(The copies for this program are as follows: Haydn sonatas, Schirmer edition, first volume, paper, seventy-five cents. This is a very elegant and in every way satisfactory edition for study or for the library. Mozart sonatas, Peters edition, $1.50 (retail). The songs are to be had separately. Copies of "The Creation" and "The Magic Flute" will be necessary.)
The selections above are made for the purpose of illustrating the more prominent characteristics of the two composers mentioned. Haydn is now beginning to be undervalued, and, in fact, his works are used mainly for purposes of instruction, and comparatively little for that. This is unjust, for while Haydn does not belong to the class of composers whose music is conceived by them as a message to mankind, but rather is conceived as an intelligent and refined form of delight, he is as musical as Bach himself, and consequently his music remains fresh and interesting despite the comparatively small forms. This will be noticed in every one of the sonatas selected here. The Sonata in E-flat, No. 3, is the one oftenest selected and studied, because it shows Haydn in his most genial mood. The spirit is bright, pleasing, fresh, and not a little vigorous. Practically, every single movement of a Haydn sonata is developed mainly out of one leading motive. In the present instance there is a second idea, of a quasi-lyric importance, introduced in the thirteenth measure—counting each measure from the first bar. In the forty-third measure a closing theme is introduced. The places are marked in the Schirmer copies, so there will be no difficulty in finding them. The second movement, if played in a very singing but not dragging manner, will be found enjoyable, although by no means sensational. The ideas are musical and the spirit earnest. The finale, in the tempo of a minuet, is very pleasing indeed. Here, also, the purely musical idea rules everything. The problem with the composer is to treat an idea which pleased him, and to carry it through all the changes and modifications which occurred to him as attractive.
The Sonata in C-sharp minor (No. 6, Schirmer) is more significant, and approximates the spirit of later works in the same key. The principal subject has a great deal of vigor, and the musical treatment is very fresh and original. The scherzando which follows is a very light movement, and needs to be played with great delicacy and spirit. The whole concludes with a menuetto, moderate in movement, song-like.
To my mind the strongest of the Haydn sonatas is the one which stands first in the Schirmer edition, also in E-flat, a favorite key with Haydn. The principal subject is very forcible, and the treatment varied to a degree. The whole work is one which a musician can play many times through, and always with enjoyment.
The second movement has the remarkable peculiarity of being in the key of E major—a violent modulatory relation to that of the first movement. I should say that this fact indicated that Haydn did not conceive of the three movements of the sonata as constituting a single whole, because if he had he could not have followed a close in E-flat major with an opening in E major, exactly a semitone higher, without the slightest modulation. This proceeding is inexplicable to me, if he expected the sonata to be played through entire at a single hearing. The slow movement, however, is a very strong one, the subject full of musical feeling, and the treatment clever and interesting. All the melodic passages in this movement need to be sung with great feeling. Then the contrast with the lighter portions will produce their proper effect. The finale, presto, is a very light and, one might almost say, insignificant movement, relieved only by a few moments of something better.
The Mozart collections are calculated to show the peculiar and womanly sweetness which Mozart introduced into music. In Haydn, moments of sweetness do indeed occur, and in his "Creation" they are frequent; but in his instrumental works they are not so frequent. The Sonata in F, of Mozart, is full of pleasing melodic ideas, and the first and second periods and the first episode are all very attractive melodies. Note that each of these ideas comes in the form of a fully completed melody, and not in the form of a musical motive of one, or at most two, phrases. Each of the Mozart subjects is eight measures long. The characteristic tone of the Mozart sonatas is this melodic sweetness, and the stronger parts only intensify this fundamental tone. The slow movement is rather meager, but it is also pleasing and well made. The so-called "Alberti" bass should be played in such a manner as to minimize the motion of the sixteenths, and to intensify the chord feeling. This will be done by playing softly with the left hand, bearing down a little, and using the pedal with every chord, except where it will mix up the melody.
The Fantasia and Sonata of Mozart, which concludes the program, is a work which is well worth studying. The fantasia opens with a very serious subject, which is carried through a variety of delightful changes, in a manner indicating a poetic intention. The expression must be carefully observed in the playing, and in the elaboration, where the subject occurs in several keys in connection, the first tone is taken rather strong and with a slight dwelling upon it. The slow melody in D major, as well as the adagio in E-flat, illustrate Mozart's faculty with sweet and rather deep melodies which, while perfectly simple in structure, nevertheless have in them the soul of the artist. The tone has to be full, round, singing, and never loud. There are parts of the fantasia which do not come up to the level of the others; particularly the allegro in G minor, which is inconvenient to play, and almost never played in a musical manner. It has, however, to be gotten over the best one can.
The vocal selections are of peculiar attractiveness. The canzonetta of Haydn, "My Mother Bids Me Bind My Hair," is a fresh, girlish affair, which can not fail to please. The trio, "Most Beautiful Appear," is so sweet that Mozart might have written it.
Then in the Mozart selections, the "Dove sono" is an aria requiring to be sung with a very pure tone and good style. All of Mozart's operatic arias were intended for well-trained Italian singers having a refined and high-bred style of singing. When so done, they are always delightful. The Cherubino air is very fresh, and full of the charm of youth and love. The trio of girls from "The Magic Flute" is given because it is so taking, while involving a succession of implied consecutive fifths. And the great trio, "On Thee Each Living Soul Awaits," concludes the concert in a noble manner. If the resources of the local society should happen to make it easy, it will afford an admirable close to give along with this trio the two choruses, "Achieved is the Glorious Work."
It is to be understood that the selections here offered from these two great masters illustrate but a small part of their individualities. The selection has been determined by the convenience of copies and the likelihood of the resources in every place being equal to their acceptable performance.