harmony of sound, combined with a somewhat strongly accentuated harmonic treatment, constitutes the principal charm of the work, which is not rich in thematic invention. Here and there Italian echoes are heard in the melodies, but the German style predominates, as it does in the quartets previously noticed.[ 38 ] Beethoven is known to have emulated this work of Mozart's in his quintet (Op. 16); in no other of his works, perhaps, does he so plainly appear to have set a PIANOFORTE CONCERTOS. pattern before him for imitation; for once he has not succeeded in surpassing it.[ 39 ]
