These two duets (423, 424, K.) show no signs of hasty composition, but are worked out with evident affection, partly no doubt from desire to do credit to himself and his friend, but partly also from the interest which the difficulties of the MOZART'S FAMILY AND FRIENDS. task presented. There is no small amount of art required to give the clear-cut outline and well-defined divisions which are essential in works of this kind, and yet to bestow full attention on light and shade and delicate touches of detail. The art consists chiefly in the free disposition of parts, which is partly imitative (where independent movement is necessary) and so managed as also to bestow an original and striking character on the passages which form the accompaniment. This is all the more striking because the limited number of parts only occasionally gives scope for full harmonies, the effect of which must be attained by means of skilful adjustment. It is a task requiring all the resources of art and genius to employ the stiff monotony of broken chords, and at the same time to gratify the sense of hearing by such a sense of harmony as can only be given by the absolutely free play of the different parts. This task is here accomplished with as much ease as was compatible with the limited means at disposal. Variety in form is carefully provided for. The first Duet in G major consists of a broadly-designed allegro, a short, beautiful adagio, and an animated, but more than usually serious rondo; in the second, in B flat major, a light allegro is introduced by a short adagio; then follows an adagio in the form of a Siciliana, and the conclusion is made by very graceful variations. The melodies and harmonies are free and original, the composition is broad, fresh and lively, and a multitude of delicate touches betray the master's hand. Michael Haydn treasured the original as a memorial both of artist and friend, and Mozart himself set considerable store by the work.
Mozart found several new inmates in his father's house. "My son is in Vienna, and intends to remain there," writes L. Mozart to Breitkopf (April 29, 1782); "I have therefore arranged that two pupils shall reside with me for their education, viz., the son, twelve years of age, and the daughter, fourteen, of Herr Marchand, theatrical manager in Munich. I hope to make a great violinist and pianist of the boy, and a great singer and pianiste of the girl." These pupils were joined by another of nine years old, Johanna Brochard, daughter of the celebrated actress, who profited by L. VISIT TO SALZBURG, 1783. Mozart's instruction during 1783 and 1784.[ 8 ] Wolfgang took a lively interest in all this youthful talent. He says of Margarethe Marchand, whom he met afterwards in Munich as Frau Danzi (October 31, 1783): "Her grimaces and affectations are not always pleasant. Only blockheads would be taken in by them. I myself would rather have the most boorish manners than such exaggeration of coquetry." According to what we hear of her performances afterwards, she must have followed good advice and altered her style.[ 9 ]
Wolfgang took great interest in her brother Heinrich, and sent him word (December 6, 1783) that he had spoken in his favour both at Linz and Vienna. "Tell him to rely chiefly on his staccato; for that is the only way in which he can avoid comparison with La Motte at Vienna." There was also in Salzburg at that time the blind pianiste, Marie Thérèse Paradies, who was an acquaintance of L. Mozart, and now became known also to Wolfgang,[ 10 ] who afterwards wrote a concerto for her (Vol. II., p. 288). But the object of Mozart's visit, which lay nearest his heart, was the establishment of friendly relations between his wife and his father and sister; and this unfortunately in great measure failed. A superficial friendship seems to have resulted from the visit; but there are many indications that neither the father nor sister felt attracted by Constanze. Mozart appears to have been aggrieved that his wife was not presented with any of the trinkets that had been given him in his youth.[ 11 ] This trait is characteristic as a proof that Leopold Mozart thought himself justified in showing in the plainest manner disapproval of his son's marriage, and of the wife he had chosen; and it can scarcely be wondered at that Constanze, conscious of the want of anything like sympathy in her husband's family, should not have encouraged his sense of dependence on their advice and opinions. But this sense was too deeply implanted in his heart to be ever altogether eradicated; and his letters, though not so MOZART'S FAMILY AND FRIENDS. frequent as formerly, continued to the end to breathe the same spirit of childlike love and reverence. After a stay of almost three months the young couple returned home. Mozart sends his father the following account of their journey from Linz:—
We arrived here safely yesterday, October 30, at nine o'clock in the morning. We passed the first night at Böcklbruck. The following forenoon we arrived at Lambach, and I was just in time to accompany the Agnus Dei of the office on the organ. The "Herr Prälat" [who had received Mozart kindly in 1767] was very delighted at seeing me again. We remained there the whole day, and I played on the organ and a clavichord. I heard that at Ebersperg, on the following day, Herr Steurer was to give an operatic performance at which all Linz would be present, so I determined to proceed there at once. Young Count Thun (brother to the Thun at Vienna) called on me, and said that his father had been expecting me for the last fortnight, and that I was to stay with him. The next day, when we arrived at the gate of Linz, we were met by a servant to conduct us to the residence of old Count Thun. I cannot say enough of the politeness with which we are overwhelmed. On Tuesday, November 4, I shall give a concert in the theatre here, and as I have not a single symphony with me, I am writing one for dear life to be ready in time. My wife and I kiss your hands, and beg your forgiveness for having troubled you during so long a time; once more we thank you heartily for all the favours we received from you.[ 12 ]
What symphony it was which Mozart composed at Linz cannot be exactly ascertained. Holmes conjectures that it may be a Symphony in C major (425 K., score 6), which, according to Niemetschek, was dedicated to Count Thun; this fact would support the conjecture. André, however, believes that the unprinted Symphony in G major (444 K.) may be the one composed in Linz, the more so as the score is in Mozart's handwriting only as far as the first half of the andante, and has then been completed by a copyist; this is very probable because Mozart, in order to gain time, only wrote out the parts of the last half, as was his custom when in haste. The smaller orchestra also, the narrower dimensions and the lighter character of this symphony, all point to it as the one in question; that in C major is more SYMPHONY COMPOSED FOR LINZ, 1783. striking and important both in style and treatment. Nevertheless the two symphonies both belong to the same time and style, and indicate in a curious way a transition in Mozart's instrumental music; the positive influence of Haydn's symphonies is nowhere so clearly apparent as in these two works. The very fact that in both cases the allegro is preceded by a pathetic, somewhat lengthy adagio is very significant; this is a well-known arrangement of Haydn's, but was only exceptionally made use of by Mozart. The same influence is visible everywhere; in the lively, rapid, and brilliant character of the whole, in the effort to please and amuse by humorous turns and unexpected contrasts of every kind in the harmonies, in the alternations of f and p, and in the instrumental effects. A remarkable instance of this is the andante of the Symphony in G major. The very theme, the simple bass, the triplet passage for the second violin, then the minor with the figure in the bass, and the sharp accentuation, are all completely Haydn-like features. The counterpoint of the finale of both symphonies reminds us of Haydn's manner.[ 13 ] It need scarcely be said, however, that there is no trace of servile imitation in either work, and that Mozart's originality asserts itself here as elsewhere. A comparison of the Symphony in E flat major (543 K., composed June 26, 1788) shows also many more points of resemblance to Haydn's style than other works of the same date; but Mozart's individuality is here so overpowering as to have given its distinguishing stamp to these very features.
The fact that Mozart wrote a symphony within the course of a few days will excite no surprise; it is worthy of note that during his stay in Linz he copied an "Ecce Homo" which made a great impression on him, for his wife, with the inscription "Dessiné par W. A. Mozart, Linz, ce 13 Novembre, 1783; dédié ä Madame Mozart son épouse"; she MOZART'S FAMILY AND FRIENDS. preserved it as a proof "that he had some talent for drawing," as she wrote to Härtel (July 21, 1800).
In the year 1785 Leopold Mozart returned the visit of his son and daughter-in-law, and remained their guest from February 10 to April 25. He convinced himself that their income ought to be more than sufficient for the support of the household, and took great delight in his second grandchild Carl, now six months old, "a healthy, lively, merry child."
But on the whole he appears to have been dissatisfied with his visit, and very little inclined to accede to Wolfgang's wish that he should take up his residence with them in Vienna.[ 14 ] His pleasure in his son's performance and admiration of his genius were as great as they had ever been. During the whole of his visit, one concert followed close on another, and Wolfgang was engaged almost as a matter of course for them all; his father took equal pride in his playing and his compositions. At one concert Wolfgang played the splendid concerto he had composed for Paradies (456 K.). "I had a very good box," writes his father to Marianne, "and could hear every gradation of the instruments so perfectly, that the tears came to my eyes for very joy"—so thoroughly did the old man appreciate and relish artistic beauty. The day after his father's arrival, Mozart invited Haydn to a quartet party at his house. On such occasions Mozart, who in later years discontinued his practice of the violin, usually took the tenor part. Kelly tells of a quartet party at Storace's, when Haydn took the first violin, Dittersdorf the second, Mozart tenor, and Van-hall violoncello—a cast unique of its kind.[ 15 ] L. Mozart writes to his daughter:—
They played three of the new quartets, those in B flat, A, and C major (458, 464,465 K.). They are perhaps a little easier than the other three, L. MOZART'S VISIT TO VIENNA, 1785. but admirable compositions. Herr Haydn said to me: "I assure you solemnly and as an honest man, that I consider your son to be the greatest composer of whom I have ever heard; he has taste, and possesses a thorough knowledge of composition."
L. Mozart knew the value of such an opinion from such a man; it afforded him a confirmation of his faith, and of the conviction to which he had sacrificed the best powers of his life. Such a testimony to his son's genius was the father's best reward, and one of the brightest spots of his life. L. Mozart obtained much credit also through his pupil Heinrich Marchand, who accompanied him, and played with great success at several concerts.