Chapter III: Introduction: To the Second Edition

MY DEAR FRIEND,--I can scarcely describe to you the depression of spirits with which I laid aside my pen at the close of my foregoing letter to you. When I looked at the thick volume before me, which had grown so wonderfully under my hands, and reflected that several others were to follow, I felt a misgiving amounting to certainty that my work was ill-planned, badly executed, or altogether out of place. I should not have believed any one who had prophesied the result that was actually to follow. The gradual conviction that I had been mistaken, that the book was a success beyond anything I had dared to expect, the many proofs I received of acknowledgment and sympathy, were my best encouragement to apply my whole energies to the completion of my arduous task.

When it became necessary to prepare a second edition, I rejoiced at the prospect of revising the whole work in the light of my acquired experience, and hoped that this labour of love would recompense me for all my pains. In this expectation I was, however, deceived; the revision, which I now lay before you, assumed the proportions of a heavy task, requiring the exertions of all my powers for its accomplishment.

The gloom of the last few years cast its shadows even over my work, as you, who seek and recognise the living author behind his words, will not fail to discover; I trust that you will also find traces of the conscientiousness with which I have striven to perform my appointed task.

You will agree with me in thinking that it would have been unadvisable to subvert the whole design of the book in substance and form, and that I must content myself with such improvements in matters of detail as would bring me

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somewhat nearer to the end I had in view. It was, of course, my first endeavour to rectify such errors and remove such blemishes as had been observed either by myself or others, and I then proceeded to turn to account all the materials that had come to hand for the completion or enrichment of my narrative. I had become the fortunate possessor of copies of Mozart's complete correspondence, so far as I know it to exist. If, as I trust was the case, the extracts already before the public had been found useful and trustworthy, there could be no doubt that the completed version would render my narrative more accurate and lifelike. In addition, I had now Mozart's entire compositions, either autograph or copied, so that I could confirm my account and my criticism of each work by direct reference.

Besides these efficient materials for the confirmation of my main authorities, I had received numerous separate communications, partly from friends to whom I owe much gratitude, partly from publications of the last ten years bearing upon my subject, some of which have been of great service to me.

The most important aid, both to myself and to the readers of this edition, has been afforded by Ludwig v. Köchel's "Chronologischthematisches Verzeichniss sammtlicher Tonwerke W. A. Mozarts" (Leipzig, 1862). The necessity for such a catalogue had so strongly impressed me that I had resolved on compiling it myself, when I fortunately learned that Köchel was at work upon it. I was speedily convinced that it was in far better hands than mine, and it gave me genuine pleasure to afford it such assistance as was in my power. Unexampled assiduity, sparing neither sacrifice nor exertion, has produced a work which, from the completeness of its research and the accuracy of its execution, may serve as a model. A few addenda and corrections were indeed unavoidable: Kochel has himself indicated some (Allg. Mus. Ztg., 1864, p. 493), and you will find two or three trifling ones in my book. The fact that Köchel's catalogue contains a complete chronological and biographical account of all Mozart's compositions freed my book from all the notices and references found necessary

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in corroboration of my statements. A reference to the number in Köchel's catalogue became, in most cases, sufficient; and I was able also to omit notices of errors in the published works which Köchel had remarked upon. These, as far as the great operas are concerned, will soon be rendered still more superfluous by the projected new edition of the scores from the autograph originals. Köche's friendship, which I regard as the greatest gain of our common labours, has aided and supported me throughout the preparation of this edition. I will not attempt to enumerate all that he has communicated, verified, and brought into agreement for me: he knows the amount of his aid and of my gratitude. Sonnleithner, Karajan, Pohl, Jul. André, have been equally obliging in satisfying my demands and inquiries. Special thanks are due to them if my book attains that accuracy of detail, wherein I place its chief value. I may claim to have made tolerably exhaustive use of all that has been published concerning Mozart during the last ten years, but you will scarcely expect me to enumerate all my corrections and improvements. It has been my aim to retain all that had been proved good in my work, while making such additions as served to place my subject more clearly and fully before my readers.

If a perusal of my second edition should leave you with the impression that the task of revision and correction has been an easy one, I shall, whatever my convictions to the contrary, congratulate myself on having approached the object which I have kept steadily in view.

Accept my book, then, in its new dress, with the old spirit of friendship, and gladden the heart of its author once more by the sympathy he has never yet found wanting.

OTTO JAHN.

Bonn, March 6, 1867.

TRANSLATOR'S NOTE.

CONSIDERABLE doubt has existed in the mind of the translator as to the proper English equivalent for the word "clavier" throughout this work. Clavier is a generic term in German, and is used to denote any keyed instrument, whether harpsichord, clavichord, or pianoforte. Mozart's compositions for the clavier are equally available for all these instruments, and in his early years he performed indifferently on the harpsichord or clavichord. His first introduction to the pianoforte was at Augsburg, in 1777, and he did not become familiar with the instrument until after his settlement in Vienna in 1781. It has been thought best, therefore, to leave the word _clavier_ untranslated up to this date, after which it is translated _pianoforte_, whether it is applied to Mozart's performances or to his compositions.

It has not been thought advisable to give in the English edition of the work all the Appendixes which appear in the German. Many of them are of interest only in the original, others have already been translated among Mozart's correspondence. Those which seemed likely to interest the English reader have been translated. The musical Appendixes have all been omitted as bulky and unnecessary.

The only part of Herr Jahn's work against which the charge of incompleteness can fairly be brought is the Index; an entirely new one has therefore been made for the English edition, and will, it is hoped, be found minute and accurate.

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