Chapter XIV: Instrumental Music (2)

It must have been as a result of his Vienna studies that Mozart wrote a quintet (174 K.) after his return in December of the same year; perhaps the example of Michael Haydn had some influence. Mozart writes from Munich (October 6, 1777) that he had invited Herr Dubreil, a pupil of Tartini, and that they played "Haydn's two quintets." Joseph Haydn declares, in answer to A. Romberg, who asked him why he has not written any quintets, that he had never been commissioned to do so;[46] on the other hand, three quintets by Michael Haydn in F, C, and G major, dating between 1770 and 1780, now lie before me. Mozart's quintet shows unmistakable progress; both the plan and execution are broader, and there is more of the true Mozart spirit in the conception of the motives. It is especially interesting to compare two different elaborations of the finale which exist.[47] Mozart has taken the primary subject of the first work, and treated it independently in the second, thereby providing a just standard of criticism against himself. The first theme in the later elaboration is quite new, and gives the key to the character of the movement; then follows as a contrasting motif the chief subject of the former work with suitable alterations. Originally this consisted of eight bars, and was in three parts--[See Page Image]

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but afterwards the two first bars form the subject, taken up by one part after the other; while the minims, which are appended to the rapid semiquavers, give an effect of rhythmical and harmonious climax:--[See Page Image]

It results from this that the divisions next following are easier and more flowing; while, on the other hand, the preparation for the third principal motif is broader and calmer. This third motif gives occasion for an especially happy modification. Originally it ran thus--[See Page Image]

and was then repeated entire; but now only the first four bars are retained, the four last are omitted, and movement and expression are provided by a shake passage. The conclusion of the first part is rendered more impressive by a new and broader motif, and more homogeneous and concentrated by the recurrence of the first subject. The working-out of the second part, which was confined to the elaboration of the two first bars of the original motif, is partially retained; but it is extended by the recurrence and elaboration of the

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principal theme. Finally, a new and important climax is introduced in the coda by the opposition of the two chief subjects.

This work may be taken to prove that Mozart was a severe self-critic, and was not by any means always content with his first attempts. It can only be by chance that no other example of remodelling a composition has been preserved; the earlier attempts and studies would, no doubt, be generally destroyed. The greater part of Mozart's works of this period have been preserved in carefully written fair copies. We are amazed at the vigour and ease with which he worked, but it would be wrong to represent him as able to dispense with studies and preparatory sketches, even for his great works. The creative power of genius is indeed a gift of nature, but a mastery of art is only acquired by hard labour and pains; strength to labour indefatigably and ability to make the labour bear fruit are the prerogatives of genius. It would be doing Mozart an injustice to deny him the reputation of true and conscientious industry; the beauty of perfect work proves not that no labour has been bestowed on it, but that the labour has been successful. Mozart's youth was occupied with his endeavours to master the forms and materials which he found ready to hand, and he would not be likely to neglect studies and exercises to this end, though he might not think them worth preserving.

There must have been little encouragement accorded to quartet music in Salzburg:[48] after 1773, Mozart composed none until 1784, when he was in Vienna.[49]

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There can be no doubt that the talent for violin-playing which Mozart displayed at a very early age was carefully cultivated by his father. He performed in public on his first journey and at the beginning of the first Italian tour; but by the time they reached Rome he had ceased to play in public, though he still continued his studies regularly. It was part of his official duty in Salzburg to take the violin at court concerts. His father admired Wolfgang's effrontery in taking a violin from one of the orchestra at Vienna in 1773, and performing a concerto upon it (p. 146). He afterwards devoted more serious attention to the instrument, and became a first-rate performer on it, but evidently more from his father's impulse than his own inclination. Not only was the violin-playing at court a burden to him, but he seems to have had little liking for the instrument, and no real confidence in his own powers of execution. "You have no idea yourself how well you play the violin," writes his father (October 18, 1777); "if you only do yourself justice, and play with fire, heartiness, and spirit, you may become the first violinist in Europe." But, nevertheless, he practised regularly and industriously, and his father wrote after he had left home (October 6, 1777): "I feel a little melancholy whenever I go home, for as I get near the house I always imagine that I shall hear your violin going." After 1774, Mozart's violin compositions take more of the bravura type, and afford a good standard of his technical development. He had as a rival the well-established solo violinist, Brunetti, favoured by the archbishop as being an Italian, but considered by L. Mozart as inferior to his son. "He played your concerto very well," wrote L. Mozart (October 5, 1777), "but was twice out of tune in the allegro, and once almost stuck fast in a cadenza." When Brunetti's inconvenient rival had left Salzburg, he was ready to do full justice to his performances. "Brunetti cannot praise you enough," writes the father (October 9, 1777); "and the other day, when I said you played the violin 'passabilmente,' he cried out, 'Cosa? cazzo! se suonava tutto! questo era del Principe un puntiglio mal inteso, col suo proprio danno.'"

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After Mozart had left Salzburg in September, 1777, he played the violin in public both at Munich and Augsburg, and was somewhat ironical over his success. "They all stared," he writes from Munich (October 6, 1777); "I played as if I were the first violinist in Europe." And from Augsburg (October 24, 1777): "I played a symphony and Wanhall's Concerto in B flat for the violin with universal applause. At supper-time I played the Strasburg Concerto. It went like oil, and every one praised the beautiful, pure tone." But these communications ceased later on, and L. Mozart writes in anxiety (October 9, 1777): "Have you left off practising the violin since you were in Munich? I should be very sorry." (November 27, 1777): "Your violin hangs on its nail; of that I am pretty sure." And so it must have been. He was obliged to play the violin afterwards in Salzburg; but after his stay in Vienna he never made proficiency on the instrument his primary object, and it is well known that in later years, if he had to take part in a quartet or other concerted piece, he selected the viola in preference.

Mozart's most important compositions in this department are of course his violin concertos, which were doubtless written in the first place for his own use. According to his custom, he went thoroughly into the subject from its very foundation, gaining proficiency by continuous work in the one direction; in 1775 he composed five concertos for the violin (207, 211,' 216, 218, 219, K.), to which was added a sixth (268 K.), not by any means slight, fugitive attempts, but carefully conceived works of considerable compass in three movements, allegro, andante or adagio, and rondo.

The first movement, which was the most elaborate, is more suggestive still of the aria than is the corresponding movement of the symphonies. There is the same fixed alternation between solo and tutti passages, the same adornment of the solo part with passages and cadenzas, and indeed the whole movement is a reminiscence of the serious aria. On the other hand, the structure is more condensed and more animated; the passages grow out of the principal

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subjects, connecting and adorning them. The movement falls usually into three main divisions; the middle one, corresponding to the same division in the symphony, passes into another key, and elaborates one or more motifs more freely than in the symphony, and chiefly by changes of modulation and modification of the passages, whereby the repetition of the first division is effected. Abundant variety of detail is produced, chiefly by the different combinations of the solo part and the orchestral accompaniment; the solo passages are not usually of great length, solo and tutti alternating often and quickly.

The second movement is simple, and rests essentially on the tuneful and artistic delivery of the cantilene; embellishments are not excluded, but they are kept in the background. The character of the movement is generally light and pleasing, but a deeper, though always a cheerful mood, sometimes makes itself felt. The tone is that of a romance; the polonaise-like rhythm of the Concerto in D major (211 K.) is peculiar to it; while the G major concerto (216 K.) has a regular and more broadly conceived adagio. An adagio in E major (261 K)--composed for Brunetti in 1776, because another, probably the interesting adagio of the A major concerto (219 K.), was too "studirt," as L. Mozart writes (October 9,1777)--maintains a kind of medium; it is more serious in expression and broader in conception than the romance-like andantes, but on the whole it is pleasing and pretty rather than grand.

The last movement is, as a rule, in the form of a rondo,[50] in which the solo part moves more freely, especially in the connecting middle passages; the passages altogether have now scope for expansion, the tone being light and cheerful, the form easy. It is not unusual for passages in different time and measure to alternate in the rondo, as in the D major concerto (218 K.), where an andantino grazioso, 2-4, and an allegro ma non troppo, 6-8, alternate. In the G major

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concerto (216 K.), a cheerful passage in 3-8 is interrupted by an andante in G minor--[See Page Image] followed by an allegretto in G major--[See Page Image] that leads back to the first subject. In the A major concerto (219 K.), the chief subject is tempo di menuetto, interrupted by a long allegro, 2-4, in A minor--[See Page Image]

In both these cases the clearly expressed popular tone of the interpolated passages is remarkable, and has a striking and pleasing effect. The allusion in the letters to the concerto, "with the Strasburg" points to one of these passages: "The Strasburg dance, which consisted merely in graceful movements of the arms and poses of the body, was generally executed by a very youthful couple within the circle of waltzers."[51]

A decided progress is observable in the concertante for violin and viola[52] with orchestral accompaniment (364 K.), which was probably written in 1780. It displays perfect finish in the conception of the separate subjects and passages, power and melody in the development of the orchestral accompaniments, and true artistic skill in the placing of turns and phrases where they will be most effective. It is in the usual three movements, but a more solid foundation and wider scope than usual are given to the form, in order that the two solo instruments may have free play; the

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tutti passages are longer and more important, which entails more participation by the orchestra in the solo portions. This gives a symphony-like character to the whole, to which the solo instruments add a peculiar brilliancy. In relation to each other they are simply treated. They generally relieve each other, either repeating whole phrases or sharing them between them; when together, they are mostly in thirds and sixths, and there seldom occurs a true two-part passage in which the two instruments move freely and independently.

In this respect the concertone composed in 1773 (190 K.) is more artistic in design and in workmanship. Here the orchestra is in contrast with two solo violins, to which the oboe is added as a solo instrument; the violoncello, though not so freely treated as the others, is also often solo. The usual concerto form is given to the three movements, the middle movement being romance-like, but more elaborate than usual, to give employment to the solo instruments. The violoncello, though it does not take a leading part in this movement, has an independent passage as accompaniment throughout. The last movement is "tempo di menuetto," resembling those in the violin Concerto in A major (219 K.), the bassoon concerto (191 K.), the clavier concerto in C (246 K.), the triple concerto (242 K.), and the clavier trio in B flat (254 K.); the form of the minuet with several trios is treated with some freedom, and approaches that of the rondo. The forcible and independent treatment of the orchestra, both in the tutti and the solo passages, gives to the whole of this composition the character of a symphony; but the solo parts are grouped with greater variety, since there are four of them, and they do not as a rule repeat the same passages or join in unison. Sometimes the violins alternate with each other, sometimes the oboe joins them or opposes them, sometimes the oboe and violoncello are both in opposition to the violins, and sometimes all the four instruments move independently side by side. A strict and ingenious fugal structure was required to give unity to this manifold variety. In the first allegro especially the motifs are chiefly imitatively treated, and

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sometimes the varied rendering of a phrase necessitates a change of instruments; the coming and going of the instruments and their combinations are carefully planned, as well as the part taken by the orchestra in producing the general effect. In the two last movements alternation is the predominant principle, and the parts are only ingeniously interlaced here and there. The work displays throughout more of skilful mechanism and clever elaboration than of original invention and beauty.

The judgment of connoisseurs on Mozart's technical treatment of the violin tends to show that the difficulties even in solo parts are comparatively small, but that an acquaintance with the idiosyncrasies of the instrument, which could only be gained violin in hand, is always apparent; all is made as smooth and easy as possible for the performer, at the same time that effects of striking originality are produced. Our idea of Mozart as a violin-player will gain in interest by a knowledge of his judgment on other violinists. As a child, he had become acquainted at Mayence with the violinist Esser, of whom the father writes later from Salzburg (December 7, 1780): "Esser is a merry old simpleton; but he plays (when he is in earnest) with a firm and remarkable execution, and has a finer adagio touch than is the case with most allegro players. But when he is in a joking mood he plays on the G string alone with the greatest ease, and plays pieces with a lead pencil on the strings wonderfully correctly and quickly.[53] He plays the viola d'amour charmingly.[54] But what struck me as particularly childish was his whistling of a recitative and aria equal to any singer, with all the expression, flourishes, shakes, &c., in a truly marvellous manner, accompanying himself on the violin _pizzicato_ At the same time he laments that, like the rest of them, he cannot play without grimaces and absurdities." On this point, little Wolfgang, unimpressed by Esser's tricks and _tours de force_, had said that he played well, but made too much of it, and would do better to stick to what was written.

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Of Ign. Frànzl (b. 1730), whom he heard at Mannheim, he wrote to his father (November 22, 1777): "I have had the pleasure of hearing Herr Frànzl play a concerto on the violin. I was extremely pleased. You know that I am no great lover of difficulties. He plays difficult passages so that one does not know that they are difficult, and thinks one can imitate him; which is true art. He has also a good round tone, every note is correct and clear; he has a charming _staccato_ in one bow up as well as down, and I never heard such a double shake before. In a word he is, in my opinion, no juggler, but a very good substantial violinist."

Mozart wrote an oboe concerto for the celebrated oboist Gius. Ferlendi, of Brescia, who was in the Salzburg band in 1775; it does not seem to have been preserved. He tells his father (November 4, 1777) that he has made a present of it to the oboist Ramm at Mannhein, who was wild with delight, and played it five times with the greatest applause. He sent from Vienna for the little book containing the Ferlendi concerto, for which Prince Esterhazy had promised him three ducats. Another composition of Mozart's was a concerto for the flute, which, according to Schiedenhofen, was performed by Cosel in a serenade arranged by Wolfgang for his sister; this may have been the Concerto in G major (313 K.), which evidently belongs to this period. A certain Baron Thad. von Dümitz was an amateur on the bassoon; Mozart composed three concertos for him, one in C and two in B flat major (191 K.), short and unpretentious, as the instrument required; also a duet for bassoon and violoncello (292 K.).[55]

Although from his earliest years Mozart had excited lively admiration by his clavier and organ-playing, it will be better to consider his performances on these instruments later on, when we shall have the assistance of more direct testimony. We know little more of his studies[56] than that he practised

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the clavier much and diligently, which, indeed, requires no proof. Compositions by Wagenseil, Paradies, Bach, and Lucchesi are incidentally mentioned as subjects for home practice.

There now remains to consider only the compositions for the clavier, of which there are curiously few known. Some may have been lost, but it is a fact that after his first childish attempts Mozart composed comparatively little for the clavier during his residence in Salzburg. There was little opportunity of performing clavier compositions, the instrument was not used solo in the court concerts, private concerts were not profitable in Salzburg, and in society Mozart generally made use of the clavier to improvise or prelude. The lessons which he gave to ladies of rank afforded him an opportunity for composing, but for these pupils he could only write show-pieces.

To the earliest authentic clavier compositions belong the variations (179 K.) on a very popular minuet by the celebrated oboist Fischer, a bravura piece for the time, full of what were then considered difficulties.[57]

He had them sent to Munich in 1774 in order to make a show with them, and on the journey to Paris we hear that he had recourse to the Fischer variations when he was obliged to play in polite society; proving that he was not provided with many compositions of the kind.

There were some clavier sonatas written at that time too, which Nannerl was instructed to bring to Munich (December 21, 1774), the result being a commission from Baron Dürnitz for six sonatas (279-284 K.); they are often mentioned by Mozart on the Paris journey of 1777, and he played them frequently in Munich, Augsburg and Mannheim with great success. They consist, after the old fashion, of three movements; the fourth forms an exception to the general rule, containing a long adagio, two minuets (the second instead of a trio), and an allegro; the last is another exception, the first allegro being followed by a rondeau en polonaise--like the violin concerto (218 K.)--ending with variations. Mozart

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spoke of sonatas as difficult which are now given as lessons to beginners (February 2, 1778). Nevertheless it is no small praise to him that, after the lapse of ninety years, the judicious treatment of the instrument, the healthy freshness and finished form of these compositions entitle them still to be considered as the best foundation for a musical education. Any one capable of appreciating a work of art will find all its essential conditions fulfilled in these simple sonatas.

L. Mozart mentions in a letter (December 8, 1777) two four-hand sonatas, written by Wolfgang for himself and his sister. One may be the well-known B flat major sonata (358 K.) which Mozart wrote for from Vienna (June 27, 1781). The form is concise and little elaborated; the essential condition that each player shall contribute his independent share to the general effect is kept duly in view. A second sonata is not authenticated.[58]

A trio for clavier, violin, and violoncello (254 K.), belongs to August, 1776, which, according to Mozart's Munich letters (October 6,1777), Nannerl played at Salzburg with Janitsch and Reicha. It displays, like all the compositions of this period, completeness and roundness of form with maturity and cleverness of conception, and surprises us by its animation and the tender beauty of many of its turns of expression. The clavier is the chief instrument, then the violin, more simply treated, but independent. The violoncello does not yet receive full justice; it is only used as a bass, often effectively, but never overstepping its narrow province.

After the (violin?? DW) Concerto in D major (175 K.), composed in December, 1773, and played with applause at Mannheim (February 14, 1778), and, with a new finale, at Vienna (March 22, 1782), Mozart wrote no clavier music until January, 1776, when he composed a clavier Concerto in B flat major (238 K.), another in April in C major for the Countess Lützow (246 K.), and in January, 1777, one in E flat major for Madame Jenomy (271 K.). This industry

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was not the result of caprice or chance. Composition went hand in hand with his development as a virtuoso, and we can measure his progress by the increasing difficulty of his works. Unless he was to remain in Salzburg all his life,[59] a professional tour, to make himself known to the world, became more and more a necessity. Both brilliant execution as a virtuoso and a supply of original compositions would be necessary conditions for such a tour; Wolfgang's prudent, worldly-wise father took care that he should be prepared on all points to insure the success of the undertaking.

The most remarkable of the clavier concertos, which in form and treatment resemble the violin concertos, is the last (271 K.), which, in its freedom of form, breadth of design and passion of expression, approaches very near to the divertimento in B flat major (287 K.), which belongs to the same period. The very beginning is original, the clavier striking in with the first bars, and so giving a peculiar tone to the whole movement. Not less original is the entrance of the solo passage proper, the clavier falling in to the last bars of the gradually expiring tutti passage, with a shake of several bars length, out of which the subject springs; the same turn is afterwards made use of at the close of the first movement. The middle movement is called andantino, but expresses deep and painful emotion, and the cantilene repeatedly assumes a recitative-like character (in one beautiful climax the violins are in imitation), ending with a perfect recitative.[60] The last rondo (presto), a capital exercise for the fingers in its unceasing rapid movement, has a far more important character than is usual with concluding movements. A long cadenza leads back to the subject; the second time, however, it does not lead to the subject, but to a

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"menuetto cantabile," which, kept in check by an orchestral accompaniment, has more and more the character of a free fantasia, and at last goes back to the subject in a new cadenza, which leads to a brilliant conclusion.

A concerto for three claviers, written in February, 1776, in F major (242 K.), displays an increase in solo powers; a title-page, carefully written by the father, announces it as "Dedicato al incomparabile merito di S. Exc. la Sgra. Cont. Lodron, nata Cont. d* Arco et delle sue figlie le Sgre. Cont. Aloisia et Giuseppa." We must not look for the same contrapuntal independence of the three instruments which we find in Bach's concertos, but there is no mistaking the cleverness and delicate sense of effect which are displayed in the varied combinations of the instruments--the doubling of parts, the strengthening of the melody or of the bass, the position of the accompaniment, and the alternation of the instruments. The main object of the first movement is to give equal and yet individual effect to each of the three claviers, although the third is hardly on a level with the other two; in the two last movements the third instrument is still more in the background, being chiefly confined to accompaniment, so that in the finale it does not even take part in the cadenzas. This made it easier for Mozart to arrange the concerto for two instruments; the solo parts, so altered, are preserved in his handwriting. The tone of the concerto is lively and cheerful; the whole is treated in an easy and happy vein of humour, which entertains the players quite as much as the audience. Mozart seems to have been fond of this concerto, and he informs his father with some satisfaction that it had been successfully performed both at Augsburg (October 24, 1777), and at Mannheim (March 24, 1778).

The orchestra has a perfectly independent part in this composition; but there is no very marked distinction between tutti and accompaniment; the orchestra and clavier mutually support and further each other, and their union results in a perfect work of art.

It is easy to estimate the claims made by Mozart upon the clavier-player. The principal are simple and tuneful delivery of the melody, clearness and precision in the

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embellishments (which were more numerous than at the present day, to suit the instrument then in use), skill and steadiness in the running passages and shakes. Technical difficulties, such as passages in octaves, thirds, or sixths, occur seldom or never at this period. The use of the left hand is also limited; rapidity is only required in accompaniment passages, and independence in the execution of left-hand melodies. What the composer was able to accomplish with the limited means at his command lies clear before us; the life which the virtuoso threw into his works by performances full of spirit and genius cannot be reproduced by any observation of form and mechanism.

FOOTNOTES:

[Footnote 1: Burney cites instances in Milan (I., p. 66), Bologna (I., p. 167), Brussels (II., p. 43), Vienna (II., p. 239).]

[Footnote 2: Burney, Reise, I., p. 67; II., p. 276.]

[Footnote 3: Burney writes of a church symphony by Galuppi, which he heard in Venice (I., p. 108): "In the symphony, which was full of charming passages, the orchestra imitated an echo. There were two organs and two pairs of French horns"; and of a similar one by Furlanetto (I., p. 126): "Then followed a long symphony, in the form of a dialogue between two orchestras."]

[Footnote 4: Barney frequently mentions concertos at church performances (L, pp. 116, 177; II., p. 85).]

[Footnote 5: Dies, Jos. Haydn, p. 104.]

[Footnote 6: Ditteradorf, Selbstbiogr., p. iro.]

[Footnote 7: Biogr. Skizze von Mich. Haydn, p. 18.]

[Footnote 8: Schubart, Aesthetik, p. 123. Selbstbiogr., 14 I., j-. 20c. Schlosser, Gesch. d. achtz. Jahrh., II., p. 252.]

[Footnote 9: Cramer, Magaz. f. Mus., I., p. 776; cf. p. 783.]

[Footnote 10: Reichardt, Briefe e. aufm. Reis., II., p. 121.]

[Footnote 11: Dittersdorf, Selbstbiogr., p. 13.]

[Footnote 12: Burney, Reise, II., p. 75.]

[Footnote 13: Dies, Biogr. Nachr., p. 55. Griesinger, Biogr. Not, p. 29.]

[Footnote 14: Cramer, Magaz. f. Mus., II., p. 959.]

[Footnote 15: Hiller, Wöch. Nachr., 1770, pp. 178, 207.]

[Footnote 16: Burney, Reise, III., p. 260.]

[Footnote 17: [Koch-Stemfeld] Die letzten dreissig Jahre des Erzstiftes Salzburg, p. 3x4.]

[Footnote 18: The Elector Friedrich August of Saxony was so nervous at playing before other people, that his wife scarcely ever heard him (Burney, Reise, III-, p. 18).]

[Footnote 19: Characteristic traits are given in Dittersdorf 8 description of the musical establishment of the Prince von Hildburghausen (Selbstbiogr., p. 43).]

[Footnote 20: Burney, Reise, I., p. 69.]

[Footnote 21: Dittersdorf, Selbstbiogr., p. 50.]

[Footnote 22: Burney, Reise, II., p. 102.]

[Footnote 23: Freiherr von Böcklin, who visited Salzburg in his eightieth year, gave it as his opinion that though the church music was good, and some of the wind instruments worth hearing: "the orchestra is not brilliant on the whole; nevertheless there are some excellent and well-known musicians among them, who soften the shadows by their enchanting playing of concertos and sonatas, and even transmit so much of their own light to their defective accompaniers as to give strangers a favourable idea of the whole performance" (Beiträge zur Geschichte der Musik, 1790, p. 28).]

[Footnote 24: Marpurg, Beitr., III., p. 186.]

[Footnote 25: Dittersdorf, Selbstbiogr., p. 141.]

[Footnote 26: Carpanï, Le Haydine, p. 56.]

[Footnote 27: Burney (Reise, II., p. 73): "Here it was that Stamitz first overstepped the usual limits of the opera overture, which hitherto had only consisted of a sort of summons to silence and attention on the entry of the singers."]

[Footnote 28: Griesinger, Biogr. Notizen, p. 15.; Dies, Biogr. Nachr., p. 37.]

[Footnote 29: Burney, Reise, III., p. 209.]

[Footnote 30: It may be considered characteristic of our times that modern musicians so seldom excel in this particular direction. Schumann, who repeatedly remarks on the phenomenon, considers that it is an extinct branch of musical art, and that a new character must be invented for middle movements (Ges. Schr., I., p. 283, 289).]

[Footnote 31: Mattheson, Vollk. Kapellmeister, p. 223; cf. Neu eroffnetes Orch., pp. 174, 184. Kircher gives a description of the dances with examples by Capsberger (Mus., I., p. 586).]

[Footnote 32: Nottebohm, Monatschr. f. Theat. u. Mus., 1855, pp. 408, 456; 1857, PP* 288, 341, 391.]

[Footnote 33: The minuet of Beethoven's eighth symphony is in slower tempo than any other movement, and its solemn yet graceful dignity contrasts humorously with the liveliness of the other movements. The charming minuet of Mendelssohn's A major symphony again provokes an involuntary smile.]

[Footnote 34: The orchestral minuets written for dancing by Mozart, of which there must have been more than the sixty known to exist (103,104, 105, 122, 164,176;), are, like the Contretanze (106,123,267, K.), very simple, and practically arranged, with a few modest instrumental effects.]

[Footnote 35: I made acquaintance with them through André's autograph collection» and also through three little blue books placed at my disposal by the owner, A. Cranz, of Hamburg. (A. M. Z., XXXIII., p. 733.) The first of these contains nine symphonies, the second a concertone and three serenate, the third a serenata. The dates are erased, but Sonnleithner has fortunately discovered and replaced them (Recensionen, 1862, Nr. 39, p. 614). In Breitkopf and Härtel's old warehouse, twenty symphonies in parts were also preserved. Since ten of these are among André's, and two belong to "Lucio Silla" and "Sogno di Scipione," we may conclude the rest to be equally genuine; and since none of those known belong to a later date than 1772, and "Lucio Silla" was performed at the Carnival of 1773, the others can scarcely be put later. In confirmation of this it will be remembered that on February 7, 1772, Leopold Mozart offered Breitkopf some of his son's compositions, and among them symphonies.]

[Footnote 36: Still shorter and more precise is a serenade in four movements that, according to the first superscription, was originally a contretänz.]

[Footnote 37: Where stringed instruments are employed the bass part is only indicated as basso; and no hint is given as to whether the double-bass or violoncello, or both together, were intended.]

[Footnote 38: The same five instruments were employed for two divertimenti for wind instruments (166, 168, K.), of which one is dated 1773. The paper and handwriting are identical.]

[Footnote 39: Mozart had employed four horns earlier, two being in another key, in symphonies (130. 132, 183, K., and that to the "Betuüa Liberata"), and in. operatic accompaniments ("Ascanio." ii; "Finta Giardiniera," 13. 26; "Re Pastore," 12).]

[Footnote 40: To the first of these belongs the march written for the same instruments (248 K.).]

[Footnote 41: Mozart, who, in October, 1877, mentions only two cassations, asks from Vienna (July 4, 1781) for the three cassations in F, B, and D.]

[Footnote 42: Three pages of the first allegro of a similar divertimento in F major are preserved (288 K.); since Mozart only mentions three such pieces by name in Vienna, it is not probable that a fourth was completed.]

[Footnote 43: A scherzo-like pastorale (Anh., 294 K.), in which a corno pastoriccio is added to the quartet, has been ascribed to Mozart without sufficient grounds, and is more likely by his father.]

[Footnote 44: Mozart must have composed more than a few of such compositions, which were always in request but many are included among his published harmonie-musik, arranged in very arbitrary fashion, and altogether unauthentic.]

[Footnote 45: The trio has been struck out and written again by the father, who has transposed the first violins an octave lower throughout.]

[Footnote 46: n. Ztschr. f. Mus., XLV., p. 60.]

[Footnote 47: 'The trio of the minuet has also been written again, but here it is an altogether new composition, far superior to the first.]

[Footnote 48: A little piece for two violins and bass (266 K.), consisting of a polonaiselike movement following some slow introductory bars, and of a minuet, is not of importance.]

[Footnote 49: When the Vienna quartets appeared, and Toricella announced "Six quartets by Mozart at a low price," the publisher Artaria drew the attention of the public to the fact that these quartets were old works of Mozart's, written fifteen years previously (Wien. Ztg., 1785; Nr. 75 Anh.). To this Toricella replied in a fresh announcement: "Concerning the quartets of fifteen years ago, I believe that they need no recommendation but the name of their author, and I am equally convinced that, being in their whole style completely new to many amateurs, they may be considered as novelties, and as genuine compositions of Mozart."]

[Footnote 50: Mozart afterwards composed a rondo, mentioned by his father (September 25, 1777), to the Concerto in B major (207 K.) for Brunetti.]

[Footnote 51: Car. Pichler, Zeitbilder, p. 149.]

[Footnote 52: The piece is in E flat major; the viola part is written in D major, and was to be tuned half a tone higher, both to give it a clear sound and to make the execution easier.]

[Footnote 53: Schubart, Aesthet. d. Mus., p. 233.]

[Footnote 54: Mus. Real-Ztg., 1789, p. 240.]

[Footnote 55: The musical collection of Baron von Dürnitz is in the possession of Herr Oec. Rabl, at Münchshofen.]

[Footnote 56: Among these may be included an arrangement of three clavier sonatas by Joh. Chris. Bach (p. 38) as a concerto (107 K.) with quartet accompaniment. I cannot decide how much of this is Mozart's.]

[Footnote 57: Cf. Kelly, Remin., I., p. 9.]

[Footnote 58: An unfinished Sonata in G major (357 K.) was perhaps completed and afterwards lost.]

[Footnote 59: Yet Dressier mentions in his Theaterschule in 1777 (p. 46): "Die Hrn. Mozart und Schröder, zwei ausserordentliche Genies, Musici, Klavierspieler, und Compositeurs der Deutschen," whose merit is acknowledged in foreign countries.]

[Footnote 60: The close of the adagio in Beethoven's C major symphony will occur to every musician; the opening of his E flat major concerto is also founded on a similar idea to this of Mozart's.]

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MOZART

BY DAVID WIDGER