It is plain that he knew what he intended. Of the later concertos he writes (May 24, 1784):—
I cannot make a choice between the two concertos in B flat and D (450, 451, K.). I consider them both tough morsels for the performers (Concerte die schwitzen Machen): but the one in B flat is more difficult than the one in D. I am very curious to hear which of the three concertos in B flat, D, and G major (453 K.) you and my sister like best; that in E flat does not belong to them, being quite peculiar of its kind, and written for a small rather than a large orchestra. So that we have only to do with the three concertos, and I am curious to find whether your opinion agrees with the universal one here, and with my own. They ought, it is true, to be heard with all the parts, and well played.
The emphasis which Mozart laid on the orchestra is very noticeable. The essential merit and originality of his concertos consists in his combination of the orchestra and the solo instrument into a whole, by means of the co-operation of all their separate and independent elements.[ 42 ] The prominence given to the orchestra (which, it must be remembered, owed to Mozart its richer composition, both of wind and stringed instruments) in those larger portions of the work where it occurs independent of the piano, as in the tutti of the ritornelli, gives a symphonic character to the concertos. Even in those places where the pianoforte asserts itself as the solo instrument the orchestra participates so directly in the course of the pianoforte part as to form a not disjointed whole; in fact, the concertos have been aptly designated as symphonies with a part for the pianoforte.[ 43 ] Mozart's art of blending the tone-colouring of the orchestra, which drew PIANOFORTE CONCERTOS. tears from his old father at the hearing of one of his new pianoforte concertos, shows his delicate sense of euphony and accurate knowledge of instrumental effects. The pianoforte, with its comparative want of sustained tone, is at a disadvantage even with solo stringed or wind instruments, far more so with a combination of them. This was still more the case at that time, in consequence of the defective mechanism of the instrument; and both art and ingenuity were required to make it at all effective. When, after an elaborate ritomello, which has given a sense of fulness and satisfaction to the hearers, the pianoforte enters, Mozart aims at producing such a contrast, either by means of extreme simplicity or of a brilliant pianoforte passage, as shall gain over the listener to the peculiar charm of the new element, and excite his attention, which is then kept up by the competition of the rival forces. The composer has no intention of confining the orchestra within the narrow limits of a modest accompaniment (for in that case why should he have appointed it so fully?); he means it to put forth its whole strength, as well as to support and raise the pianoforte part. An inexhaustible succession of fine effects is thus produced. The delivery by the orchestra of the melody in sustained chords supports, as it were, the tendrils thrown out by the pianoforte, and gives a firm basis for figures and passages containing bold harmonic successions: But while it thus seems subservient to the solo instrument, the intensive strength and the tender fragrance of its sound effects are made to form an admirable contrast to the light and brilliant versatility, the sharpness, and clearness of the pianoforte. It seems scarcely necessary to illustrate by an example the universal characteristics of the species, but I may instance the wonderfully fine andante of the Concerto in C major (467 K.) Here the orchestral part is rich in striking harmonic detail, and in fine and original sound effects, which so completely enchant and satisfy the ear as scarcely to allow of a climax. In contrast to this we have a surprisingly simple pianoforte part, displaying the distinctive properties of the instrument without effort or difficulty, and hovering, as it were, like a higher spiritual element over the MOZART'S PIANOFORTE MUSIC. orchestral accompaniment, with which it is nevertheless inseparably connected. Even Beethoven (who made a profound study of Mozart's pianoforte concertos) cannot be said to have surpassed him in this combination from within of different instrumental forces. The superiority of his great pianoforte concertos rests upon other grounds.
It must not be supposed, however, that Mozart had no higher qualities than a finely cultivated sense for the blending of tone colours. The invention, elaboration and distribution of the motifs were governed by the nature of the resources at his command; these had to be taken into account in the first sketch of the work, that so justice might be done them in its completed form; the germ must contain the capacity for development under the most varied conditions. There is scarcely one instance in the concertos of an important motif confided to the orchestra or the pianoforte alone; they are all shared in common. But when a subject is broadly and elaborately treated by the orchestra, it is naturally kept in the background by the pianoforte, while other motifs, merely announced by the orchestra, are rendered with their full effect and embellishments by the solo instrument. This competition of the two forces is most evident in the alternating effects given to the working-out of the different subjects, but even in the brilliant figures and passages the orchestra appears like a well-proportioned edifice, decked with a profusion of arabesque-like ornament by the pianoforte. Thus the charm of these concertos, most rightly so called, depends upon the active co-operation of the contrasted elements, by means of which the whole work is richly and brilliantly grouped, as a picture is grouped by a judicious disposition of light and shade.
The division of the concertos into three movements, as well as the formation of the movements after the analogy of the sonata, were found ready to hand, and only further developed by Mozart. The first and principal movement contains the essential ingredients of the sonata form, namely, a second well-defined subject, and the working-out division but it is freer, and, owing to its improved resources, more fully appointed. A distinct first part with a repetition does not PIANOFORTE CONCERTOS. exist; in its place there appears the first ritornello, with the solo movement belonging to it. The principal subjects, with their working-out, are shared between the orchestra and the piano; but the solo is no mere repetition of the orchestral part; it differs both in the grouping and treatment of the subjects, and leads up to an inevitable climax. A short ritornello brings this section to a close, and introduces the working-out part, equally shared between the pianoforte and orchestra. The severer forms of counterpoint are only sparingly used, the harmonic element being the main support of an animated figure treatment; the polyphonic and homophonie manner are so blended throughout as to display the principal subjects from ever-varying points of view, and to keep the interest alive and active from first to last. This middle movement, on which as usual the main interest is concentrated, leads back to the principal key and the introductory ritornello. The latter is generally shortened, and the first part is not literally repeated, but undergoes modifications in arrangement and elaboration. The conclusion is formed by the customary cadenza, which might also be introduced at other pauses, but was invariable here. It gave opportunity for a free improvisation, consisting of brilliant passages wrought into a sort of capriccio with the addition of an elaborate variation on one of the subjects, or of several subjects so condensed as to form a resume of the whole movement.[ 44 ] The cadenza thus forms the concluding coda of the pianoforte part, and the orchestra brings the movement to an end in similar fashion by a more or less elaborate ritornello. In this way the first movements of the concertos are developed out of the general sonata form, with such a regard to the relative claims of the orchestra and the pianoforte as serves to distinguish them from corresponding movements of the quartet and the symphony.
The two other movements are altogether simpler in design and execution. The slow movement is in song-form, its working out sometimes that of a rondo, sometimes varied, but always simple and clear, and abounding in charming detail. Here again Mozart has displayed a fund of deep and noble sentiment in its purest form, and the fantastic and romantic elements, mingled with a dreamy resignation, and an earnest endeavour after the expression of individual feeling, are more apparent in these movements than in any other of his compositions. Startling harmonic progressions, scattered touches of piquancy contrasting with vague sentimentality, and rhythmical whimsicalities, give all the greater charm that they in no way interfere with simplicity of conception or purity of form. I need only adduce by way of illustration the simple and beautiful romanze of the Concerto in G major (453 K.), or the pleasing and highly original Siciliana of the Concerto in A major (488 K.). The andante of the C major concerto already mentioned is, however, incomparably the finest (467 K.). The emotion is so pure and lofty that the sorrowful impulses which prompt it, harshly expressed though they may be in places, such as the following—[See Page Image] PIANOFORTE CONCERTOS. penetrate the music like memories of a long since vanquished grief that has no more power to trouble the pure serenity of a mind which has mounted from resignation to holy joy. This example, among many others, should teach us that beauty does not consist in the mere rejection of all that is harsh or keen, but in the maturity of the conception which gives birth to the work, and in the harmony of the conditions under which it is represented. Such fruits as these can only be offered by an artist who has discovered the true secret of life.
The last movement of the concertos is always the easiest; it is generally in rondo form, sometimes in variations, lively and cheerful in tone; its predominant 2-4 time preserves its original character of a dance; or sometimes it is in 6-8 time, after the fashion of a hunting song, as in the rondo of the Concerto in B flat major (450 K.) which closes in a long crescendo with a regular hunting flourish of trumpets.[ 45 ] On the whole these last movements are more MOZART'S PIANOFORTE MUSIC. interesting than those of the other pianoforte compositions, and full of graceful, even humorous, passages, of which the last movement of the C minor Concerto (491 K.) may serve as an illustration. The peculiar harmonic treatment gives the subject a character entirely its own, and a new transition at the close invests it with a surprising charm. The Concerto in D minor also (466 K.) confirms the oft-repeated observation that Mozart's compositions in the minor keys are his deepest and most important, for its last movement is distinguished above all others by its fire and intensity of expression.[ 46 ] On the other hand, the middle movements of these two symphonies (in E flat and B flat major), although not wanting in grace, are inferior to their other two movements in force and passion. It is true that the andante of the C minor symphony was encored cm its first performance (Vol. II., p. 288), but the effect it made depended not so much on its melodies, charming as they are, as on the obbligato treatment of the wind instruments, which was an entire novelty at that time.
There can be no doubt that Mozart's concertos afford the best standard for our judgment of him as a pianoforte composer. The majority of them, written for himself in his best days, take the highest rank among his works. The first three (413-415 K.) intended for large audiences are, as Mozart rightly indicates, light in character; so is the Concerto in E flat major (449 K.), written for Fräulein Ployer, and the Concerto in B flat major, probably intended for Fraulein Paradies (456 K.); next to these may be placed the Concertos in D major (451 K.) and F major (459 K). They are all distinct in their main characteristics; some, such as those in B flat major (450 K.), G major (453 K.), A major (414, 488 K.), are cheerful and graceful; others, as the D minor (466 K.) and C minor (491 K.), are passionately agitated; others again, serious and self-contained, as the E flat major (452 K.)
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