[118] Those who erroneously think that there is nothing of the dissonant element in Haydn should examine the Prelude to The Creation—a real anticipation, in its use of the chromatic element, of Tristan and Isolde.
[119] All symphonic scores give a much better effect when performed on two pianofortes than in a four-hand arrangement for a single instrument. The freedom in control of both pedals possessed by each player secures a greater richness and sonority of tone and it is much easier to make prominent voices stand out in relief.
[120] Amadeus (the beloved of God).
[121] We may appropriately state that in regard to ancestry and environment all four of the so-called Viennese masters, Haydn, Mozart, Beethoven and Schubert are distinct refutations of the claims so persistently made by German scholars that everything good in music we owe to the Teutons. Haydn was largely Croatian; Mozart was strongly influenced by non-Teutonic folk-music (Tyrolese melodies frequently peep out in his works); Schubert's forebears came from Moravia and Silesia; and Beethoven was partly Dutch. If there be any single race to which the world owes the art of music it is the Italians, for they invented most of the instruments and hinted at all the vocal and instrumental forms. We may be grateful to the Germans for their persevering appropriation of what others had begun; only let them not claim all the credit.
[122] For extended comment, see the Oxford History of Music, Vol. V, p. 246, seq.
[123] We recommend especially the refreshing essay by Philip Hale in Famous Composers and Their Works; the chapter on Mozart in Beethoven and His Forerunners by D.G. Mason; and, as throwing light on aspects of his personality which are little known, "Mozart Revealed in his Own Words" by Kerst-Krehbiel (see especially the chapter on Mozart's religious nature, p. 142 and passim); the fascinating Reminiscences of Michael Kelly, a personal friend of the composer; and, above all, the monumental life of Mozart, unhappily as yet incomplete, by Wyzewa and St. Foix. The third chapter of Vol. II of The Art of Music is also well worth reading; and in Mozart's Operas, a Critical Study by E.J. Dent are found valuable comments on his dramatic style, so prominent a feature in many of his instrumental works.
[124] The first three compositions are not given in the Supplement, because readily available in several standard editions. The same recommendations, as given in connection with Haydn, apply to the performance of the G minor Symphony.
[125] This modification became a favorite with Beethoven, notable examples being the Slow movement of the Fifth Sonata, where the Development is represented by a single chord; the Slow movement of the D minor Sonata, op. 31; and, above all, the Allegretto Scherzando of the Eighth Symphony, where a series of contrasted accents keeps the interest alive and leads most deftly to the Recapitulation.
[126] In measures 20 and 21 may be found some striking syncopations—an anticipation of what now-a-days is known as "rag-time."
[127] See the Waltz movement of the Fifth Symphony and the second movement of the Sixth.