CHAPTER XXI. COURT SERVICE IN SALZBURG.
MOZART was welcomed to the paternal roof with open arms; everything was prepared for his reception; "a convenient cupboard and the clavichord were placed in his room," the cook Theresa had cooked capons without number, the high steward Count von Firmian (Vol. I., p. 345) offered him his horses, and Dr. Prexl also placed his "beautiful MOZART'S DISTASTE TO SALZBURG. bay mare" at his disposal; in short, Mozart's return home was a happy and triumphant event to all the good friends of his youth. We know the feelings with which he returned. Disappointed in his hopes of rapid and brilliant success, he returned to the old condition of things, and the yoke must have pressed on him all the more heavily now that his illusions were dispelled and he no longer saw a prospect of shaking it off. He had buried his mother in a foreign land, and his warm true heart had been deceived in its first love; in poverty he returned to his father's house. He was not in a position to see as clearly as we do how powerfully his added experience of life and manifold artistic impressions had contributed to his moral and mental development, and he could scarcely be expected to look to this development for the strength and courage necessary to face the future.
The commencement of his residence in Salzburg was cheered by the presence of his lively young cousin; she had followed him from Munich on his entreaties, to pay a visit of some weeks to her uncle. Mozart's amiability and cordial manners renewed many pleasant intimacies, but the actual cause of his distaste to Salzburg, viz., the want of cultivation and of a disinterested love of art among its inhabitants, remained as before, and his long absence was likely to make him feel it all the more sensibly. The Archbishop, compelled by circumstances and his surroundings to recall Mozart, had not by any means forgiven his voluntary resignation of his former office, and the disinclination to return which Mozart had so evidently displayed, was certainly not calculated to appease his ill-will. We shall soon learn the kind of treatment which Mozart had to expect from him. The Salzburg public are described by Wolfgang in a letter to his father (May 26, 1781): "When I play in Salzburg, or when any of my compositions are performed, the audience might just as well be chairs or tables." He declares that, although he actually loves work far better than idleness, the want of congenial intercourse and inspiring surroundings make it often almost impossible for him to set to work at composition. "And why? Because my mind is not at ease." Again, he says (April 8, 1781): "To dawdle away one's COURT SERVICE IN SALZBURG. youth in such a wretched hole is sad enough, and harmful besides." This and similar expressions might lead one to suppose that Mozart had neglected composition during these years, but a survey of the works which are known to us suffices to dispel this idea.
His musical activity took as a matter of course, in all essential points, the same direction as formerly; his official position as concertmeister and as court and cathedral organist (for so he was entered in the Salzburg Court Calendar), gave occasion for instrumental and church compositions, the style and materials of which were as restricted as before.
The first instrumental composition, in G major (318 K.), dated April 26, 1779, seems to have been written for some very special occasion. The orchestra is strongly appointed (besides the quartet there are two flutes, two oboes, two bassoons, four horns in G and D, and two trumpets in C, and used for effects which must have startled the Salzburgers. It is in the form now usual for overtures, but out of date for concert symphonies, viz.: three connected movements, Allegro spiritoso 4-4, which contains, besides the principal energetic motif with which it begins, and which constantly recurs in different ways, two independent, quieter motifs in succession: Andante 3-8, gentle and soft, somewhat longer than is usual for middle movements, but simple and without thematic elaboration; it leads back to the first Allegro, shortened (by the omission of the second subordinate subject) and modified in the elaboration. The individual and dramatic character of this composition, expressed most particularly in the commencement and the close of it, makes it probable that it was written as an introduction to a drama. We shall see that there was no lack of occasion for such works. Also belonging to this period are two symphonies in the usual three movements.[ 1 ] The earlier, in B major (319 K., SYMPHONIES—SERENADE, 1779. part II), composed in the summer (July 9) of 1779, was evidently the results of "a pleased frame of mind"; it is a genuine product of Mozart's humour, lively, cheerful and full of grace and feeling. The second, a year later (August 29, 1780), in C major (338 K., part 10), is grander in conception and more serious in tone. This is particularly noticeable in the first movement; a constant propensity to fall into the minor key blends strength and decision with an expression not so much of melancholy as of consolation. In perfect harmony of conception, the simple and fervent Andante di molto combines exceeding tenderness with a quiet depth of tone. The contrasting instrumentation is very effective in this work; the first movement is powerful and brilliant, but in the second only stringed instruments (with doubled tenors) are employed. The last movement is animated throughout, and sometimes the orchestral treatment is rapid and impetuous.
A Serenade in D major (320 K.) belongs also to 1779, composed probably for some special festival, and (except that the march is omitted) quite in the style of the early already-noticed serenades[ 2 ] (Vol. I., p. 301). A short Adagio serves as introduction to a brilliant Allegro, arranged exactly like the first movement of a symphony, and worked out at considerable length; to this follows a minuet. Then there is inserted a concertante, described as such in the title, consisting of two movements, an Andante grazioso 3-4, and a rondo, Allegro ma non troppo 2-4, both in G major.[ 3 ] In earlier days, when Mozart figured as a violin-player, a violin solo played the chief part in such compositions; but now the wind instruments, two flutes, two oboes, and two bassoons are employed concertante; the stringed instruments and horns form the accompaniment proper. These two pieces are elaborated with great care and accuracy, and are clear and perspicuous as well as tender and graceful; COURT SERVICE IN SALZBURG. the rondo is somewhat lighter in tone than the first movement. Of bravura, properly so called, there is none to be found, and the ornamental passages are confined to moderate amplifications of the melodies. The instruments are solo in that they bear the principal part throughout, concertante in that they emulate each other in manifold and changing combinations; their strife is playful, with sometimes almost a mischievous tone.
The Andantino which follows offers a strong contrast to both movements of the concertante. This is marked at once by the fact that the stringed instruments are here put forward as the exponents of the musical idea, while the very sparely used wind instruments only emphasise certain sharp points of detail. But the contrast is deeper than this; the light and sunshiny mood of the two previous movements accentuates the serious melancholy of the Andantino, which seems to tell not of the pain of an existing passion, but of the inner peace of a sorrow overcome. After a less noticeable minuet[ 4 ] the serenade closes with a long elaborate Presto, an important movement full of life and force; the most emphatic contrapuntal arrangement of the principal theme is in the middle passage; it is lively and original, as well as technically correct.
The melodies and subjects of these works show unmistakable progress; they are of maturer invention, have more musical substance, if the expression may be allowed, more delicacy and nobility of apprehension. Technical progress is visible in the greater freedom of the contrapuntal treatment, which had already been fully developed in Mozart's vocal compositions. This is most obviously apparent in those parts where thematic elaboration predominates, which are richer and freer than hitherto. There are also many motifs which owe their importance mainly to their contrapuntal treatment. But, above all, we recognise Mozart's sure tact in preserving the limits that prevent the interest in the PROGRESS IN INSTRUMENTAL MUSIC. different combinations of counterpoint to which a motive can be subjected from becoming essentially technical, and losing its artistic character.
Equally surely has his genius preserved him from the mistake of ascribing any absolute value to the contrapuntal method, or favouring the logical element which lies in it to the disadvantage of sensuous beauty. He makes use of the forms of counterpoint only to arrest the attention and to heighten the interest, without wearying the mind, intruding a foreign element into the original essence of the work, or neglecting beauty of form; Mozart never forgets that music must be melodious. Therefore a receptive although uncultivated hearer receives a pleasing impression from artistic and even intricate passages, without at all suspecting the difficulties which he enjoys.
But the influence of the contrapuntal method reaches far deeper than well-defined and scholastic forms, just as a well-considered discourse does not consist merely in the observance of syllogistic forms. The principle of the free movement of the separate members of one whole penetrates the minutest divisions;