MOZART.
[From the Lange painting.]
The list of the Mozart operas was closed with the "Magic Flute," produced September 30, 1783, which at first was not so successful as most of his previous works, but which continued to improve upon hearing, until at length it reached the estimation which it has ever since held, as one of the most characteristic and interesting of all his works. He had already begun upon his "Requiem," which had been mysteriously ordered of him by a messenger, who declined to state the object for which the work was intended. It is now ascertained that the unknown patron was a Count Walsegg, an amateur desirous of being thought a great composer. It was his intention to have performed the work as his own. Mozart was now in low spirits, worn out with work, late hours and financial worry. The mystery of the "Requiem" preyed on his imagination none the less that he felt that in it he was writing some of his noblest and best thoughts. He said: "I am sure that this will be my own requiem." Nothing could dissuade him from the idea. It returned again and again. At length he fell ill, poisoned, as he thought, by some envious rival. No one knows whether there was anything in the notion that actual poison had been administered, although there were rivals who had been heard to wish that he were out of the way. Without having quite finished the "Requiem" he breathed his last December 5, 1791. His premonition proved correct. The "Requiem" was given at his own funeral.
This account of the life of Mozart has hardly the merit of an outline, for within the short thirty-five years of his earthly existence this great master produced a variety of works in every province of music, greater than that produced by any other of the great masters, scarcely excepting the indefatigable and long-lived Händel.
It is extremely difficult to assign Mozart a definite place in the musical Pantheon without praising him too highly on the one hand, or going to the other extreme and belittling his genius by pointing out the evident fact that noble, beautiful, sprightly, sweet and charming as were his compositions, he has not left so large an influence upon the later course of music as quite a number of artists apparently his inferiors. His influence in music was largely temporary, but none the less indispensable to musical progress. To the neat and symmetrical periods of the Haydn symphony and sonata, with their fresh, thematic treatment, Mozart added a tender grace and sweetness like the conceptions of a Raphael in painting. He was the apostle of melody. If he had never written, the art of music would have remained something quite different from what we know it. And wherever there are lovers of refined, noble melody, there will the music of Mozart be loved. Moreover, in his best symphonies, such as the one in G minor, and the "Jupiter" in C, there is a boldness and freedom of flight which Beethoven scarcely surpassed. He was at his best as a composer of operas. He was one of the fathers of the artistic song, with music for every stanza differing according to the sentiment of the words; and while the dramatic coloration is not forgotten in his operas, they are a constant flow of charming, inexhaustible melody, which sings most divinely. In short, taking his works through and through, Mozart was what, in the words of Mr. Matthew Arnold, we might call the composer of "sweetness and light." His music glows with the radiance of immortal beauty.
