Mozart as Piano Virtuoso.—As a virtuoso, Mozart immensely developed the resources of the piano. After the Bachs, J. S. and his son C. P. E., had established a rational scale fingering, and it was found possible to introduce passages at once quickly running and smooth upon the clavier, such scale passages became very frequent in the compositions of the time, and they were, moreover, well adapted to the light Viennese action found in the Stein pianos, which Mozart used. Hence we find scale-runs as the cornerstone of his virtuosity, constantly employed in florid and transitional passages.
Classic Finish.—But Mozart’s compositions were not simply an advance in brilliancy, since his slow movements and themes are full of much genuine sentiment, and give opportunity for that expressive song-style which he emphasized so strongly. Moreover, his feeling for artistic finish caused him, by rounding off every detail, to avoid abruptness, replacing them by little delicate turns of musical expression and graceful embellishments, which give an atmosphere of classic repose and finish to the whole.
Variations.—Embellishments of this kind are introduced invariably with such naturalness and fitness as to make them seem perfectly adapted to the subject in hand, and growing unconsciously out of it. So Mozart throws a network of embroidery about his themes at their recurrence which shows their beauties to ever greater advantage. The ability to do this makes him a specially felicitous composer in the Variation form, in which some of his most attractive movements and salon pieces are written.
Piano with Other Instruments.—His sense of fitness is shown also in the vivid contrasts which occur, especially in his Fantasias, in which brilliant passages are relieved by bits of exquisite melody, in artistic proportion. All these qualities are manifested in his pianoforte concertos, which, while replete with flights of virtuosity, yet always subordinate, cause him to bring this into equal prominence with the piano, so that the one ably seconds the other in the attempt to produce a well-rounded and thoroughly genuine musical effect. The same qualities are exhibited in his sonatas for violin and piano, and in his piano trios.
Especial Characteristics.—Mozart considered three elements necessary for the true interpretation of piano music, namely, an expressive legato touch, moderation in the rate of speed of performance, and strictness in adhering to the time adopted. With an unfeeling touch or a breakneck velocity he had no patience, and so had no sympathy with many noted pianists of his day, and notably Clementi. It has been said that Mozart, almost from his infancy, thought in music as others do in words; and this thought in music was regulated by a sense of artistic combination and proportion which permeated all his works. As samples of virtuosity his piano works have long been surpassed by the astonishing developments since his time, and particularly by the added resources of the instrument itself; but as samples of pure and unaffected music their worth can never be diminished.
- References.
- Shedlock.—The Pianoforte Sonata.
- Parry.—Evolution of the Art of Music, Chapter XI.
- Naumann.—History of Music, Vol. II, Chapter XXX.
- Weitzmann.—History of Pianoforte Playing.
- Jahn.—Life of Mozart.
- Articles in Grove’s Dictionary on subjects treated.
Musical Illustrations.
Works of Mozart, especially the Sonatas.
Questions.
Give a sketch of Mozart’s childhood.