part 2). Sorrow and complaining take the place of joy and gladness. The

pianoforte quartet (composed August, 1785) and the Quintet (composed May 16, 1787) in G minor are allied in tone, but their sorrow passes in the end to gladness or calm, whereas here it rises in a continuous climax to a wild merriment, as if seeking to stifle care. The agitated first movement begins with a low plaintiveness, which is scarcely interrupted by the calmer mood of the second subject;[47] the working-out of the second part intensifies the gentle murmur--[See Page Image]

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into a piercing cry of anguish; but, strive and struggle as it may, the strength of the resistance sinks again into the murmur with which the movement closes. The andante, on the contrary, is consolatory in tone; not reposing on the consciousness of an inner peace, but striving after it with an earnest composure which even attempts to be cheerful.[48] The minuet introduces a new turn of expression. A resolute resistance is opposed to the foe, but in vain, and again the effort sinks to a moan. Even the tender comfort of the trio, softer and sweeter than the andante, fails to bring lasting peace; again the combat is renewed, and again it dies away, complaining. The last movement brings no peace, only a wild merriment that seeks to drown sorrow, and goes on its course in restless excitement. This is the most passionate of all Mozart's symphonies; but even in this he has not forgotten that "music, when expressing horrors, must still be music" (Vol. II., p. 239).[49] Goethe's words concerning the Laocoon are applicable here ("Werke" XXIV., p. 233): "We may boldly assert that this work exhausts its subject, and fulfils every condition of art. It teaches us that though the artist's feeling for beauty may be stirred by calm and simple subjects, it is only displayed in its highest grandeur and dignity when it proves its power of depicting varieties of character, and of throwing moderation and control into its representations of outbreaks of human passion." And in the same sense in which Goethe ventured to call the Laocoon graceful, none can deny the grace of this symphony, in spite of much harshness and

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keenness of expression.[50] The nature of the case demands the employment of quite other means to those of the E flat major symphony. The outlines are more sharply defined and contrasted, without the abundant filling-in of detail which are of such excellent effect in the earlier work, the result being a greater clearness, combined with a certain amount of severity and harshness. The instrumentation agrees with it; it is kept within confined limits, and has a sharp, abrupt character. The addition of clarinets for a later performance gave the tone-colouring greater intensity and fulness. Mozart has taken an extra sheet of paper, and has rearranged the original oboe parts, giving characteristic passages to the clarinets, others to the oboes alone, and frequently combining the two. No clarinets were added to the minuet. Again, of a totally distinct character is the last symphony, in C major (551 K., part 4), in more than one respect the greatest and best, although neither so full of passion as the G minor symphony, nor so full of charm as the E flat major.[51] Most striking is the dignity and solemnity of the whole work, manifested in the brilliant pomp in the first movement, with its evident delight in splendid sound-effects.:

It has no passionate excitement, but its tender grace is heightened by a serenity which shines forth most unmistakably in the subject already alluded to (Vol. II., p. 455, cf. p. 334), which occurs unexpectedly at the close of the first part. The andante reveals the very depths of feeling, with traces in its calm beauty of the passionate agitation and strife from which it proceeds; the impression it leaves is one of moral strength,

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perfected to a noble gentleness. The minuet recalls to mind the cheerful subject of the first movement. There is an elastic spring in its motion, sustained with a delicacy and refinement which transports the hearer into a purer element, where he seems to exist without effort, like the Homeric gods. The finale is that masterpiece of marvellous contrapuntal art, which leaves even upon the uninitiated the impression of a magnificent princely pageant, to prepare the mind for which has been the office of the previous movements. We recognise in the principal subject which opens the movement--[See Page Images]

the motif of which Mozart made frequent use even in his youth (Vol. I., p. 259); here he seems anxious to bid it a final farewell. He takes it again as a fugue subject, and again inverted:--

Then other motifs join in. One, in pregnant rhythm--

asserting itself with sharp accents in all sorts of different ways, and connected with a third motif as a concluding section:--

All these subjects are interwoven or worked out with other subordinate ideas, both as independent elements for

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contrapuntal elaboration, and in two, three, or fourfold combinations, bringing to pass harmonic inflections of great force and boldness, sometimes even of biting harshness. There is scarcely a phrase, however insignificant, which does not make good its independent existence.[52] A searching analysis is out of the question in this place; such an analysis would serve, however, to increase our admiration of the genius which makes of strictest form the vehicle for a flow of fiery eloquence, and spreads abroad glory and beauty without stint.[53]

The perfection of the art of counterpoint is not the distinguishing characteristic of this symphony alone, but of them all. The enthralling interest of the development of each movement in its necessary connection and continuity consists chiefly in the free and liberal use of the manifold resources of counterpoint. The ease and certainty of this mode of expression makes it seem fittest for what the composer has to say. Freedom of treatment penetrates every component part of the whole, producing the independent, natural motion of each. The then novel art of employing the wind instruments in separate and combined effects was especially admired by Mozart's contemporaries. His treatment of the stringed instruments showed a progress not less advanced, as, for instance, in the free treatment of the basses, as characteristic as it was melodious. The highest quality of the symphonies, however, is their harmony of tone-colour, the healthy combination of orchestral sound, which is not to be replaced by any separate effects, however charming. In this combination consists the art of making the orchestra as a living organism express the artistic idea which gives the creative impulse to the work, and controls the forces which are always ready to be set in motion. An unerring conception of the capacities for development

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contained in each subject, of the relations of contrasting and conflicting elements, of the proportions of the parts composing the different movements,[54] and of the proportions of the movements to the whole work; finally, of the proper division and blending of the tone-colours--such are the essential conditions for the production of a work of art which is to be effective in all its parts.

Few persons will wish to dispute the fact that Mozart's great symphonies display the happiest union of invention and knowledge, of feeling and taste. We have endeavoured also to show in brief outline that they are the characteristic expression of a mind tuned to artistic production, whence their entire organisation of necessity proceeds. But language, incapable of rendering the impressions made by the formative arts, is still more impotent in seeking to reproduce the substance of a musical work.[55] Points that can be readily apprehended are emphasised disproportionately; and the subjectivity of the speaker or writer intrudes itself upon the consideration of the music. It has been lately questioned, for instance, whether Mozart's compositions were the absolute and necessary results of certain definite frames of mind, and a comparison has been made between him and Beethoven upon this point. If it is intended by this to draw attention to Beethoven's art, as proceeding from his _spiritual_ being (Geist), in contrast to that of earlier composers--of Mozart especially--which came from the _mind_ (Seele),[56] an important point is indicated. But if this distinction is made exhaustive, or essentially qualitative, the right point of view is thereby disturbed. There can be no doubt that Beethoven has struck chords in the human mind which none before him had touched--that

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he employs the means at his command with a power and energy of expression unheard before; that by him--the true son of his time--the strife of passions and the struggle for individual freedom are more powerfully and unhesitatingly expressed than by any of his predecessors. But human nature remains the same, and the genuine impulses of artistic creation proceed from universal and unalterable laws; the artist does but impress his individual stamp upon the composing elements of his work; and if, under certain circumstances, this should fail to be comprehended, it does not therefore follow that the work has no meaning.[57] For neither can the form and the substance of a veritable work of art be divided or substituted the one for the other, nor can such a work take effect as a whole when it is not accepted and grasped in all its parts.[58] It is this wholeness, this oneness, which brings the mind of the artist most clearly before us. Let it be remembered that Mozart's contemporaries dis-; covered an exaggerated expression of emotion and an incomprehensible depth of characterisation in those very compositions in which our age recognises dignified moderation, pure harmony, perfect beauty, and a graceful treatment of form sometimes even to the loss of intrinsic force; and it will be acknowledged that much which was supposed to depend on the construction of the work lies really in the changing point of view of the hearers. Those only who come to the consideration of the work with a clear and unbiased mind, taking their standard from the universal and unchangeable laws of art--those only who are capable of grasping the individuality of an artistic nature, will not go astray either in their appreciation or their criticism.

FOOTNOTES OF CHAPTER XXXIV.

[Footnote 1: The Greiners had quartet parties every Tuesday during Advent and Lent (Car. Pichler, Denkw., I., p. 127. Jahrb. d. Tonk., 1796, p. 71).]

[Footnote 2: Luigi Boccherini (1740-1805), who was almost a contemporary, followed his own bent in numerous quartets, quintets, and trios, uninfluenced by the works of others, and not himself exerting any lasting influence (Piquot, Notice sur la Vie et les Ouvrages de L. Boccherini. Paris, 1851).]

[Footnote 3: The advertisement (Wien. Ztg., 1785, No. 75, p. 2191) ran: "Mozart's works require no praise, and to quote any would be superfluous; we can only assure the public that we are offering them a masterpiece. This is confirmed by the fact that the quartets are dedicated to his friend Joseph Haydn, Kapellmeister to Prince Estcrhazy, who honoured them with all the approbation which one man of genius can bestow upon another."]

[Footnote 4: Dittersdorf, Selbstbiogr., p. 238.]

[Footnote 5: Nissen, Nachtrag, p. 62.]

[Footnote 6: Cramer, Magazin der Musik, II., p. 1273.]

[Footnote 7: Gyrowetz, Selbstbiogr., p. xx. Jahrb. d. Tonkunst, 1796, p. 77.]

[Footnote 8: A. M. Z., I., p. 855.]

[Footnote 9: Fétis attacked this introduction in the Revue Musicale, V., p. 601, and maintained his opinion against Pernes (Ibid., VI., pp. 25, 32). An equally lively onslaught upon Fétis was made in a detailed analysis by C. A. Leduc (A. M. Z., XXXII., p. 117), and renewed (A. M. Z., XXXIII., pp. 81, 101) after an answer by Fétis (Rev. Mus., VIII., p. 821), and also by C. M. Balthasar (A. M. ZM XXXIII., p. 493). Thereupon G. Weber subjected the passage to a searching examination, and acknowledged finally that the combinations of sound were unpleasing to his own ear.]

[Footnote 10: Càcilia, XIV., p. 2.]

[Footnote 11: Ulibicheff, II., p. 254.]

[Footnote 12: The conjecture of Fétis that the first violin follows the second at the second instead of the third crotchet of the second bar, by reason of a printer's error, is disproved by Mozart's own manuscript (also by his Thematic Catalogue).]

[Footnote 13: Lenz, Beethoven, II., p. 78.]

[Footnote 14: The same object is entirely fulfilled by Beethoven in the introduction to the Symphony in B flat major, to say nothing of the Quartet in C major. The cheerful serenity pervading the symphony, and the occasional stronger accents of passionate feeling, are, as it were, prefigured in the introduction, where we hear the rolling of the storm which is to clear and freshen the atmosphere.]

[Footnote 15: A. M.Z., III., p. 350.]

[Footnote 16: Joh. Bapt. Schaul, Briefe über den Geschmack in der Musik, p. 8.]

[Footnote 17: Cf. Musik. Briefe von einem Wohlbekannten, II., p. 40.]

[Footnote 18: Two bars are added as an extension of the conclusion as in the minuet of the Quintet in C major (515 K.).]

[Footnote 19: There are groups of seven bars in the minuet of the later Quartet in F major (590 K.), and of five bars in the trio.]

[Footnote 20: This movement has been scored by Beethoven; the original is in Artaria's possession.]

[Footnote 21: A siciliana occurs among the variations in a sonata for pianoforte and violin (377 K., 3), simpler and shorter than the one under consideration, and altogether omitting the transition to the major key. The same form is the basis of the rondo to the pianoforte Trio in G major (496 K.), but freely carried out. The siliciana is employed, according to old usage, for the slow middle movements of an early Sonata in F major (280 K.), and of the pianoforte Concerto in A major (414 K.).]

[Footnote 22: The Hadyn quartets, written in 1787 for the King of Prussia, are well known.]

[Footnote 23: From 1787 to 1797 Boccherini drew a considerable pension from Frederick William II., for which he had to furnish annually some quartets and quintets, compositions much loved and often played by the King (Reichardt, Musik. Monatsschr., p. 17. Mus. Ztg., 1805, p. 232. Picquot, Not. sur L. Boccherini, pp. 16, 112).]

[Footnote 24: In March, 1788, Mozart announced (Wien. Ztg., 1788, No. 27 Anh.) three new quintets--these two, and the one arranged in C minor--at four ducats a copy.]

[Footnote 25: Wien. Ztg., May 18, 1793, p. 1462.]

[Footnote 26: So also in the unfinished sketches of a number of qointet movements (79.84 Anh., K.).]

[Footnote 27: Picquot, Not. sur L. Boccherini, pp. 19, 28, 123]

[Footnote 28: Prince Grassalcovicz reduced his full band to a "Harmoniemusik" (Jahrb. d. Tonk., 1796, p. 77).]

[Footnote 29: Trûbensee and Wendt as oboists, the brothers Stadler as clarinetists, Rub and Eisen hornists, Kautzner and Druben bassoonists (Cramer, Magaz. Mus., I., p. 1400. Musik. Korresp., 1790, p. 31).]

[Footnote 30: Mozart arranged the "Entfuhrung" for wind instruments (Vol. II., p. 210).]

[Footnote 31: A. M. Z., XV., p. 668 (Schletterer, Reichardt, I., p. 327).]

[Footnote 32: Mozart praised Albert's good "Harmoniemusik" to his father from Munich (October 3, 1777). A special wind band was engaged for the table music at the Augarten (Jahrb. d. Tonk., 1796, p. 78).]

[Footnote 33: Nicolai speaks highly of the "Harmoniemusik," which was performed every evening before the main guard at the court (Reise, IV., p. 558).]

[Footnote 34: Carpani, Le Haydine, p. 81. Gyrowetz, Biogr., p. 5.]

[Footnote 35: Musik. Korr., 1791, p. 366.]

[Footnote 36: The serenata has two minuets, the second of which is especially Haydnlike in character. Perhaps they were intended to be omitted in the rearrangement, for in Mozart's autograph score they are only copied and inserted.]

[Footnote 37: The beginning of an eight-part allegro is among the sketches.]

[Footnote 38: The first bars of an adagio for clarinets and three basset-horns were written out (93 Anh., K.), and an allegro for two clarinets and three basset-horns (95 Anh., K.) was somewhat further advanced.]

[Footnote 39: So it is given by Meyer (L. Schröder, I., p. 357) for the year 1781 (cf. A. M. Z., XXIV., p. 268), and the tables in the Jahrb. d. Tonkunst, 1796, p. 92, agree with his statement.]

[Footnote 40: K. R[isbeck], Briefe ûb. Deutschld., I., p. 279.]

[Footnote 41: Nicolai, Reise, IV., p. 542.]

[Footnote 42: Nicolai, Reise, VI., p. 702.]

[Footnote 43: So Kalkbrenner told me in Paris, in 1837.]

[Footnote 44: Niemetschek, Biogr., p. 41. (Note: Misnumbered in the print edition--DW)]

[Footnote 45: Rich. Wagner, Kunstwerk der Zukunft, p. 85. It was just this "Cantabilität" with which Nàgeli reproached Mozart, who according to him "cannot be termed a correct composer of instrumental music, for he mingled and confounded 'cantabilität' with a free instrumental play of ideas, and his very wealth of fancy and emotional gifts led to a sort of fermentation in the whole province of art, causing it rather to retrograde than to advance, and exercising a very powerful influence over it" (Vorlesungen, p. 157). It certainly appears strange in our times to see Mozart considered as the disturbing and exciting element in the development of art; and Nägeli was thoroughly sincere and in earnest in his musical judgments.]

[Footnote 46: E. T. A. Hoffmann says of this symphony (called the "swan song"): "Love and melancholy breathe forth in purest spirit tones; we feel ourselves drawn with inexpressible longing towards the forms which beckon us to join them in their flight through the clouds to another sphere." A. Apel attempted to turn the symphony into a poem, which was to imitate in words the character of the different movements (A. M. Z., VIII., p. 453). Cf. Ludw. Bauer's Schriften, p. 471.]

[Footnote 47: It is characteristic that in the first and last movements the second theme is only fully expressed when it enters for the second time in the minor; in the major key it is far less expressive.]

[Footnote 48: A mistake long perpetrated in the andante has been pointed out by Schumann (N. Ztschr., XV., p. 150. Ges. Schr., IV., p. 62). In both parts four bars (I., 29-32; II., 48-51) are repeated twice, with altered instrumentation; this is altogether inexcusable, for it causes the same transition from D flat major to minor (G flat major, A flat minor) to occur twice in succession. A glance at the original score makes the matter clear. Mozart originally wrote the four bars 33-36 (II., 52-55), and then added the other version on a separate page, probably as being easier; they were copied one after the other by mistake. That he intended the demisemiquaver passage for the wind instruments may be inferred from the arrangement with clarinets to be presently noted, where it is given to those instruments.]

[Footnote 49: Palmer (Evangel. Hymnologie, p. 246) finds no pain in this symphony, only pure life and gaiety.]

[Footnote 50: H. Hirschbach says, apparently quite seriously (N. Zeitschr. Mus., VIII., p. 190): "There are many people who fight shy of Beethoven's music, finding his earlier symphonies tolerable, but the later bizarre, obscure, and so on; but Mozart's G minor symphony is acknowledged to be a masterpiece, though here and there may be one who thinks this so-called symphony really does not deserve the name, for it is distinguished neither by originality nor workmanship, and is a commonplace mild piece of music, requiring no great effort for its production (even if we set aside the greater demands of the present day), and it was apparently not considered as a great work by Beethoven."]

[Footnote 51: It has been called, I do not know when or by whom, the "Jupiter" symphony, more, doubtless, to indicate its majesty and splendour than with a view to any deeper symbolism.]

[Footnote 52: Sechtcr gave a technical analysis in the appendix to Marpurg's Kunst der Fuge (Wien: Diabelli) II., p. 161. Lobe, Compositionslehre, III., p. 393.]

[Footnote 53: Nägeli (Vorlesungen, p. 162) subjects this symphony to a searching criticism, in order to prove that Mozart (to whom he allows great originality and power of combination, extolling him as the first to form the orchestra into a perfect organic whole) was wanting in repose, and often shallow and confused.]

[Footnote 54: Ad. Kullak (Das Musikalisch Schöne, p. 80) remarks that numerous calculations undertaken by him serve to show that Hadyn and Mozart, in the majority of their works, keep pretty close to the law of proportion laid down by Zeising (according to which a whole divided into unequal parts will not give the effect of symmetry unless the smaller parts bear the same ratio to the larger as the larger to the whole), and that in some cases they follow it exactly.]

[Footnote 55: Mendelssohn's Briefe, II., p. 337.]

[Footnote 56: Marx, Musik. des Neunzehnten Jahrh., p. 68.]

[Footnote 57: Ad. Kullak, Das Musikalisch Schöne, p. 149.]

[Footnote 58: Ambros, Gränzen der Musik und Poesie, pp. 64,123, 141.]

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MOZART 35

BY DAVID WIDGER