Several years lie between these symphonies and the next in D major (part 1, 504 K.). This was written for the winter concerts on December 6, 1786, and met with extraordinary approbation, especially in Prague, where Mozart performed it in January, 1787[ 44 ]The first glance at the symphony shows an altered treatment of the orchestra; it is now fully organised, and both in combination and detail shows individual independence. The instrumentation is very clear and brilliant—here and there perhaps a little sharp—but this tone is purposely selected as the suitable one. Traces of Haydn's influence may be found in the prefixing of a solemn introduction to the first allegro, as well as in separate features of the andante; such, for instance, as the epigrammatic close; but in all essential points we have nothing but Mozart. The adagio is an appropriate preface for the allegro, which expresses in its whole character a lively but earnest struggle. In this allegro the form of a great symphony movement lies open before us. The chief subject is completely expressed at the beginning—[See Page Image] MOZART'S INSTRUMENTAL MUSIC. and recurs after a half-close on the dominant with a characteristic figure—[See Page Image]
thus allowing of the independent development of section B. Then, after a complete close on the dominant, there enters the very characteristic and originally treated second subject; the close of the part is introduced by the figure, D, so that a member of the chief subject, A, is again touched upon. The working-out in the second part is founded on the third section of the chief subject, C. These two bars, which there formed only an intermediate passage, are here treated imitatively as an independent motif; first B, then D, are added as counter-subjects, all three are worked-out together, tributary subjects reappear from the first part, until the chief subject, A, enters on the dominant in D minor, leading the way for the other motifs, which press in simultaneously, and glide upon a long organ point gradually back to the first subject, with which the modified repetition of the first part begins. In this lengthy working-out every part of the main idea is fully developed. The simple enunciations of the first part appear, after the elaboration of their different elements like utterances of a higher power, bringing conviction and satisfaction to all who hear. The springlike charm of the andante, with all its tender grace, never degenerates into effeminacy; its peculiar character is given by the short, interrupted subject—[See Page Image]
which is given in unison or imitation by the treble part and the bass, and runs through the whole, different harmonic turns giving it a tone, sometimes of mockery, sometimes of thoughtful reserve. The last movement (for this symphony has no minuet) displays the greatest agitation and vivacity SYMPHONIES, 1788. without any license; in this it accords with the restraint which characterises the other movements. It illustrates the moderation of most of Mozart's great works, which, as Ambros ("Granzen der Musik und Poesie," p. 56) remarks, "is not a proof of inability to soar into a higher sphere, but a noble and majestic proportioning of all his forces, that so they may hold each other in equilibrium." The essence of the work, to borrow the aesthetic expression of the ancients, is ethic rather than pathetic; character, decision, stability find expression there rather than passion or fleeting excitement.
A year and a half passed before Mozart again turned his attention to the composition of symphonies; then, in the summer of 1788, within two months, he composed the three symphonies in E flat major (June 26), G minor (July 25), and C major (August 10)—the compositions which most readily occur to us when Mozart's orchestral works come under discussion. The production of such widely differing and important works within so short a space of time affords another proof that the mind of an artist works and creates undisturbed by the changing impressions of daily life, and that the threads are spun in secret which are to form the weft and woof of a work of art. The symphonies display Mozart's perfected power of making the orchestra, by means of free movement and songlike delivery, into the organ of his artistic mood. As Richard Wagner says:—
The longing sigh of the great human voice, drawn to him by the loving power of his genius, breathes from his instruments. He leads the irresistible stream of richest harmony into the heart of his melody, as though with anxious care he sought to give it, by way of compensation for its delivery by mere instruments, the depth of feeling and ardour which lies at the source of the human voice as the expression of the unfathomable depths of the heart.[ 45 ]
This result can only be attained by the most delicate appreciation of the various capacities of each individual instrument. The very diversity of tone-colouring which characterises these symphonies shows the masterly hand with which Mozart chooses and blends his tones, so that every detail shall come to full effect. It would not be easy to find places in which the sound-effect does not correspond with the intention; as he imagined it and willed it, so it sounds, and the same certainty, the same moderation, is apparent in every part of the artistic construction.
The Symphony in E flat major (543 K., part 3) is a veritable triumph of euphony. Mozart has employed clarinets here, and their union with the horns and bassoons produces that full, mellow tone which is so important an element in the modern orchestra; the addition of flutes gives it clearness and light, and trumpets endow it with brilliancy and freshness. It will suffice to remind the reader of the beautiful passage in the andante, where the wind instruments enter in imitation, or of the charming trio to the minuet, to make manifest the importance of the choice of tone-colouring in giving characteristic expression. We find the expression of perfect happiness in the exuberant charm of euphony, the brilliancy of maturest beauty in which these symphonies are, as it were, steeped, leaving such an impression as that made on the eye by the dazzling colours of a glorious summer day. How seldom is this unalloyed happiness and joy in living granted to mankind, how seldom does art succeed in reproducing it entire and pure, as it is in this symphony! The feeling of pride in the consciousness of power shines through the magnificent introduction, while the allegro expresses purest pleasure, now in frolicsome joy, now in active excitement, and now in noble and dignified composure. Some shadows appear, it is true, in the andante, but they only serve to throw into stronger relief the mild serenity of a G MINOR SYMPHONY, 1788. mind that communes with itself and rejoices in the peace which fills it. This is the true source of the cheerful transport which rules the last movement, rejoicing in its own strength and in the joy of being. The last movement in especial is full of a mocking joviality more frequent with Haydn than Mozart, but it does not lose its hold on the more refined and elevated tone of the preceding movements. This movement receives its peculiar stamp from its startling harmonic and rhythmical surprises. Thus it has an extremely comic effect when the wind instruments try to continue the subject begun by the violins, but because these pursue their way unheeding, are thrown out as it were, and break off in the middle. This mocking tone is kept up to the conclusion, which appears to Nägeli ("Vorlesungen," p. 158) "so noisily inconclusive" (so stillos unschliessend), "such a bang, that the unsuspecting hearer does not know what has happened to him."[ 46 ]
The G minor symphony affords a complete contrast to all this (550 K., part 2). Sorrow and complaining take the place of joy and gladness. The pianoforte quartet (composed August, 1785) and the Quintet (composed May 16, 1787) in G minor are allied in tone, but their sorrow passes in the end to gladness or calm, whereas here it rises in a continuous climax to a wild merriment, as if seeking to stifle care. The agitated first movement begins with a low plaintiveness, which is scarcely interrupted by the calmer mood of the second subject;[ 47 ] the working-out of the second part intensifies the gentle murmur—[See Page Image] MOZART'S INSTRUMENTAL MUSIC. into a piercing cry of anguish; but, strive and struggle as it may, the strength of the resistance sinks again into the murmur with which the movement closes. The andante, on the contrary, is consolatory in tone; not reposing on the consciousness of an inner peace, but striving after it with an earnest composure which even attempts to be cheerful.[ 48 ] The minuet introduces a new turn of expression. A resolute resistance is opposed to the foe, but in vain, and again the effort sinks to a moan. Even the tender comfort of the trio, softer and sweeter than the andante, fails to bring lasting peace; again the combat is renewed, and again it dies away, complaining. The last movement brings no peace, only a wild merriment that seeks to drown sorrow, and goes on its course in restless excitement. This is the most passionate of all Mozart's symphonies; but even in this he has not forgotten that "music, when expressing horrors, must still be music" (Vol. II., p. 239).[ 49 ] Goethe's words concerning the Laocoon are applicable here ("Werke" XXIV., p. 233): "We may boldly assert that this work exhausts its subject, and fulfils every condition of art. It teaches us that though the artist's feeling for beauty may be stirred by calm and simple subjects, it is only displayed in its highest grandeur and dignity when it proves its power of depicting varieties of character, and of throwing moderation and control into its representations of outbreaks of human passion." And in the same sense in which Goethe ventured to call the Laocoon graceful, none can deny the grace of this symphony, in spite of much harshness and C MAJOR SYMPHONY. keenness of expression.[ 50 ] The nature of the case demands the employment of quite other means to those of the E flat major symphony. The outlines are more sharply defined and contrasted, without the abundant filling-in of detail which are of such excellent effect in the earlier work, the result being a greater clearness, combined with a certain amount of severity and harshness. The instrumentation agrees with it; it is kept within confined limits, and has a sharp, abrupt character. The addition of clarinets for a later performance gave the tone-colouring greater intensity and fulness. Mozart has taken an extra sheet of paper, and has rearranged the original oboe parts, giving characteristic passages to the clarinets, others to the oboes alone, and frequently combining the two. No clarinets were added to the minuet. Again, of a totally distinct character is the last symphony, in C major (551 K., part 4), in more than one respect the greatest and best, although neither so full of passion as the G minor symphony, nor so full of charm as the E flat major.[ 51 ] Most striking is the dignity and solemnity of the whole work, manifested in the brilliant pomp in the first movement, with its evident delight in splendid sound-effects.:
It has no passionate excitement, but its tender grace is heightened by a serenity which shines forth most unmistakably in the subject already alluded to (Vol. II., p. 455, cf. p. 334), which occurs unexpectedly at the close of the first part. The andante reveals the very depths of feeling, with traces in its calm beauty of the passionate agitation and strife from which it proceeds; the impression it leaves is one of moral strength, MOZART'S INSTRUMENTAL MUSIC. perfected to a noble gentleness. The minuet recalls to mind the cheerful subject of the first movement. There is an elastic spring in its motion, sustained with a delicacy and refinement which transports the hearer into a purer element, where he seems to exist without effort, like the Homeric gods. The finale is that masterpiece of marvellous contrapuntal art, which leaves even upon the uninitiated the impression of a magnificent princely pageant, to prepare the mind for which has been the office of the previous movements. We recognise in the principal subject which opens the movement—[See Page Images]
