Life of Mozart, Vol. 2 (of 3)

by Otto Jahn

Of more important church compositions there belong to this period two Masses in C major, of which the earlier (317 K.) is one of Mozart's best-known works of the kind, bearing date March 23, 1779, and the later (337 K.) was written in March, 1780.[ 6 ] They are quite after the prescribed manner, not too long, not too serious, and yet not light; in no respect difficult or important, and closely allied in substance and treatment to the earlier works which have already been analysed (Vol. I., pp. 263 et seq.). The easy invention, never at a loss for fitting expression, the talent for organisation which arranges the parts into a connected and coherent whole, the technical sureness which gives to every detail its due share of interest—above all, the inexhaustible gift of melody and symmetry: all these qualities are here to be found, and it is by their aid that, in spite of hampering circumstances, such great and healthy work was done.

Nevertheless, these Masses show more plainly even than earlier works of the same kind how the fetters of outward control check the impulses of inner strength and feeling. We see Mozart as it were in court dress; he is expert enough to move in it with tolerable freedom, but he is disguised rather than clothed. Conventional influence is most apparent in the instrumentation, which, as a whole, is little different from that of the earlier works. Some passages are remarkable even in their instrumentation; for instance, the Et incarnatus and Crucifixus of the first Mass have an expressive violin passage, and in the second the treatment of the wind instruments in the Crucifixus and Resurrexit, and the organ, oboe, and bassoon in emulation with the voice in the Agnus Dei, remind us of Mannheim.

But these are details, and in its general features the tone-colouring of the orchestra is the same as formerly; rapid violin passages predominate, the trombone follows the voice regularly and forte, and so on. But in other respects original features are not wanting, nor even passages of surprising beauty, to which belongs, for instance, the unusually melodious close of the first Mass, in which the Benedictus, COURT SERVICE IN SALZBURG. contrary to custom in a serious choral movement, is in strict counterpoint. These are signs of a great genius, which make us regret all the more that the whole work is not dictated and inspired by the same spirit. To this period also, according to the handwriting, belongs a Kyrie sketched by Mozart and not preserved quite complete (323 K.), which has been completed and printed as a Regina coeli by Stadler. It is characterised by a rapid sextole passage which is distributed among the wind instruments in uninterrupted movement. The voices take their own independent course throughout. Among other unfinished attempts by Mozart preserved in the Mozarteum at Salzburg, and both by the handwriting and instrumentation, as well as from other reasons, to be referred to this time, we may particularise the beginning of a Mass with obbligato organ (Anh., 13 K.) and the beginning (two pages) of a Kyrie (Anh., 16 K.), which is in such strict counterpoint that the Mass, if it had been finished, would have been among the most elaborate of them all. But Mozart had neither inducement nor the means for producing such compositions in Salzburg.

Two Vespers by Mozart (321, 339, K.), of the years 1779 and 1780, have much the same resemblance in substance and compass to masses that litanies had at an earlier period, but they stand higher in many respects.

Five psalms and the Virgin's hymn of praise form the part of the Vespers which is in varied chant; every division ends with the doxology, and is complete in itself. In the Litany the principal part is framed in, as it were, by two equally original and characteristic movements, the Kyrie and Agnus; the Vespers, on the other hand consist of six separate movements which have no connection, either actual or artistic. More striking differences of key are therefore permissible than is generally the case with the movements of one composition,[ 7 ] and it was possible to put together at pleasure VESPERS, 1779, 1780. psalms belonging to different compositions, sometimes even by different composers. The Dixit and Magnificat, as the two corner-posts, were considered the principal parts; they were generally specially composed, and: others inserted between them. As the words of the doxology (Gloria Patri) recur at the close of each movement, it would have been natural that the idea should arise of giving them the same musical rendering, and suggesting a relation between the different movements by this kind of refrain. But they are, on the contrary, in close connection with the words to which they serve as a conclusion, so as to characterise the use of the general formula as dependent on the special nature of each case. For the most part, therefore, a principal subject of the piece which it concludes is utilised for the doxology, and it is astonishing of what a variety of appropriate and expressive musical renderings these words are capable.

A settled custom became established, both as to the general conception and the distinguishing characteristics of these compositions, which was closely followed even by Mozart. In the main, the conception and treatment resembled those of the litanies; the effort is evident to reconcile the requirements of Divine service with the prevailing and somewhat trivial musical taste of the times. But the vespers preserved the dignity and solemnity of church music more strictly than the litanies. There is no sign of a leaning to operatic style, concessions to bravura are sparely and exceptionally made, the orchestra preserves the simplicity of the traditional church orchestra,[ 8 ] and limited scope is allowed even to grace and pleasing fancies. Nevertheless, the expression of dignity and solemnity shows the influence of a time which did not exact from sacred art the absorption of the inner man in the sacred and the divine, but was satisfied with a decent COURT SERVICE IN SALZBURG. observance of the forms of external homage. It was left to the artist, who had a deeper spiritual craving, and such a delicate artistic sense as forbade the use of form without substance, to give a higher tone to his work. In this sense we may include by far the larger portions of these vespers among Mozart's great works.

As concerns the musical construction in detail, a narrow mode of treatment resulted throughout from the conditions of worship; the words had to be composed straight through, just as in short Masses. A broader rendering of separate portions which might seem to lend themselves to musical expression was not admitted, and the endeavour after a dramatic characterisation of certain points did not come within the artistic usages of the time. The important point, therefore, was not to render the words in music, so as to give a new and fitting expression to each detail, but to invent characteristic motifs for the important points which should be suitable for further elaboration, and which, in spite of individual distinction, should spring from the fundamental conception of the whole work. The task of the composer is not made easier by the words of the psalms; they do not offer a good basis for musical construction, nor are the ideas conveyed in them generally such as would incite to musical production. The composer must therefore be original in no ordinary degree, and it is excusable if he now and then handles the rules and forms of his art with a certain amount of abruptness, and even makes verbal expression subservient to them, so far as it can be done without harmful pressure.

In order to introduce variety among these closely allied compositions a certain type had been formed, which was not exactly the inevitable consequence of the effort to satisfy the rules of art and of good taste, but, as in the litanies, exercised considerable influence over the treatment of the text. The two vespers we are considering are very similar in form and workmanship. Various parts are treated in both with marked preference, and it is scarcely possible to place one before the other in merit, except that perhaps the earlier one is the more serious.

The first psalm, Dixit Dominus, is formed into an VESPERS, 1779, 1780. animated, restless movement, full of strength and dignity; while the same tone predominates in both, there is more fire and brilliancy in the first composition, more mildness and tranquillity in the second. The kind of treatment may be compared to that of the Gloria and Credo of the Mass. Without any sustained thematic elaboration, certain principal motifs are maintained and emphasised in different ways. The animated string passages are not only in varied harmonic combinations, but often in counterpoint, either imitative or a combination of the different subjects. The voices are free and independent, but with a few trifling exceptions they are treated harmonically; solo voices sometimes alternate with the chorus, but without any special prominence.

The second psalm, Confitebor tibi, Domine, is in the earlier Vesper (321 K.), a chorale with solo intermixed, accompanied only by the organ and stringed instruments (E minor 3-4). This mature and beautiful composition approaches the Mass in F major (Vol. I., p. 257) both in tender and fervent sentiment and in simplicity and purity of form. But there the treatment is contrapuntal throughout, here it is essentially harmonic. The independent progress of the voices displays a succession of rich and startling harmonies in animated but natural development; notwithstanding many suspensions and unexpected turns, they are always clear and melodious, and always the true and natural expression of the sentiment to be conveyed.[ 9 ] The frame of mind represented is not one of fanatical remorse, but rather of a soul penetrated with the feeling of guilt, and impelled to acknowledge it with shame and anguish. The moderate expression of such a mood, which might easily pass over into the sentimental, coincides with the symmetry of form observable in the main features as well as in the details of the work. The corresponding movement of the second Vesper (339 K.) is not to be placed on the same level as this. It maintains on the whole the tone of the first movement, with an increase of earnestness, COURT SERVICE IN SALZBURG. and is a clever and melodious composition, with good effect in its place; but the poetical beauty of the other is altogether wanting.