and the combined effects of creative ability and artistic cultivation are nowhere so well displayed as in the independent construction of the separate elements which go to form the whole work. We admire Mozart's art in devising his plan, in accurately distributing his principal parts, and in disposing his lights and shades; but where he is in truth inexhaustible is in his power of strewing round a wealth of small touches which assist the characterisation and give to each part its peculiar effect and, in some respect, the justification of its existence. This power, which always seems to have something at command beyond the necessities of the case (although, in fact, every detail which seems to be the chance expression of individual vigour is conditioned of necessity by the whole conception), is the prerogative of genuine creative genius. It approaches the eternal power of nature, whose apparent prodigality is revealed to the deeper view as the wisest economy, or rather as the unruffled harmony of a great whole. So a statue by Phidias suggests to the spectator the impression of animated COURT SERVICE IN SALZBURG. nature, because it not merely puts before his eyes in general features a representation of the bodily form of man, but suggests to him the totality of the muscular movements which are in a living body in incessant activity. It is in art as in nature: the further we penetrate the fewer and less complex become the governing forces and impulses. Many details may be considered as trifling until it is asked whether they, in their place, have the required effect as part of the whole. When a work of art gives an effect of an artistic whole, in a way which cannot be explained by a consideration of its apparently insignificant parts, this may be taken as the surest proof that the artist worked downwards from his conception of a great whole to the minutest details of his work. We must not undervalue, on the other hand, Mozart's more exact knowledge and freer use than formerly of external means. His residence in Mannheim had given him an altogether new conception of the performance of a good orchestra, both as to sound-effects and execution. The result is present in these compositions, although Salzburg surroundings and customs limited him greatly in his choice of means. It may be that for these reasons his instrumental combinations show no marked progress on former works, but the skilful use of the forces at his command become all the more apparent.
It is remarkable how, without any alteration in the instrumentation as a whole, the body of sound has become richer and fuller, the result of a more careful consideration of the particular nature of each instrument. This is most striking in the management of the wind instruments. The bassoons predominate throughout, independently treated, whereas formerly they only strengthened the bass; and the use of the horns, with their long-sustained notes, shows marked progress. The combination of the wind instruments, sometimes in opposition to the stringed instruments, sometimes in unison with them, is another advance. Effective as are the wind instruments in combination, they are still more so in the delicacy of their individual features, and the perfection of their treatment could not fail to influence that of the stringed instruments, which show the same higher conception of what orchestral performances ought to be.
The Mannheim experiences were not without result either in respect to the executive delivery of the orchestra. Mozart must have been particularly impressed with the effect of crescendo, for almost in every passage we meet with phrases built upon a long-drawn crescendo. The contrast between piano and forte is also made the most of. Regular alternations of long passages forte and piano were formerly the custom, but now we have a rapid succession of very varied shades, fortissimo and pianissimo being also brought into use. But all these are only the outward signs of a higher intellectual apprehension, for which it was necessary also to give credit to the performers; the composer, far from relying only on external effect, makes it the mere expression of the deeper meaning and intrinsic value of his compositions; it is from this point of view that the progress made by Mozart in the manipulation of his artistic materials acquires its true worth in the eyes of a musical critic.
We may imagine that Mozart found it no easy task to substitute a completely new style of execution for the time-honoured customs of the Salzburg band. The energy with which he was able at a later date to inspire the Leipzig orchestra, wedded as it was to its own traditions, gives some indication of his way of proceeding as a young man at Salzburg. His cousin used to hold forth later on Mozart's eccentric behaviour when conducting, and we may imagine that she witnessed some of the extraordinary scenes she describes during her present visit to Salzburg.
Mozart never appeared again as a violin-player, and we therefore find no compositions for the violin belonging to this period. After such an expression of opinion concerning the Salzburg public as that noted above, we cannot wonder that he was not over-anxious to appear before them as a clavier-player. We doubtless owe the Concerto for two claviers with orchestral accompaniment in E flat major (365 K., part 17) to his wish to play a duet with his sister.[ 5 ]
In design and treatment it is essentially similar to the earlier triple concerto. There is no intention apparent of making the two instruments independent; the players emulate each other in the delivery of the melodies and passages, sometimes together, sometimes in succession, often breaking off in rapid changes and interruptions; the melodies are sometimes simply repeated, sometimes with variations so divided between the two instruments that neither can be said to have the advantage over the other. There are somewhat greater difficulties of execution than have been usual hitherto, a few passages, for instance, in octaves and thirds, but very modest ones; the passages generally have more variety and elegance. The orchestra is simply and judiciously, but very delicately treated, the wind instruments in sustained chords, as a foundation for the clavier passages; the effect of the crescendo and a greater attention to light and shade show the influence of Mannheim. Altogether the concerto is a well-arranged composition, clear and melodious, as well as accurately constructed, with a free, cheerful expression, which is most strikingly shown in the fresh gaiety of the last movement.
As organist, Mozart was under the necessity of playing the organ at festivals, but as a rule only for accompaniments and for interludes at set places, which gave him opportunities for improvising—his special delight. We have some organ sonatas with orchestral accompaniments belonging to this time (328, 329, 336, K.), quite in the style of those already noticed (Vol. I., p. 286); compositions after the fashion of the first movement of a sonata, without a trace of ecclesiastical severity, either in the technical construction, which is very light, or in the style, which is brilliant and cheerful. The organ occurs as an obbligato instrument only in one of these sonatas (329 K.), which is the most elaborated, but still very moderate in style, and without any florid passages.
