the motif of which Mozart made frequent use even in his youth (Vol. I., p. 259); here he seems anxious to bid it a final farewell. He takes it again as a fugue subject, and again inverted:—
Then other motifs join in. One, in pregnant rhythm—
asserting itself with sharp accents in all sorts of different ways, and connected with a third motif as a concluding section:—
All these subjects are interwoven or worked out with other subordinate ideas, both as independent elements for SYMPHONIES. contrapuntal elaboration, and in two, three, or fourfold combinations, bringing to pass harmonic inflections of great force and boldness, sometimes even of biting harshness. There is scarcely a phrase, however insignificant, which does not make good its independent existence.[ 52 ] A searching analysis is out of the question in this place; such an analysis would serve, however, to increase our admiration of the genius which makes of strictest form the vehicle for a flow of fiery eloquence, and spreads abroad glory and beauty without stint.[ 53 ]
The perfection of the art of counterpoint is not the distinguishing characteristic of this symphony alone, but of them all. The enthralling interest of the development of each movement in its necessary connection and continuity consists chiefly in the free and liberal use of the manifold resources of counterpoint. The ease and certainty of this mode of expression makes it seem fittest for what the composer has to say. Freedom of treatment penetrates every component part of the whole, producing the independent, natural motion of each. The then novel art of employing the wind instruments in separate and combined effects was especially admired by Mozart's contemporaries. His treatment of the stringed instruments showed a progress not less advanced, as, for instance, in the free treatment of the basses, as characteristic as it was melodious. The highest quality of the symphonies, however, is their harmony of tone-colour, the healthy combination of orchestral sound, which is not to be replaced by any separate effects, however charming. In this combination consists the art of making the orchestra as a living organism express the artistic idea which gives the creative impulse to the work, and controls the forces which are always ready to be set in motion. An unerring conception of the capacities for development MOZART'S INSTRUMENTAL MUSIC. contained in each subject, of the relations of contrasting and conflicting elements, of the proportions of the parts composing the different movements,[ 54 ] and of the proportions of the movements to the whole work; finally, of the proper division and blending of the tone-colours—such are the essential conditions for the production of a work of art which is to be effective in all its parts.
Few persons will wish to dispute the fact that Mozart's great symphonies display the happiest union of invention and knowledge, of feeling and taste. We have endeavoured also to show in brief outline that they are the characteristic expression of a mind tuned to artistic production, whence their entire organisation of necessity proceeds. But language, incapable of rendering the impressions made by the formative arts, is still more impotent in seeking to reproduce the substance of a musical work.[ 55 ] Points that can be readily apprehended are emphasised disproportionately; and the subjectivity of the speaker or writer intrudes itself upon the consideration of the music. It has been lately questioned, for instance, whether Mozart's compositions were the absolute and necessary results of certain definite frames of mind, and a comparison has been made between him and Beethoven upon this point. If it is intended by this to draw attention to Beethoven's art, as proceeding from his spiritual being (Geist), in contrast to that of earlier composers—of Mozart especially—which came from the mind (Seele),[ 56 ] an important point is indicated. But if this distinction is made exhaustive, or essentially qualitative, the right point of view is thereby disturbed. There can be no doubt that Beethoven has struck chords in the human mind which none before him had touched—that THE RIGHT MEANING OF THE SYMPHONIES. he employs the means at his command with a power and energy of expression unheard before; that by him—the true son of his time—the strife of passions and the struggle for individual freedom are more powerfully and unhesitatingly expressed than by any of his predecessors. But human nature remains the same, and the genuine impulses of artistic creation proceed from universal and unalterable laws; the artist does but impress his individual stamp upon the composing elements of his work; and if, under certain circumstances, this should fail to be comprehended, it does not therefore follow that the work has no meaning.[ 57 ] For neither can the form and the substance of a veritable work of art be divided or substituted the one for the other, nor can such a work take effect as a whole when it is not accepted and grasped in all its parts.[ 58 ] It is this wholeness, this oneness, which brings the mind of the artist most clearly before us. Let it be remembered that Mozart's contemporaries dis-; covered an exaggerated expression of emotion and an incomprehensible depth of characterisation in those very compositions in which our age recognises dignified moderation, pure harmony, perfect beauty, and a graceful treatment of form sometimes even to the loss of intrinsic force; and it will be acknowledged that much which was supposed to depend on the construction of the work lies really in the changing point of view of the hearers. Those only who come to the consideration of the work with a clear and unbiased mind, taking their standard from the universal and unchangeable laws of art—those only who are capable of grasping the individuality of an artistic nature, will not go astray either in their appreciation or their criticism.
CHAPTER XXXV. MOZART AS AN OPERA COMPOSER.
THE unexampled success of the "Entführung," which brought fame to the composer and pecuniary gain to the theatrical management, justified Mozart in his expectation that the Emperor, having called German opera into existence,[ 1 ] would commission him to further its prosperous career. He was indeed offered an opera, but the libretto, ''Welches ist die beste Nation?" was such miserable trash, that Mozart would not waste his music on it. Umlauf composed it, but it was hissed off the stage; and Mozart wrote to his father (December 21, 1782) that he did not know whether the poet or the composer were most deserving of the condemnation the work received. In fact, the impulse given to German opera seemed only too likely to die away without lasting result. Stephanie the younger[ 2 ] contrived by his intrigues to obtain the dismissal of Müller as conductor of the opera, and the appointment of a committee, whose jealousies and party feelings he turned so skilfully to account that they were all speedily satisfied to leave the actual power in his hands. The incessant disagreements which were the consequence, the hostility between composers, actors, and musicians, disgusted Kienmayer and Rosenberg, the managers of the opera, and the Emperor himself. Nor were the repeated experiments made with the works of mediocre THE OPERA IN VIENNA. composers (which so enraged Mozart that he purposed writing a critique on them with examples) likely to find favour with the Emperor. Add to this that his immediate musical surroundings, Salieri at the head of them, were at least passively opposed to German opera, and it will not be thought surprising that the Emperor Joseph angrily renounced German opera, and followed his own taste in the reinstalment of the Italian. Chance brought this determination to a point. A French company of considerable merit, both in opera and the drama, was performing at the Kamthnerthortheater, and was patronised by the Emperor.[ 3 ] He sent for the performers to Schönbrunn in the summer of
