THE MUSICIANS LIBRARY FIFTY VOLUMES ISSUED SONG VOLUMES
SONGS FROM THE OPERAS FOR MEZZO SOPRANO
Edited by H. E. Krehbiel JOHANNESBRAHMS:FORTYSONGS High Voice. Low Voice
Edited by James Huneker
SONGS FROM THE OPERAS FOR ALTO
Edited by H. E. Krehbiel
ROBERT FRANZ : FIFTY SONGS High Voice. Low Voice
Edited by William Foster Apthorp EDVARD GRIEG: FIFTY SONGS High Voice. Low Voice
Edited by Henry
PIANO VOLUMES JOHANN SEBASTIAN BACH VOL. I. SHORTER PIANO COMPOSITIONS VOL. II. LARGER PIANO COMPOSITIONS
Edited by Ebenezer Prout GEORGE FRIDERIC HANDEL VOL. I. SONGS AND AIRS FOR HIGH VOICE VOL. II. SONGS AND AIRS FOR LOW VOICE
LUDWIG VAN BEETHOVEN VOLS. I & II. PIANO COMPOSITIONS
Edited by Ebenezer Prout
Edited by Eugen d'Albert
FRANZ SCHUBERT: FIFTY SONGS
FREDERIC CHOPIN : FORTY PlANO COMPOSITIONS
High Voice. Low Voice
Edited by James Huneker
Edited by Henry
Edited by James Huneker
High Voice. Low Voice
Edited by W. J. Henderson
S. COLERIDGE-TAYLOR TWENTY-FOUR NEGRO MELODIES
RICHARD WAGNER: LYRICS FOR SOPRANO
Edited by Carl Armbruster EDVARD GRIEG: LARGER PIANO COMPOSITIONS RICHARD WAGNER : LYRICS FOR TENOR
Edited by Bertha Feiring 'Tapper
Edited by Carl Armbruster FRANZ JOSEPH HAYDN: TWENTY PIANO COMPOSITIONS RICHARD WAGNER LYRICS FOR BARITONE AND BASS
Edited by Xa'Vtr Scharwenka
Edited by Carl Armbruster
FRANZ LISZT: TWENTY ORIGINAL PIANO COMPOSITIONS
HUGO WOLF: FIFTY SONGS
Edited by August Spanuth
High Voice
FRANZ LISZT :TWENTY PIANO TRANSCRIPTIONS
Edited by Ernest Newman
Edited by August Spanuth FRANZ LISZT: TEN HUNGARIAN RHAPSODIES
Edited by August Spanuth and John Orth FIFTY MASTERSONGS High Voice. Low Voice
FELIX MENDELSSOHN :THIRTY PIANO COMPOSITIONS
Edited by Hmry
Edited by Percy Goetschius
FIFTY SHAKSPERE SONGS
WOLFGANG AMADEUS MOZART TWENTY PlANO COMPOSITIONS
High Voice. Low Voice
Edited ly Charles Vincent MODERN FRENCH SONGS High Voice. Low Voice
VOL. I. BEMBERG TO FRANCK VOL. II. GEORGES TO WIDOR
Edited by Philip Hale
Edited by Carl Reinecke ROBERT SCHUMANN: FIFTY PIANO COMPOSITIONS
Edited ly Xa'Ver Schar·wmka RICHARD WAGNER SELECTIONS FROM THE MUSIC DRAMAS
Arranged for the piano lry Otto Singer
SEVENTY SCOTTISH SONGS High Voice. Low Voice
Edited, with accompaniments, by Helen Hopekirk
High Voice. Low Voice
ANTHOLOGY OF FRENCH PIANO MUSIC VOL. I. EARLY COMPOSERS VOL. II. MODERN COMPOSERS
Edited by Rupert Hughes
Edited by Isidor Philipp
SONGS FROM THE OPERAS FOR SOPRANO
EARLY ITALIAN PIANO MUSIC
Edited by H. E. Krehbiel
Edited by M. Esposito
SONGS BY THIRTY AMERICANS
Price
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'Volume, paper, cloth back, $1.50; full cloth, gilt, $2.50. Prien include postage.
TWENTY PIANO COMPOSITIONS BY WOLFGANG AMADEUS MOZART
TWENTY PIANO COMPOSITIONS WOLFGANG AMADEUS
MOZART ,/
//
EDITED BY
CARL REINECKE
BOSTON : OLIVER DITSON COMPANY NEW YORK: CHAS. H. DITSON & CO. CHICAGO : LYON & HEALY PHILADELPHIA : j. E. DITSON & CO.
...,
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COPYRIGHT, 1906, BY OLIVER DITSON COMPANY INTERNATIONAL COPYRIGHT SECURED
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CCi!
CONTENTS PAGE
in G major
1.
Minuet No.
2.
Allegro for a Sonata (Allegro einer S onate)
1,
(Kochel, No. I) (Kochel, No. 312)
2
3· Sonata No.
I I,
in A major
(Kochel, No. 331)
8
4· Sonata No.
12,
in F major
(Kochel, No. 332)
24
5· Twelve Variations upon the Romance "Je suis Lindor"
(Kochel, No. 354)
44
6. Minuet No. 6, in D major
(Kochel, No. 355)
57
7· Fantasia No.
1,
with Fugue
(Kochel, No. 394)
59
8. Fantasia No.
2,
in C minor
(Kochel, No. 396)
69
9· Fantasia No. 3, in D minor
(Kochel, No. 397) (Kochel, No. 399)
77 82
10. Suite I 1.
Fugue, in G minor
(Kochel, No. 401)
90
I2.
Fantasia No.4, in C minor
(Kochel, No. 475)
95
13· Sonata No. 14, in C minor
(Kochel, No. 457)
105
14. Rondo, in D major
(Kochel, No. 48 5)
I23
15. Little Rondo (Kleines Rondo)
(Kochel, No. 494)
130
I
6. Rondo, in A minor
(Kochel, No. 5II)
138
I
7. Adagio, in B minor
(Kochel, No. 540)
I48
(Kochel, No. 573)
I
(Kochel, No. 574)
I64
(Kochel, No. 576)
!66
18. Nine Variations upon a Minuet by Duport I
9· A little Gigue (Eine kleine Gigue)
20.
Sonata No. I7, in D major
53
FROM A NEWLY DISCOVERED PORTRAIT IN THE COLLECTION OF H. E. KREHBIEL, ESQ.
WOLFGANG AMADEUS MOZART
W
HOEVER, in possession of a good, sound perception of the truly beautiful, is able at this day to enjoy and admire Mozart's masterpieces can hardly realize the fact that more than a century has elapsed since this great genius closed his eyes in everlasting repose. Time in its arrow-swift flight ruthlessly sweeps away everything that has a merely ephemeral value, and only he who has created for all epochs, like a Shakespeare, a Goethe, a Michelangelo, a Beethoven, remains standing like a pillar, which, after centuries, still inspires admiration. Such a pillar was Mozart also. It would be foolish if in blind adoration we should estimate at the same lofty level of value all of the master's compositions, for as a child he wrote childish things; his 'l'itus he composed when ill and in a travelling-carriage; and throughout his life, owing to his excessive good-nature, he produced many pieces in the interest of trivial festivities, and a great deal for dilettante acquaintances; in short," occasional works" of all kinds, such as could not by any possibility lay claim to immortality, although even in these less significant productions his marvellous instinct for perfect beauty of form cannot fail to be recognized. This may be proved by an examination of his multitudinous divertimenti, cassazioni, serenate, and the like, where genuine outbursts of brilliant genius frequently occur. But his operas, from 'I'he Elopement to '!'he Magic Flute, his last great symphonies, string quartets and quintets, the Requiem, the C minor Mass, and many of his pianoforte compositions,- first and foremost his piano concertos in C minor, D minor, D major, B major, &c.,-will still hold their own when -many works of the great composers of our day have already sunk into oblivion. Wolfgang Amadeus Mozart was born on January 27, 1756, at Salzburg. He was the son of the cc Hofmusicus" Leopold Mozart and Anna Marie Mozart (nee Pertl). Of the seven
ER die Meisterwerke Mozart's heute mit gesund erhaltenem Sinne fur das wahrhaft Schone zu geniessen und zu bewundern versteht, der wird sich kaum in die Thatsache hinein finden konnen, dass mehr als ein Jahrhundert dahin gegangen ist, seit dieser grosse Meister seine Augen zu ewiger Ruhe schloss. Die pfeilschnell dahin eilende Zeit miiht in ihrem Fluge erbarmungslos Allesnieder, was nur einen zeitlichen Werth hat, und nur der, welcher fur aile Zeiten geschaffen hat, wie ein Shakespeare, Goethe, Michelangelo, Beethoven bleibt wie eine Siiule stehen, die nach Jahrhunderten noch bewundert wird. Eine solche Siiule ist auch Mozart. Es ware thoricht, wollte man in blinder Verehrung aile Werke des Meisters gleich hoch einschiitzen, denn als Kind hat er kindliche Sachen geschrieben, den 'l'itus componirte er als kranker Mann im Reisewagen, und inzwischen hat er in seiner ubergrossen Gutmiithigkeit gar Manches zur Verherrlichung kleiner Festlichkeiten, Vieles fur befreundete Dilettanten, kurz Gelegenheitswerke aller Art geschrieben, die nicht auf U nsterblichkeit Anspruch machen konnen und wollen, wenngleich auch in diesen minder bedeutenden W erken der wunderbare Sinn fur vollendete Formschonheit nicht zu verkennen ist. Man priife darauf hin die zahlreichen Divertimenti, Cassationen, Serenaden, u. s. w., in denen nicht selten wahrhafte Genieblitze aufzucken. Aber seine Opern, von der En((uhrung his zur Zauberj!iHe, seine letzten grossen Symphonien, Streich-Quartette und Quintette, das Requiem, die C-molle-Messe und viele seiner Clavierwerke (voran seine Clavierconcerte in C-moll, D-moll, D-dur, B-dur u.s. w.) werden noch Stand halten, wenn mane he W erke heutiger Tagesgrossen schon wieder vergessen sein werden. Am 2 7. J anuar 1 7 56 ward Wolfgang Amadeus Mozart als Sohn des, Hofmusicus" Leopold Mozart und der Anna Marie Mozart,
W
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WOLFGANG AMADEUS MOZART
children resulting from this marriage five died before attaining the age of three, but the two that were spared to their parents became their joy and their pride: these were Wolfgang and his sister Maria Anna, called N annerl, four and a half years older than he, who at a very tender age displayed a remarkable gift for music, and served her brother as a model. Even as a child of three the little fellow liked to listen while his sister was taking her harpsichord lesson, and then he would go to the instrument and delight his childish ear with the pleasant sound of runs in thirds. The father quickly recognized his little son's wonderful gift, and deserves the credit not only of recognizing, but also of wisely direCting, the boy's talent. In the year I 76 I the little man wrote his first composition,-a minuet with trio, in G major. It is a pretty little piece, almost entirely in two parts; and even to-day would make a very good showing if it were made a little fuller and richer for the piano. In 1762 the father took his two children and made his first artistic journey-a very modest one, to be sure-to Munich, which is situated not far from Salzburg. Here the children roused such admiration that he decided to take the young artists the same year to Vienna: there at the imperial court they were accorded the most generous reception. The boy, who in the meantime had been studying the violin and organ, as well as the piano, astonished every one by his extraordinary performances, and he was caressed and petted by reason of his boyish lack of selfconsciousness. He sprang into the Empress Maria Theresia's lap and kissed her heartily; while he promised to marry the Princess Marie Antoinette, who afterwards, as Queen of France, died in Paris under the guillotine. It would lead us too far afield to describe in this brief biographical sketch all the artistic journeys of the Mozart family: each was like a real triumphal progress. After visiting Paris, London and Holland, the "Trifolium" returned to Salzburg in November, I 766, loaded down with a perfeCt museum of gifts and jewels of
geb. Pertl, geboren. Von den sieben Kindern, welche dieser Ehe entsprossen waren, starben fiinf, bevor sie das dritte Lebensjahr erreicht hatten, die heiden Kinder aber, welche den Eltern verblieben, wurden ihre Freude und ihr Stolz, es waren Wolfgang und des sen 4Yz Jahre altere Schwester, Maria Anna, genannt das Nannerl, welche auch im zarten Kindesalter schon eine merkwiirdige Begabung fur M usik zeigte und ihrem jiingeren Bruder zunachst als Vorbild diente. Schon als dreijiihriger Knabe horte der Kleine gern zu, wenn die Schwester Clavier-U nterricht hatte und setzte sich dann selbst ans Instrument, urn sein kindliches Ohr an dem Wohlklang von Terzengangen zu ergotzen. Der Vater erkannte sofort die wunderbare Begabung seines Sohnchens, und ihm gebiihrt das Verdienst, das Talent des Knaben nicht allein erkannt, sondern auch verstandnissvoll gefordert zu haben. lm Jahre 1761 schrieb der kleine Mann seine erste Composition nieder, ein Menuett mit Trio in G-dur. Es ist ein kleines anmuthiges, fast durchweg nur zweistimmig gehaltenes Stuck, welches noch heute eine gute Figur machen wiirde, wenn man den Claviersatz etwas reicher ausgestalten wollte. Im Jahre 1762 unternahm der Vater die erste zwar nur bescheidene Kunstreise mit seinen heiden Kindern nach dem nahe gelegenen M \inchen, wo die heiden Kinder jedoch eine solche Bewunderung erregten, class der Vater sich entschloss, noch in demselben Jahre die kleinen Kiinstler nach Wien ·zu fiihren. Am kaiserlichen Hofe fanden die Kinder die liebevollste Aufnahme; den Knaben, der inzwischen neben dem Clavier a~ch Geige und Orgel studiert hatte, bewunderte man urn seiner staunenswerthen Leistungen willen, und zugleich liebte und verhiitschelte man ihn wegen seiner kindlichen U nbefangenheit. Er sprang der Kaiserin Maria Theresia auf den Schooss und kiisste sie herzhaft ab, der Prinzessin Maria Antoinette aber (die spater in Paris als Konigin auf der Guillotine endete) versprach er, sie zu heirathen. Es wiirde zu weit fiihren in diesem kurzen Lebensabriss aller ferneren Kunstreisen der Fami-
WOLFGANG AMADEUS MOZART every kind. That same year, that is to say when he was ten, Mozart composed a religious cantata entitled '!'he Dutyofthe Firs/Commandmenta score of two hundred and eight pages! Toward the end of I 766 the father again started with his two children for Vienna, but at Olmiitz both N annerl and Wolfgang came down with the smallpox. When their health was restored they kept on to Vienna, but this time Fortune was not particularly favorable to them. Although the Emperor and Empress received them as gracious! y as before, they had grown economical and contented themselves with bestowing small gifts on the children; while the public, which had in the past gone wild over their marvellous talent, now manifested little interest in the young artists, in spite of their development. So the substantial reward was almost wholly lacking. In I768 Mozart wrote the one-aa: operetta Bastien and Bastienne, which even to-day is a stock-piece in many theatres in Germany, and is particularly surprising by reason of its clearcut characterization of the various personages. Equally remarkable is it that the first measures of the overture coincide with the initial motive of Beethoven's Eroica Symplzony. At the Emperor's desire he composed this same year his opera La Pinta Sempfice, which comprises no less than twenty-six numbers. Its performance, however, was thwarted through the machinations of the impresario Affiigio. In December, I 769, Leopold Mozart took his son to Italy; by way of Innsbriick, Roveredo and Verona they proceeded to Milan, and everywhere the lad, now fifteen, aroused the greatest admiration, not only as a virtuoso, but as a composer. They went by way of Parma and Bologna to Rome, where the boy accomplished the marvellous feat of writing out from memory after only a single hearing, Allegri's Miserere. The journey was extended as far as N apies, and everywhere numberless manifestations of honor expressed the truly fervid admiration which he aroused. Among other things the Pope conferred on him the Order of the Golden Spur which carried with it the rank of knighthood. The same
lX
lie Mozart zu gedenken; sie alle glichen wahren Triumphziigen. N achdem Paris, London und Holland besucht waren, traf das Trifolium im November I 766 wieder in Salzburg ein, beladen mit einem ganzen Magazin von Geschenken und Kleinodien aller Art. Im Jahre I 766, also in seinem zehnten Lebensjahre componirte Mozart ein geistliches Singspiel Die Sclzuldigkeit des ersten Gebotes eine Partitur von 208 Seiten! Gegen En de dieses J ahres begab sich der Vater abermals mit seinen Kindern nach Wien, in Olmiitz aber erkrankten das N annerl sowohl wie der Wolfgang an den Blattern; als sie endlich genesen waren, reisten sie nach Wien, aber diesmal war ihnen das Gliick nicht sonderlich hold. Zwar nahm das Kaiserpaar sie e benso gnadig auf wie dereinst, aber man war sparsam geworden und begniigte sich damit, den Kindern kleine Geschenke zu machen, wahrend das Publikum, welches den Wunderkindern dereinst zugeju belt hatte, fiir die sich entwickelnden jungen Kiinstler wenig Interesse zeigte. Somit blieb der klingende Lohn fast ganz aus. Im Jahre I 768 schrieb Mozart das einaktige Singspiel Bastien und Bastienne, welches noch heute auf manchen Biihnen Deutschlands heimisch ist und namentlich durch die scharfe Charatl:erisirung der verschiedenen Personen iiberrascht. Ebenso iiberraschend ist es, class die ersten Takte der Ouvertiire mit dem Anfangsmotiv der Sinfonia Eroica von Beethoven iibereinstimmen. Auf Wunsch des Kaisers componirte er noch in demsel ben Jahre die Oper La finta semplice, welche nicht weniger als 26 N ummern enthalt. Die Auffiihrung wurde jedoch durch die Intriguen des Impresario Affiigio hintertrieben. lm December I769 fuhrte Leopold Mozart seinen Sohn nach Italien. Ueber Innsbruck, Roveredo und Verona fuhren sie nach Mailand, und tiberall fand der fiinfzehnjahrige, sowohl als Componist wie auch als Virtuose die grosste Bewunderung. W eiter ging es tiber Parma, Bologna nach Rom, wo der J tingling das Kunststiick vollftihrte, das Miserere von Allegri, nachdem er es einmal gehort hatte, aus dem Ge-
X
WOLFGANG AMADEUS MOZART
distintl:ion, as is well known, was bestowed on Gluck, who from that time forth never called himself anything else than "Ritter" Gluck; while Mozart only for the first few years, and at the instigation of his worldly-wise father, allowed himself to be called "Cavaliere" Mozart, and afterwards entirely discontinued the use of the title. In March, I 773, Mozart and his father were back in Salzburg again. When in I 7 8 I he created hisldomeneo hehadalreadycomposed no less than three hundred and sixty-five different works, including twelve operas, thirty-seven symphonies, twenty-two concertos for various instruments, more than sixty works for the Church, thirty-three serenades, cassations, divertimenti and the like. What a flight meantime the young eagle had accomplished toward the highest goal of his art may be realized by a study of this the first of his ripe operatic creations, although one will be quick to recognize that it only partially makes good its claim to be a dramatic creation. The composer himself suffered keenly at being obliged to write the work in the traditional style of the Italian opera of that day, and with subtle consideration for the capacities of the singers. In a letter he thus expresses himself concerning Raaf, the singer of Idomeneo: "He is so in love with the careless old way of singing that it makes one sweat blood!" But an everlasting amount of beautiful music is contained in the work, and even at the present·day we listen with delight at concerts to one or another of its many lovely arias; while the fascinating gavotte from the ballet-music, whenever it is heard in German music-halls, inevitably awakens a demand for its repetition. In 1782 Mozart married hisConstanze.Atrue friend of the Mozart family described the relations of the bridal pair in the following words: "In his marriage with Constanze Weber, Mozart lived a contented life. He found in her a good, affetl:ionate wife, who was able to accommodate herself admirably to his disposition, thereby winning his entire confidence and a power over him, which she exercised only that she might
dachtniss niederzuschreiben. Man dehnte die Reise his N eapel aus, und uberall ausserte sich eine wahrhaft gliihende Begeisterung in unzahligen Ehrenerweisungen. U nter Anderem verlieh ihm der Papst den Orden vom goldenen Sporn, wodurch ihm die Ritterwiirde zu Theil wurde. Dieselbe Ehre ward bekanntlich auch Gluck zu Theil, der sich von dem Augenblick an nie anders als, Ritter Gluck" nannte, wahrend Mozart sich nur in den ersten J ahren auf Wunsch des lebensklugen v·~ters , Cavaliere Mozart" nannte, spater aber ganzlich davon absah. lm Marz I77J.waren Vater und Sohn wieder in Salzburg. Als Mozart im Jahre I 7 8 I seinen Idomeneo schuf, hatte er nicht weniger als 36 5 Werke geschrieben, darunter I 2 Opern, 37 Symphonien, 22 Concerte fiir verschiedene Instrumente, uber 6o Werke fur die Kirche, 33 Serenaden, Cassationen und Divertimenti u.s. w. Welchen Flug der junge Adler inzwischen zu den hochsten Zielen seiner Kunst zuriickgelegt hatte, erkennt man an dieser seiner ersten reifen Opernschopfung, wenngleich man sich nicht verhehlen wird, class sie die Anforderungen an eine dramatische Schopfung nur theilweise erfiillt. Der Meister selbst empfand es schmerzlich, dass er gezwungen war, das W erk im traditionellen Style der damaligen italienischen Oper und mit subtiler Riicksicht auf die Fahigkeiten der Sanger schreiben zu miissen. So aussert er sich in einem Briefe folgendermassen ii her Raaf, den Sanger des I do men eo: , Er ist auf den alten Schlendrian so erpicht, dass man Blut schwitzen mochte!" Aber unendlich viel schone Musik enthalt das Werk, und noch heute hort man in Concerten diese oder jene der vielen schonen Arien mit Genuss, wahrend die reizende Gavotte aus der Balletmusik die Runde durch die deutschen Concertsale macht und stets da capo begehrt wird. Im Jahre I782 heirathete Mozart seine Constanze. Ein treuer Freund des Mozart'schen Hauses schildert das Verhaltniss der heiden Ehegatten mit folgenden W orten: , In seiner Ehe mit Constanze Weber lebte Mozart vergniigt. Er fand an ihr ein gutes liebevolles Weib, die
WOLFGANG AMADEUS MOZART frequently defend him from impulsive mistakes. He had a genuine love for her, trusted her in every respett, even in regard to his peccadilloes, and she rewarded him with her tenderness and faithful care." Thefirstworkwhich the young husband wrote was Belmont and Constanze; or, The Elopement from the Seraglio. With this work Mozart unquestionably raised himself to the first rank as a master in the musical art. His GOntemporaries were able to appreciate The Elopement, and they conferred upon the young composer such a hearty glorification that he wrote hi's father: "It does one real good to meet with such approval." He himself liked his work, but he was not wholly satisfied with the part of" Constanze" because he was" compelled to sacrifice it to Mlle. Cavalieri's flexible gullet (gelaufigen Gurgel)." Mozart's regular residence at Vienna was interrupted in I 7 89 by a journey to Berlin at the invitation of Prince Lichnowski, who was going thither in his travelling-coach in pursuance of his manifold funttions. The route took them first to Dresden, where Mozart played before the Saxon Court, and from there to Leipzig, where he gave an organ-concert in the Thomas-Kirche. The cantor Doles exclaimed in the highest pitch of enthusiasm: "Only Bach ever played like that!" In Berlin he received the most gracious welcome from King Friedrich Wilhelm II, who cherished a high admiration for 'The Elopement and other works of his. The King even attempted to attach the composer to himselfbyoffering him the position of" Kapellmeister" with a salary of three thousand thalers (nine thousand marks) a year. As Mozart was granted only the miserable pittance of eight hundred gulden in Vienna, one would suppose that he would have accepted the invitation with alacrity; but he could only answer, "Must I entirely desert my good Kaiser?" The King allowed him time for consideration, and in fact_ when Mozart returned to Vienna he craved an audience of the Emperor and asked to be released. But when the monarch in the most cordial tone exclaimed: cc What! you
Xl
sich an seine Gemiithsart vortreffiich anzuschmiegen wusste und dadurch sein ganzes Zutrauen und eine Gewalt iiber ihn gewann, welche sie nur dazu verwendete, ihn oft von U ebereilungen abzuhalten. Er liebte sie wahrhaft, vertraute ihr alles, selbst seine kleinen Siindenund sie vergalt es ihm mit Zartlichkeit und treuer Sorgfalt." Das erste W erk, welches nun der junge Ehemann schrieb, war Belmont und Constanze; oder, die Entfuhrung aus dem Serail. Mit diesem W erk stellte sich Mozart fraglos in die Reihe der ersten Meister der Tonkunst. Schon die Zeitgenossen wussten die Entfuhrung zu schatzen und feierten den 2 s-jahrigen maestro so herzlich, class dieser an seinen Vater schrei bt: , Es thu t einem doch wohl, wenn man solchen Beifall erhalt!" Er selbst liebte sein Werk, nur war er nicht mit der Parthie der Constanze ganz zufrieden, weil er sie ,der gelaufigen Gurgel" der Mademoiselle Cavalieri hatte aufopfern miissen. Mozart's standiger Aufenthalt in Wien ward im Jahre I 789 durch eine Reise nach Berlin unterbrochen, da der Furst Lichnowski Mozart einlud, ihn in seinem Reisewagen nach Berlin zu begleiten, wohin den Fiirsten mannigfache Pflichten riefen. Die Reise fuhrte sie zunachst nach Dresden, wo Mozart am sachsischen Hofe spielte, und von dart nach Leipzig. Als Mozart hier in der Thomaskirche ein Orgel-Concert gab, rief der Cantor Doles in hochster Begeisterung aus: ,So hat nur noch Bach gespielt!" In Berlin fand er beim Konig Friedrich Wilhelm II, der die Entfuhrung und andere Mozart'sche Werke hoch verehrte, die denkbar gnadigste Aufnahme; der Konig versuchte sogar den Meister an sich zu fesseln, indem er ihm die Stelle eines Kapellmeisters mit dem jahrlichen Gehalte von 3000 Thalern (9000 Mark) antrug. Da Mozart in Wien den armseligen Gehalt von 8oo Gulden bezog, sollte man denken, class er die Einladung rasch und freudig angenommen hatte, aber er fand als Antwort nur die Worte:, Soil ich meinen guten Kaiser ganz verlassen?" Der Konig gestattete ihm Bedenkzeit, und in der That erbat Mozart in Wien eine
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WOLFGANG AMADEUS MOZART
wish to leave me?" the great artist was overwhelmed with emotion, and uttered only these three words:" Majestat,ich bleibe!" ("Your Majesty, I will stay"). When his friends reproached him for having failed to use his opportunity to demand an increase of salary he replied: " How the devil could I think of that at such a moment?" From this time forth there is little worth relating in his life-story, and the narrator might come to a conclusion with the words: "He composed other masterpieces and-died!" But with these final words the narrator would come into con:flia with no less an opponent than Goethe, who once said: cc How can one say that Mozart composed his Don ]uan! -Composition !--It is a spiritual creation which in its parts as well as in its entirety comes out of one spirit and at one outburst, and is permeated by the breath of one life, in which the producer in no way made any effort or experiment or even atl:ed at his own free will, but in which the demonic spirit of his genius seized him so that he was compelled to execute its bidding." Relutl:antly the present writer renounces the pleasant task of making a thorough study of the brilliant three-star constellation of his operas,'!'he Marriage of Figaro, Don Giovanni and Cf'he Magic Flute, of their origin and significance and of the fate that attended them; but narrow limits must be imposed upon a brief biographical sketch like this, and, as in the case of the above-mentioned operas, many of his great instrumental pieces would seem to demand a searching discussion. May it be permitted me therefore to call the attention of those who desire a more thorough study of Mozart's works to two writings of mine which may perhaps to some degree satisfy their demands: these are a pamphlet entitled For the Revival of Mozart's Piano-Concertos (Leipzig: Reinecke Brothers) and the book entitled Masters of Music: Mozart, Beethoven, Haydn, Weber, Schumann, Mendelssohn (Berlin and Stuttgart: published by W. Spemann). With death already in his heart the master nevertheless wrote his two splendid works, '!'he
Audienz beim Kaiser, urn diesen urn seine Entlassung zu bitten; als nun aber der Kaiser in herzlichstem Tone ausrief: , Wie, Sie wollen mich verlassen?" Da ii berwaltigte das Gefuhl den grossen Kunstler, under sprach nur die drei W orte: , Majestat, ich bleibe." Als seine Freunde ihm dann Vorwiirfe dariiber machten, class er die Gelegenheit nicht benutzt habe, urn eine Gehaltserhohung zu verlangen, antwortete er: , Der Teufel denke in solcher Stun de daran." Von jetzt ab bieten seine Lebensschicksale wenig Erzahlenswerthes und der Erzahler konnte schliessen mit den W orten: er componirte ferner Meisterwerke und starb. Aber mit letzteren W orten wiirde der Erzahler in Con:flitl: gerathen mit keinem Geringeren als Goethe, denn dieser sagte dereinst: , Wie kann man sagen, Mozart habe seinen Don ]uan componirt!-Composition! -Eine geistige Schopfung ist es, das Einzelne wie das Ganze aus einem Geiste und Guss und von dem Hauche eines Lebens durchdrungen, wobei der Producirende keineswegs versuchte und stuckelte und nach Willkur verfuhr, sondern wobei der damonische Geist seines Genies ihn in der Gewalt hatte, so class er ausfiihren musste was jener gebot." U ngern versagt es sich Schreiber dieses, ii her das funkelnde Dreigestirn seiner Opern Figaros Hochzeit, Don Juan und Die Zauberjlote ausfiihrlich zu berichten, iiber deren Entstehung, Bedeutung und Schicksal, aber einem kurzen Lebensabriss, wie gegenwartiger ist, sind engere Grenzen gesteckt; und ebensowohl wie genannte Opern wiirden auch viele seiner gross en I nstrumentalwerke eine eingehende Besprechung fordern. Es sei mir daher gestattet Diejenigen, welche nach Ausfiihrlichem ii ber Mozart's W erke V erlangen tragen, auf zwei Schriften von mir zu verweisen, die ihrem Wunsche vielleicht einigermassen entsprechen konnten; es sind die Broschiire Zur Wiederbelebung der Mozart' schen Clavierconcerte (Leipzig bei Gebriider Reinecke) und das Buch Meister der Cf'onkunst: Mozart, Beethoven, Haydn, Weber, Schumann, Mendelssohn (Berlin und Stuttgart bei W. Spemann).
WOLFGANG AMADEUS MOZART Magic Flute and the Requiem. Concerning the latter an almost fabulous legend was set afloat in his day regarding the strange way in which the work was ordered of Mozart; but now it has been proved with reasonable certainty that the commission was delivered in such a mysterious manner, simply because the man who ordered it had the intention of having it performed later as his own. This scoundrel was a Count Walsegg. In the last year of his life Mozart created, beside The Magic Flute, Titus and the Requiem, twenty-eight other works, some of them of large proportions; but the mighty, ever-creative spirit could not resist the wasting away of the feeble body, and on December 5,1791, Mozart closed his eyes in eternal rest. He was only thirty-five years old.
Xlll
Schon mit dem Tode im Herzen schrieb der Meister zwei seiner herrlichsten W erke: Die Zauberjlote und das Requiem. U m letzteres spann die Mitwelt eine fast miirchenhafte Sage infolge der geheimnissvollen Art in welcher das W erk bei Mozart bestelltwurde.Jetzt aberistmitziemlicher Bestimmtheit erwiesen, dass die Bestellung nur deshalb auf so mysteriose Weise geschah, weil der Besteller die Absicht hatte, das Requiem spiiter als seine eigene Schopfung auffuhren zu lassen. Dieser Schelm war ein Graf W alsegg. In seinem letzten Lebensjahre schuf Mozart ausser der Zauber.ftote, dem Titus und dem Requiem noch 28 W erke von zum Theil grosserem U mfange; aber der starke, immer schaffende Geist konnte doch den V erfall des schwachen Korpers nicht aufhalten, und am 5. December 1791 schloss der Meister die Augen zur ewigen Ruhe. Er war nur 35 Jahre alt geworden.
.. A WORD CONCERNING EXECUTION A correfl execution may be learned; one characterized by beauty, intelligence and soul can be learned only when the player possesses the capacity to recognize and to interpret the general meaning inherent in a piece of music, and likewise the constantly changing moods that recur in it, according to his nature. Here follow a few hints as to a technically correCt execution. Of course a note-perfect reproduction is presupposed as indispensable; but just as, through an incorrect accentuation of the syllables, a word or a sentence may be rendered meaningless, so likewise may a musical thought be made incoherent by means of incorrect accentuation of the component parts of a measure. In speech we accent only the first syllable of a trochee (- v, fa'ther, Va'ter; heav'en, Him'mel), and to this corresponds the accent of the individual quarter-notes in 2/4 measure. As an example of this we may
EINIGES UBER VORTRAG EIN richtiger Vortrag kann erlernt werden, ein schoner, verstandniss-und geistvoller aber nur dann, wenn der Spieler die Fahigkeit besitzt, den allgemeinen Stimmungsgehalt eines Tonstiicks und ebensowohl die inmitten desselben haufig wechselnden Stimmungen ihrem W esen nach zu erkennen und wiederzugeben. Zunachst mogen einige Winke iiber den bloss richtigen Vortrag folgen. N atiirlich ist als unerliisslich die notengetreue Wiedergabe vorausgesetzt; wie aber durch unrichtige Betonung der Sylben ein Wort oder ein Satz unverstandlich werden kann, so auch ein musikalischer Gedanke durch unrichtige Betonung der einzelnen Taktglieder. In der Sprache betonen wir beim Trochaus (- v) nur dieerste Sy lbe (Va'ter,fa'ther; Him' mel, heav' en), und dem soll auch die Betonung der einzelne Viertel im 2/4 Takt entsprechen. Beispielsweise
WOLFGANG AMADEUS MOZART
XIV
adduce Beethoven's sonata Les Adieux, first meaFare thee well
sure,
~l}pt
set angefiihrt Beethoven's Sonate Les Adieux Le-bewokl
Fare thee well
but not
~J·~
T:akt I
-
--!!.--.-
f
nicht aber
~,~~m _:4:::~?-! 11
oder der Anfang der Beethoven'schen Sonate, Op. 79 entsprich.t dem DaCl:y lus - v v, und darf also das zweite und dritte Viertel nicht so stark betont werden wie das erste, mithin nicht
The beginning of the Beethoven sonata, Op. 79,.corresponds to the daCtyl - v "", and therefore the second and third quarter-notes should not be so strongly accented as the first: thus,
~~
~~~~±m
Le-bewohl
::>-
>- .(11... >-
~~~~
::>- _,.._
~~~~~~~~
not but Whoever is able to apply this rule also to the allied measures of time (4/4, 6/8, 6/4, &c.) will, from a technical standpoint at least, never play unmusically. Nevertheless, that even this rule, like every other, has its exceptions, is self-evident. Let it suffice among other examples to cite merely that of syncopation. The performer must not in his excess of zeal for the accent go too far, because the rendering in that case may easily sound pedantic and academic; and naturally the accents in a tender, elegiac piece should never be so energetic as in a dance or march. But exaCtly where is the boundary between the correCtly regular and the beautiful execution? A correCl:ly regular performance in certain circumstances may be the exaCt: opposite of beautiful; a beautiful performance may apparently offend against all the rules. For example, in Beethoven's Waldstein Sonata, Op. 53, during the first two measures not a single chance for emphasis occurs: all the eight quavers should sound equally pianissimo, if one wishes to sustain the charatter of the idea. Now what is especially demanded in Mozart's works is that the execution should be distinCtively beautiful. So let us for a moment put ourselves in the composer's place. In a letter to his father he wrote as follows regarding the then famous Nanette Stein: ''She will never attain the most essential and the most difficult and the one absolutely necessary thing in musicthat is, tempo; because from her youth up she has with perfeCt: assiduity accustomed herself never
sondern W er diese Regel auch bei den zusammengesetzten Taktarten ( 4/4,6/8, 6j4, u.s. w.) anzuwenden versteht, wird mindestens nie unmusikalisch spielen. Dass jedoch auch diese Regel ihre Ausnahmen hat, wie eben eine jede, ist selbstverstiindlich: es sei u. A. nur an die Synkope r erinnert. Der Spieler darf auch in seinem U ebereifer der richtigen Betonung nicht zu weit gehen, weil der Vortrag dann leich t pedan tisch und lehr haft klingen kann, und diirfen natiirlich in einem weichen elegischen Stucke die Accente niemals so energisch sein wie etwa in einem Marsche oder Tanz. Wo aber ist iiberhaupt die Grenze zwischen regelrechtem und schonem Vortrage? Ein regelrechter Vortrag kann unter U mstiinden unschon sein, ein schoner Vortrag scheinbar gegen die Regeln verstossen. In der W aldstein-Sonate von Beethoven, Op. 53 darf z. B. wiihrend der ersten heiden Takte kein einziges gutes Takttht!il hervorgehoben werden, sondern siimmtliche acht Achtel sollen gleichmiissig pianissimo erklingen, wenn man dem CharaCter dieses Gedankens gerecht werden will. Was nun speci ell den V ortrag Mozart' scher W erke anlangt, der sicherlich ein schoner sein soli, so lassen wir zuniichst den Meister einmal selber reden. Dieser schreibt in einem Briefe an seinen Vater iiber die zu jener Zeit beriihmte N a.nette Stein das folgende:, Sie wird das N othwendigste und Hiirteste und die Hauptsache in der Musique, namlich das Tempo, niemals bekommen, weil sie sich von J ugend auf vollig beflissen hat, nicht auf den TaCt zu spielen.
1
1
1
Very readable is the book entitled "Rhythm: Its Funllion in Art and its Significance in Musical Execution," by Adolph C arpe (Leipzig: Reinecke Brothers).
8ehr lesenswerth ist das Buch: , Der Rhythmus: Sein Wesen in der Kunst und seine Bedeutung im musikaliscben Vortrage," von Adolph Carpe (Leipzig: Gebriider Reinecke).
WOLFGANG AMADEUS MOZART
XV
to play in time. If a passage recurs, she plays it the second time more slowly; if it comes a third time, still slower. Herr Stein, her father, and I have talked certainly two hours at a stretch regarding this point. I have already fairly converted him. Now he sees and hears that I always keep striCtly to time. Regarding this they were all filled with surprise. The tempo rubato in an adagio- the left hand knowing nothing about it -they cannot comprehend: with them the left hand is subservient."' Arbitrary variations of tempo could not be more explicitly held up to condemnation! And just as little should one attempt to improve on the composer's shading where, as for example in the A minor Rondo, he has with especial solicitude prescribed what it should be. Nevertheless the intelligent interpreter's individuality will always be able to assert itself, for, above all, the performance must be to a high degree a matter of temperament. The works of such a fiery spirit as Mozart must not be played merely with a certain dignity and moderation, but in the proper place there must be fire and brilliancy; while again in other places care must be taken to impart the tenderest and warmest depth of feeling. But how insufficient language is to convey instruCtion regarding such things is felt by the musician at every renewed attempt, and one involuntarily thinks of the poet's words :
Wenn eine Sache zweymal kommt, so wird sie das zweyte Mal langsamer gespielt; kommt selbe drey Mal wieder langsamer. Herr Stein ( ihr Vater) und ich haben gewiss zwey Stund' mit einander iiber diesen Punkt gesprochen. Ich habe ihn aber schon ziemlich bekehrt- nun sieht und hort er, class ich immer accurat im Taete bleibe. Ueber das verwundern sich All e. Das tempo rubato in einem Adagio, class die Iinke Hand nichts davon weiss, konnen sie gar nicht begreifen; bei ihnen giebt die linke Hand nach." Deutlicher kann die willkiirliche Veriinderung des Tempo nicht verdammtwerden! U nd ebenso wenig darf man die N uancirung des Meisters verbessern wollen, wo er sie, wie z. B. im A-moll Rondo so iiberaus sorgfiiltig vorgeschrieben hat. Bei alledem wird die lndividualitiit des geistvollen Interpreten immer noch zur Geltung kommen konnen, denn vor allen Dingen muss der Vortrag in hohem Grade temperamentvoll sein. Die W erke eines sol chen F euergeistes, wie Mozart einer war, diirfen nicht mit einer gewissen Wiirde und Gelassenheit gespielt werden, sondern es muss am rechten Orte spriihen und blitzen, wiihrend an anderen Orten fur ziirteste und wiirmste Innigkeit zu sorgen ist. Wie unzureichend aber die Sprache ist urn dergleichen zu lehren, fiihlt der M usiker bei jedem erneuten V ersuche, und unwillkiirlich denkt er an des Dichters Wort:
"If 'tis not felt, 'twill not he caught hy chasing."
,Wenn ihr's nichtfohlt, ihr werdet's nicht erjagen."
CoNcERNING THE ORNAMENTS
UEBER DIE 0RNAMENTE
THERE are rules and traditions regarding the execution of embellishments, and yet how varied are the views of experts on this matter! P~rson ally I have taken pains to gather as far as possible from the works of the masters themselves their own preferences as to the execution of embellishments; and on the basis of results thus obtained I have noted them in this album. For example, I infer that Mozart in the C minor Fantasia (Kochel, No. 475), in the third and fourth
Es existiren Regeln und Traditionen iiber die Ausfiihrung der Verzierungen, und dennochwie verschieden sind die Ansichten der Fachmiinner hinsichtlich dieser M aterie. Ich personlich habe mich bemiiht, die Ausfiihrung der Verzierungen, so weit eben moglich, aus den Werken der Meister selbst zu abstrahiren, und auf Grund dieser Resultate in diesem Album auszuschreiben. Beispielsweise fiihre ich an, class Mozart in der C-moll-Fantasie ( K. V. 4 7 5) im
'The Abbe Liszt used to say to his pupils, "Fo!!ow the Bible rule: 'Let not your left hand know what your right hand doeth.'" N. H. D.
1
WOLFGANG AMADEUS MOZART
XVI
measures after the II, writes the notes as fol-
,__.,. _==== ~ rn s'H-b
. wh"l 1 e 1t must be evident to every thoughtful musician that the master must have played the last two notes -~iiLA:·~· ~~t:f:Ej=
--=
3· und 4· Takte nach der II folgendermas-
E,-=+=~
-
and not We find a similar notation in the slow movement of the G minor Symphony. After Mozart has written the motive
. .. sen notlrt: a~r=r~ + - - wahrend es jedem Musiker unzweifelhaft sein muss, class der Meister die letzten heiden N oten: rltr-= _JJ. -t~~ nicht aber ~~-- gespielt haben will. Aehnliches finden wir in dem langsamen Satze der G-moll-Symphonie. N achdem Mozart das im
~~ which first appears in the seventh measure, almost a hundred times in this way, he notates it in the thirteenth measure before the end
7· Takte zuerst auftretende Motiv fast hundertmal in dieser Weise geschrieben hat, notirt er im IJ. Takte vor dem Schluss des ersten
1ows:
~~
g\
~~~
of the first part as follows: And it is just as clear_as in the Fantasia that Mozart intended to have that motive carried out consistently ~
E~
thus: E~ If it be asked now why Mozart here inserted a grace-note the answer is: because it was apparently too burdensome to him to reckon how much of a quarter-note remained over when a thirty-second-note was subtracted, and because it never entered his mind to doubt that the musicians of his day, to whom was intrusted in large measure the appropriate introduction of ornamentation, would understand its correct execution. Similar examples could be adduced, but these few suffice to prove that Mozart desired to have the grace-notes, both short and long, played with an accent when they occur in the melody. Nevertheless I am certain that many will take exception to my interpretation of the embellishments, were it only because it is very often absolutely impossible to indicate with notes how they should be played. Embellishments -if they are truly such and not abbreviations-lie outside of rhythm, and sound stiff if played strictly in tempo. Especially is this true of short trills with complementary turn, or with appoggiatura and turn. I have therefore considered it advisable not to write out in full the execution of the trills.
~-eft
~~~"C
Theils wie folgt: U nd ebenso klar wie in der Fantasie ist es, class Mozart jenes Motiv in consequenter Weise fortgesetzt haben wollte, >,r,-
also: ~ Fragt man nun, warum Mozart hier einen ,Vorschlag" notirt habe, so lautet die Antwort, weil es ihm wahrscheinlich zu lastig war, sich auszurechnen, wie viel von einem Viertel ubrig bleibt, wenn ein 32Jtel davon abgezogen ist, und weil er garnicht daran zweifeln konnte, class die M usiker jener Zeit, welche mit der Ornamentik sehr vertraut waren, dergleichen richtig ausfuhren wurden. Aehnlicher Beispiele konnte man noch unzahlige anfuhren, doch genugen diese wenigen, urn daraus zu entnehmen, class Mozart die Vorschlagsnoten, sowohl kurze wie lange, betont haben wollte, wenn sie in der Melodie auftraten. Dennoch bin ich darauf gef:asst, class Mancher mit meiner Ausschreibung der Verzierungen nicht einverstanden sein wird, und ware es auch nur, weil es oft absolut unmoglich ist, dieselben genau so zu notiren wie sie gespielt werden soil en; V erzierungen ( wenn sie wirklich solche sind und nicht Abbreviaturen) liegen ausserhalb des Rhythmus und klingen, wenn sie streng im Takt gespielt we:rden, steif; namentlich gilt dies von kiirzeren Trill ern mit N achschlag, oder gar mit Vor- und N a.chschlag. lch babe daher ganz davon abgesehen,die Ausfiihrung derTriller auszuschreiben.
WOLFGANG AMADEUS MOZART A
WoRD coNCERNING THE ART-FoRMs EM-
PLOYED IN INSTRUMENTAL Music
XVll
EINIGES UBER DIE GEBRAUCHLICHSTEN KuNsTFORMEN IN DER lNSTRUMENTALMUSIK
THE simplest form is the so-called song or dance DIE einfachste Form ist die sogenannte Liedform which sometimes is included in one pe- oder 'l'anzform, welche zuweilen aus einer nur riod of eight measures (see the theme of Beet- achttaktigen Periode besteht ( siehe das Thema hoven's C minor Variations), but generally der C-moll-Variationen von Beethoven), zuin two or more periods. An example is fur- meist aber aus zwei oder mehren Perioden. Ein nished by the theme for the variations with Beispiel liefert das Thema zu den Variationen, which the A major Sonata (Kochel, No. 33 I) be- mit denen die A-dur-Sonate ( K. V. 33 I) begins; likewise, in a somewhat more complicated ginnt, desgleichen in etwas complicirterer Weise way, by the Minuet in D (Kochel, No. 355). das Menuett in D (K.V. 355). Die MittelThe middle movements of a sonata are usually satze einer Sonate sind haufig in complicirterer written in a more developed song-form. The Liedform geschrieben. Das wesentliche der Ronessential element of the rondo-form is that the doform ist, class das Hauptthema in mehrfacher principal theme should recur over and over Wiederkehr erklingt, und zwar stets' abgelost again; and yet always succeeded by other inde- durch andere selbststandige Episoden. In dem pendent episodes. In Mozart's A minor Rondo A-moll-Rondo von Mozart tritt das Hauptthe principal theme occurs certainly five times. thema sogar funfmal auf. By sonata-form is understood only that form U nter Sonatenform versteht man nur diejenige which meets one in the first movement of a Form, welche einem in dem ersten Satze einer sonata, as, for example, the C minor Sonata of So nate (wie beispielsweise die C-moll-Sonate von Mozart. In very rare instances the composer Mozart) entgegentritt. In sehr seltenen Fallen begins with variations (Beethoven, Op. 26), or beginnt der Componist mit Variationen (Beetwith a cantabile adagio (Beethoven's Sonata hoven, Op. 26) oder mit einem liedartig gequasi una fantasia in C sharp minor), but such haltenen Adagio (Beethoven, Sonata quasi una movements are not meant when the word so- fantasia in Cis-moll), aber von solchen Satzen nata-form is used. Here the com poser begins ist nicht die Rede, wenn man von Sonatenform with a principal theme, which according to his spricht. Hier beginnt der Componist mit einem design he extends to a greater or less length ; Hauptthema, welches er, seinen Intentionen then follows the group of modulations which gemass, mehr oder weniger ausbreitet, dann serve to introduce the second theme. This oc- folgt die Modulationsgruppe, welche dazu client, curs always in another key: in the case of a das zweite Thema einzufuhren. Dies tritt stets sonata in the major, it is usually in the domi- in einer anderen Tonart auf ( bei einer Sonate nant, in the case of a sonata in the minor gen- in der Durtonart gewohnlich in der Dominante, erally in the related major; and its development bei einer Sonate in Moll zumeist in der veris likewise wholly at the composer's discretion. wandten Durtonart ), und dessen Ausbreitung Then follows a coda, with which the first part hangt ebenfalls ganz von dem Ermessen des comes to a conclusion. Componisten ab, dann folgt eine Coda, mit Quite frequently the first part is repeated. welcher der erste Theil abschliesst. After the conclusion begins the so-called deSehr haufig wird dieser erste Theil wiederholt. velopment seCtion, in which the composer em- N ach diesem Abschlusse beginnt der sogeploys one or more of the earlier themes, either nannte Durchfiihrungstheil, in welchem der in free or in complicated polyphonic style. Componist eines der friiheren Motive oder deren When he has gone as far as he desires he returns to mehre verarbeitet, sei es in freier, sei es in comhis first theme, and what now follows frequently plicirter polyphoner Weise. Hat der Componist
XVlll
WOLFGANG AMADEUS MOZART
corresponds exaCl:ly to the first part, the only difference being that the second theme and the coda are now brought back in the principal key. One scarcely needs to remark that this form is capable of endless modifications; but the Mozart movements in sonata-form correspond, with comparatively few exceptions, to the above analysis. The suite in its original form arose out of a series of dance-pieces-allemande, courante, gavotte and the like-which generally began with an overture or prelude and ended with a gigue. The Mozart suite remained only a torso, for Mozart would never have begun a suite inC major and ended it in E flat major. Moreover the autograph contains an unfinished sarabande. The fantasia, as its name implies, has no conventional form. But Mozart with his unusually fine feeling for symmetry always included or added properly correlated movements so that the whole should not be misty and "in the air," but should offer the hearer a solid foundation to rest upon. His C major F antasie concludes with a fugue, that in D minor with a cantabile allegretto; the great one in C minor includes two episodes (in D major and B major) in songform, and the other one in C minor is from the very beginning written in sonata-form. Variations, as the word implies, are alterations of a theme through enrichment on its melodic, harmonic, rhythmical or polyphonic side, but in such a way that the theme remains always recognizable as the same. Very often the form of variations subserves purely virtuoso purposes, and consequently in the course of time a prejudice against variations has arisen, which even at the present day it is difficult to allay. Mozart also wrote his piano-variations for himself as a virtuoso in order to dazzle with them, but in his string-quartets (D minor, A major) he gave us variations of high artistic value. Beethoven also very frequently used the form of variations. Suffice it to mention only the Eroica, the C minor and the Ninth Symphonies, in which works they are employed in exceedingly free form. The fugue is a piece in which all the parts
sich hierin Geniige geleistet, so kehrt er zum erst:en Thema zuriick, und das nun Folgende entspricht sehr haufig ganz genau dem ersten Theile, nur mit dem U nterschiede, class das zweite Thema und die Coda nunmehr auch in der Haupttonart gebracht werden. Es bedarf kaum der Erwiihnung, class diese Form unziihliger Modificationen fahig ist; die Mozart'schen Siitze in Sonatenform entsprechen aber ziernlich ausnahmslos der obigen Analyse. Die Suite in ihrer ursprunglichen alteren Form hestand aus einer Folge von Tanzstucken (Allemande, Courante, Gavotte, u.s. w. ),diemeist durch eine Ouverture oder ein Praeludium eingeleitet und mit einer Gigue geschlossen ward. Die Mozart'sche Suite ist ein Torso geblieben, denn Mozart wiirde nie eine Suite in C-dur begonnen und in Es-dur geendet haben. U ebrigen:s enthalt das Autograph auch noch eine unvollendete Sarabande. Die F antasie hat, wie schon der N arne erwarten liisst, keine bestimmte Form. Mozart aber, mit seinem ungemein feinen Formgefiihl, hat seinen Fantasien stets festgefugte Siitze angeschlossen oder eingefiigt, damit das Ganze nicht nebelhaft zerfliesse, sondern dem Horer auch zuweilen einen festen Halt biete. Seine C-dur-Fantasie schliesst mit einer Fuge, die in D-moll mit einem liederartigen Allegretto, die grosse C-moll enthalt zwei Episoden (in D-dur und B-dur) in Liedform, und die andere in C-rnoll ist von Haus aus in Sonatenform geschrieben. Variationen sind, wie schon das Wort sagt, Veriinderungen eines Themas durch Bereicherung nach melodischer, harmonischer, rhythmisch,er oder polyphoner Seite hin, doch so, class das Thema immerhin einigermassen erkennbar bleibt. Sehr oft hat die Variationenform lediglich virtuosen Zwecken gedient, daher mit der Zeit ein Vorurtheil gegen die Variationen entstanden ist, das noch heute schwer zu besiegen ist. Auch Mozart hat seine Clavier-Variationen fur sich als Virtuose geschrieben urn damit zu gliinzen, aber in seinen Streich-Quartetten ( D-moll, A-dur) hat c!r auch Variationen von hohem Kunstwerth
WOLFGANG AMADEUS MOZART are of equal significance and importance, built on one theme which first enters in one part alone; then is taken up by the other parts in accordance with well-known rules, and is developed according to the composer's judgment in such a way that the fugue-theme always remains the attive element. Whole treatises have been written to explain and to teach the nature of the fugue exhaustively, but of course in these few lines only the merest sketch can be given. There are fugues of two, three, four and more parts, striCt and free, simple as well as double and treble fugues. A miniature fugue is called a fughetto, and the gigue is very often a fughetto.
'lranslated by NATHAN HAsKELL DoLE
XlX
geliefert. Auch Beethoven hat die V ariationenform sehr haufig verwandt, es seien nur die Eroica, die C-moll-Symphonie und die Neunte genannt, in welch en W erken sie in allerdings freier Weise auftritt. Die Fuge ist ein Stuck, in welchem alle Stimmen von gleicher Bedeutung und Wichtigkeit sind, gebaut auf ein Thema, welches zuerst in einer Stimme allein auftritt, dann von den iibrigen Stimmen nach gewissen Regeln gebracht und nach Ermessen des Componisten in solcher Weise fortgefuhrt wird, class das Fugenthema stets das treibende Element bleibt. U m das Wesen der Fuge erschopfend zu erklaren und zu lehren sind ganze Bucher geschrieben worden, auf wenigen Zeilen ist also nur eine Skizze zu geben moglich. Es giebt Fugen fur 2, J, 4 und mehr Stimmen, strenge und freie, einfache sowohl wie Doppel- und Tripelfugen. Kleine Fugen nennt man Fughetten, und ist die Gigue sehr haufig eine Fughette.
Leipzig, im Oaober 1905
BIBLIOGRAPHY In English BREAKSPEARE, E. J.: Mozart. London, 1902 GEHRING, F.: Mozart. London, 1883 GOUNOD, CHARLEs: Mozart's "Don Giovanni." Translated by W. Clark and 1895 HALE, PHILIP : Mozart (in Famous Composers and their Works). Boston, 189 I
J. T. Hutchinson. London,
HOLMES, E.: Life and Correspondence of Mozart. Edited by E. Prouet. London, 1878 JAHN, OTTO: Life of Mozart. Translated by Pauline D. Townsend. London, I882 MACF ARREN, G. A. : Requiem [Mozart's J with an Analysis. London, 1 8MOZART, W. A.: Letters of Mozart. Translated from ColleCtion of L. Nohl by Lady Wallace. New York, I866 NOHL, L.: Life of Mozart. Translated by Lady Wallace. London, I877 POHL, C. F.: Mozart and Haydn in London. Vienna, 1867 POHL, C. F.: Mozart (in Grove's DiCtionary of Music). London, I894 RAU, H.: Mozart, a novel. Translated by E. R. Sill. New York, I868 THAYER, A. W.: Mozart (in New American Encyclopaedia). I859
In German and French FETIS, F. J.: Mozart (in Bibliographie des Musiciens). Brussels, I839 KOCHEL, L. R. voN: Chronologisch-thematischen Verzeichniss sammtlicher Tonwerke Mozart's. Leipzig, 1879 NAUMANN, E.: Mozart. Leipzig, I879 NEWMANN, W.: Mozart. Cassel, I854 NOTTEBOHM, G.: Mozartiana. Leipzig, x88o OULIBISCHEFF, A.: Mozart's Leben und Werke. Stuttgart, 18 59 SALZBURGER MozART ALBUM. Salzburg, x8W ALDERSEE, P. H. VON: Die Gesammtausgabe der Werke Mozart's. Leipzig, 1879
Magazine Articles L' ARTISTE, 1897 : R. Bouyer; La Reprise de "Don Juan" de Mozart BLACKWOOD's MAGAZINE, 1882: Mozart, A Study of Artistic Nationality THE BooKMAN, I900: E. Singleton; New Versions of Mozart CENTURY MAGAZINE, I897: Edvard Grieg; Mozart FoRTNIGHTLY REVIEW, I865: G. H. Lewes; Mozart's Letters LE ME.NESTREL, 190I: R. Boyer; Mozart et la musique frans:aise MoNTHLY MusiCAL RECORD, I889: F. Niecks; Pianoforte Sonatas Music, I90I: C. Malherbe; Mozart and his Manuscripts MusiCAL CouRIER, 1901: J. Huneker; Mozart in Munich and Salzburg MusiCAL TIMEs, I 879: H. H. Statham; Mozart as a Pianoforte Composer REVUE DES DEux MaNnEs, 1849: L. da Ponte; Mozart et l'Opera de "Don Juan" SATURDAY REVIEW, 1895: J. F. R.; "Don Giovanni" a Century after SIGN ALE, I 90 I : C. Saint-Saens; Saint-Saens iiber Mozart WESTMINSTER MAGAZINE, I 887 : The "Don Giovanni'' Centenary
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138
RONDO, in A Minor (composed March 11J 1787)
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148
ADAGIO, in B Minor (composed March 19, 1788)
WOLFGANG AMADEUS MOZAR'I
Edited by Carl Reinecke
N2 540 (Kochel)
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NINE VARIATIONS UPON A 1fiNUET BY DUPORT (composed at Potsdam, April 29, 1789)
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164
A LITTLE GIGUE (EINE KLEINE GIGUE) (composed in Leipzig, May 171 1789)
WOLFGANG AMADEUS MOZART
Edited by Carl Reinecke
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165
M L-1269-2
166
SONATA NQ 17, in D Major (composed in 1789)
Edited by Carl Reinecke
WOLFGANG AMADEUS MOZART NQ 576 (Kochel)
Allegro (J. = 96)
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l\f L-1271-'lli
16938
]. \V.
M L-1271 -16
·---------·
