Music: An Art and a Language Part 10

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Exposition | Development | Recapitulation __________________________|___________________________|____________________ | | Introduction (optional) | Free treatment and | First Theme, First Theme | expansion, especially | connecting pa.s.sage Modulatory bridge-pa.s.sage | modulatory and rhythmic, | leading to Second Theme | of the themes already | Second Theme (often Closing Theme | presented | in home-key, but (Duality of | Sometimes new material | not always) Key-relationship) | introduced | Closing Theme | (Plurality of Key) | Coda | | (Special stress | | laid on the main | | tonality. Unity of | | Key) __________________________|___________________________|____________________

For actual musical examples it seems best to begin with the works of Haydn. This exclusion of Philip Emmanuel Bach is not meant to minimize what we owe him for his preliminary efforts in formulating the tripart.i.te Sonata structure, with its two themes and its Development portion. Haydn is on record as saying that it was his study of six Sonatas of Emmanuel Bach which laid the foundations for his own instrumental style. But on the whole, the compositions of Emmanuel Bach are of interest rather from a historical point of view than from one purely artistic. The object of this book, furthermore, is not to give a complete account of the evolution[103] of the Sonata-Form; but, accepting the existence of standard works which employ this form, to enable the student to gain a more complete appreciation of those works. P.E. Bach wrote in the so-called "galant style"[104] of the period which has, for our modern ears, too much embellishment and too many meaningless, rhapsodic pa.s.sages. He made a sincere effort to invent pure instrumental melody, _i.e._, musical expression suited to various instruments that should be unhampered by the too definite balance of the dance forms, by polyphonic complexities or by the conventional artifices of operatic style. But though he wrote skilfully for his instrument and though his style has a certain quaint charm, on the whole it is lacking in genuine melodic warmth and feeling. These qualities alone keep works immortal.[105]

[Footnote 103: Those interested in this development should consult _The Pianoforte Sonata_ by J.S. Shedlock, and above all, d'Indy's _Course of Musical Composition_, Part III.]

[Footnote 104: This, according to d'Indy, was so-called because pleasing to the ladies who played an important part in the elaborate court ceremonial of that day.]

[Footnote 105: Six of P.E. Bach's Sonatas edited by von Bulow are readily accessible and some excellent comments upon the most significant ones may be found in Shedlock (see above).]

In Josef Haydn (1782-1809) we are face to face with a musician of a different type. Haydn is popularly known as the father of the Sonata, the Symphony and the String-Quartet; but, according to Edward d.i.c.kinson,[106] this estimate is something of an exaggeration, for "it overlooks the fact that a large number of composers were struggling with the same problem and working along similar lines. Haydn was simply the greatest in _genius_ of the instrumental writers of his day. His works have lived by virtue of the superiority, _i.e._, the greater spontaneity and vitality, of their contents. He should be called the 'foster-father,' rather than the father of the symphony and quartet for he raised them from feebleness to strength and authority."

To him must be given the honor of establishing the types of instrumental composition which became the foundations of modern music.

Haydn, moreover, was the first musician since Sebastian Bach who had a real personality which may be felt in his works. To speak of a piece of music as "Haydnish" conveys as distinct a meaning as to refer to a poetic stanza as "Miltonic." When Haydn arrived on the scene, music--through the labors of many earnest workers--had become a language of definite expression, with a logical grammar and with principles of structure. The time was ripe for the use of this language in a more artistic way, _i.e._, for a more intense personal expression and for more subtle treatment of the material. The composer could count upon the public following his points; and with Haydn, whose heart beat in sympathy with the common people, music begins to be a truly popular art.

[Footnote 106: See his _Study of the History of Music_, p. 154.]

The striking features in Haydn's works are three: (1) The wealth of spontaneous and sparkling melodies, for he was born with this lyric gift and never had to cudgel his wits for a tune. That instrumental melody could make such sudden progress as we find between the dryness of Emmanuel Bach and the freshness of Haydn, was long a puzzle to scholars, and only recently has the proof been submitted that Haydn was largely of Croatian ancestry. Now the Croatians of Southern Austria are one of the most musical races in the world, with a wealth of folk-songs and dances. Haydn therefore did not have to "invent"

melodies in the ordinary sense of the term; they were his birthright.

Many of his melodies are adaptations of actual folk-songs[107] or original melodies coming from an imagination saturated with the folk-song spirit.[108] For this reason they seem like wild flowers in their perennial freshness and charm. (2) The precision and clarity with which his ideas are presented. These qualities were due to his well-balanced and logical intellect that impressed everyone with whom he came in contact. His style, moreover, was the result of indefatigable labor, for he was largely self-taught. If the balance of his phrases and the general symmetry of his style seem to our modern taste a bit excessive, we must remember that he was a pioneer and could run no risks in the way of non-acceptance of his message through puzzling complexities. Everything must be so clear that the ordinary mind could at once accept it. Nor is the "sing-song," "square-toed"

element so prevalent in Haydn as is commonly supposed. In his melody a distinct feature--no doubt of racial origin--is his fondness for odd rhythms of three, five and seven measures, of which examples abound in the Quartets. In his Minuets and Finales there is a rollicking effect of high spirits which could never have been attained by mere labored pedantry. In his mature works we find a pervading spontaneity which is one of the outstanding examples in all literature of "art concealing art." Never do these works smell of the lamp, and let us remember it is far easier to criticize them than to create them.[109]

[Footnote 107: See for example the _Salomon Symphony in E-flat_, every movement of which is founded on a Croatian folk-song.]

[Footnote 108: For a comprehensive account of this whole subject consult the _Oxford History of Music_, Vol. V, Chapter VIII, and Mason's _Beethoven and His Forerunners_, essay on Haydn.]

[Footnote 109: Witness for example, the att.i.tude taken by Wallace in his _Threshold of Music_, pp. 148-153.]

(3) The skillful and eloquent manner in which Haydn adapted his ideas to his favorite media of expression: the orchestra and the string-quartet. Although he wrote a number of pianoforte sonatas, these works, on the whole, do not represent his best thought. For they were composed in the transitional period between the waning influence of the harpsichord and the advent of the pianoforte, not yet come to its own. But as for the orchestra, Haydn established[110] the grouping of the three so-called choirs of strings, wood-wind and bra.s.s; to which were gradually added the instruments of percussion. In his works we begin to enjoy orchestral effect for its own sake: the dashing vivacity of the strings, the mellowness of the wood-wind, the sonority and grandeur of the bra.s.s. Instrumental works had formerly been composed in black and white, but now we have the interplay of orchestral colors. No less paramount was Haydn's influence in the handling of the four solo instruments known as the String Quartet. In his Quartets the voices are so highly individualized that it seems as if four intelligent and witty persons were holding a musical conversation. Such melodic and rhythmic freedom were hitherto unknown and his style became the point of departure for modern practice.[111]

Both Mozart and Beethoven, those great masters of the String-Quartet, acknowledged their debt of grat.i.tude to Haydn. His success in establishing the formation of the orchestra and the string-quartet was chiefly due to the inestimable advantage he enjoyed of being, for so many years, chapel-master to those celebrated patrons of music the Princes Paul and Nicholas Esterhazy, at whose country-seat of Esterhaz he had at his disposal, for free experimentation, a fine body of players.[112] Here Haydn worked from 1762 until 1790; and, to quote his own words, "could, as conductor of an orchestra, make experiments, observe what produced an effect and be as bold as I pleased. I was cut off from the world, there was no one to confuse or torment me and I was forced to become original."[113]

[Footnote 110: For the early and significant achievements in orchestral effect of the Mannheim Orchestra under its famous leader Stamitz, see _The Art of Music_, Vol. 8, Chapter II.]

[Footnote 111: For interesting comments on the String Quartets see Hadden's _Life of Haydn_, pp. 174-175.]

[Footnote 112: _The Oxford History of Music_, Vol. V, Chapter I, and _The Present State of Music in Germany_ by Burney present a vivid picture of the times and of the results of 18th century patronage.]

[Footnote 113: For an entertaining account of the two London visits, which took place during the latter part of his career, see the essay _Haydn in London_ by Krehbiel in his _Music and Manners_.]

As to the formal side of Haydn's work, he is responsible for several distinct improvements. The different divisions of the movement are more clearly defined--sometimes perhaps, as we look back, a bit rigidly--but no more so than was necessary for a public just beginning to follow easily the main outlines of the form. Haydn leads up to his objective points in a clear-cut, logical way and there is little of "running off into the sand" or of those otherwise aimless pa.s.sages so prevalent in Emmanuel Bach. In his best works, notably in many of the Quartets, there is also more individuality secured for the second theme;[114] although for highly personified and moving second themes we have to await the greater genius of Mozart and Beethoven. Whenever we are inclined to call Haydn's style old-fashioned we must remember that he wrote before the note of intense personal expression--the so-called subjective element, prominent in Beethoven--had come to the fore. The time just prior to Haydn had been called the "Pig-tail period" (Zopf-Periode) in reference to the stiff and precise dress and manners which had their counterpart in formality of artistic expression. Only towards the end of his career do we feel that breath of freedom in life and art which was generated by the French Revolution (beginning in 1791) and by the many political and social changes of that stirring period. From Haydn on, much more attention should be paid to the content and meaning of the music than to the formal handling of the material. In all worthy music, in fact, the chief point of interest is the _music itself_ which speaks to us in its own language of sound and rhythm. A knowledge of form is but a means to an end: for the composer, that he may express himself clearly and convincingly, and for the listener, that he may readily receive the message set forth. In Haydn's music we find the expression of a real personality--though of an artless, child-like type, without great depth of emotion or the tragic intensity of a Beethoven. Haydn was not a philosopher, or a man of broad vision. During his epoch, artists hardly dared to be introspective. His imagination gave birth to music, simple though it was, as freely as the earth puts forth flowers; but, although he wore a wig, he had a heart which was in good working operation even in his sixty-fourth year when, during his London visit, he fell in love with a charming widow, Madame Schroeter, whom he would have married had not his wife been still alive.

[Footnote 114: In many cases Haydn's second theme is merely a varied version of the first.]

We should acquire the catholic taste to enjoy every composer for what he really was and not criticise him for what he was not--a state which would imply necessarily different conditions. In criticism there is no worse error, or one more often made, than that of blaming Haydn because he was not Beethoven; or, in our times, Tchaikowsky because his music does not resemble that of Brahms. Blase pedants often call Haydn's music "tame"; we might as well apply that adjective to the antics of a sportive kitten. As for the "amiable prattle" of his style we do not speak in a derogatory way of the fresh, innocent voices of children, though we need not listen to them continually. Haydn, in short, is Haydn,[115] and the vitality and sincerity of his works will always keep them immortal. In these feverish days we may dwell upon the simplicity of "Papa Haydn," as he was affectionately called; who would kneel down before beginning work, and who inscribed his scores "In nomine Domini." His modest estimate of his own powers cannot fail to touch our hearts. "I know," he said, "that G.o.d has bestowed a talent upon me, and I thank him for it. I think I have done my duty, and been of use in my generation by my works; let others do the same."

[Footnote 115: Haydn's life is of great interest in showing the traits which are reflected in his music. Everyone should read the biography in Grove's Dictionary, Vol. II, p. 348, and the excellent life by M.

Brenet in _Les Maitres de la Musique_.]

We shall now make a few comments on the ill.u.s.trations in the Supplement (see Exs. No. 41 and 42): the Finale of the _Sonata for Pianoforte in E-flat major_ and the first movement of the so-called _Surprise Symphony in G major_. Haydn, of all composers, needs little verbal elucidation; his music speaks for itself and everyone must be sensitive to its vitality and charm. We regret that it is not practical to give examples from the Quartets which, in many respects--especially in the Minuets with their inexhaustible invention[116] and their bubbling spirits--represent Haydn at his best. But the real effect of his Quartets is so bound up with idiomatic treatment of the strings that in any transcription for pianoforte the music suffers grievously. It is through the score, however, that everyone should become familiar, with the contents of the Quartets in C major, op. 76, and D major, op. 64; the Finale of the latter being one of the supreme examples in all chamber literature[117] of rhythmic vitality.

[Footnote 116: Haydn himself used to speak of his melodic invention as "a stream which bursts forth from an overflowing reservoir."]

[Footnote 117: In every large city there are, of course, frequent opportunities to hear the Quartets of Haydn played by such famous organizations as the Flonzaley Quartet etc. The student is urged to take advantage of these occasions.]

The Finale of the E-flat sonata, in strict Sonata-form, begins with a lively eight-measure phrase which is at once repeated a tone higher.

The extension of the sentence shows Haydn's freedom in phraseology; for, beginning with measure 17, we should have to count the measures 1, 2, 3, 3a, 4, 5, 6, 6a, 7, 7a, 8, 8a. In the second theme, which begins in the 44th measure, note the piquant dissonances[118] coupled with sforzando accents. Haydn surely liked spice as well as anyone!

The rest of the Exposition is taken up with closing pa.s.sages which accentuate the tonality of the second theme--B-flat major. The Development needs no comment, as the correspondence between the original material and Haydn's treatment is perfectly clear. The Recapitulation is a literal repet.i.tion of the Exposition, with the two themes as usual in the tonic key. The movement may be considered an example of Sonata-form in its clearest manifestation, hence an excellent one for preliminary a.n.a.lytical study.

[Footnote 118: Those who erroneously think that there is nothing of the dissonant element in Haydn should examine the Prelude to _The Creation_--a real antic.i.p.ation, in its use of the chromatic element, of _Tristan and Isolde_.]

In the first movement of the _Surprise Symphony_, before the body of the work begins, we have an early example of the Prelude. This slow Prelude, short though it be, is most carefully planned; with its crescendo from _pp_ to a _sf_ forte and its free modulation it arouses a genuine feeling of expectancy. The first theme of the Exposition (Vivace a.s.sai) is a happy ill.u.s.tration of Haydn's sparkling rhythm, and as tossed off by the violins is of irresistible gaiety. The reader is asked to remember that the comments on this symphony--and on all subsequent symphonic works--are based upon the orchestral score; also that the composition, when separated from its orchestral dress, necessarily loses much of its real eloquence. Thus the first theme, of a folk-dance character, is a typical violin melody; only strings--with their incisiveness and power of subtle phrasing--can fully express its piquancy. For private study or for cla.s.s-room work, a practical version is that for four hands; or better still, when possible, the arrangement for two pianofortes.[119] The second phrase of the first theme is considerably expanded by repet.i.tion, as if unable to stop from sheer exuberance, but finally reaches a cadence in the dominant key in the 32nd measure. We are at once taken back, however, to the home-key of G major; and, in measure 40, the first theme is repeated, this time delicately embellished with phrases on the flute. From now on, by reason of the emphasis laid on the key of D major, it is evident that we are in the transitional pa.s.sage and are heading towards the announcement of the second theme. It must be said that Haydn does not drive very straight at his mark; though it is a pleasant touch of variety in measures 55-57 to introduce the main theme in the minor mode, and though the fiery violin pa.s.sages in the following measures give an air of considerable excitement. What stands for the second theme begins in measure 67. This portion of the movement has no theme with genuine individuality, but consists of running pa.s.sages--based exclusively on tonic and dominant harmonies in the new key, and of little import save one of general vivacity. It is, however, decidedly alive--not stagnant or flabby--and in the orchestra it all "comes off." We are rewarded, finally, by a clear-cut closing theme of jaunty rhythm, _e.g._,

[Music]

which Haydn liked so much that it is presented twice, the second time slightly embellished. The Exposition closes with the conventional insistence upon a strong cadence in the key of the second theme. The Development begins with some rather fragmentary treatment of the first theme; then, after some fugitive modulation into flat keys, contents itself with running pa.s.sages and a series of iterated notes. Of organic and sustained development, such as Haydn indeed sometimes attained, there is little trace. Even so we must be chary of sweeping condemnation; for there are well-planned dynamic contrasts and the instruments are used in such a natural way--especially the figure in the double ba.s.ses (measures 149-153)--that the scene is one of animation, though perhaps no more than one of aimless gambols. There is sufficient modulation, so that the principle of Plurality of key is carried out. We are suddenly but gracefully led back, in measure 155, to the repet.i.tion of the first theme, thus beginning the Recapitulation. This portion, with certain abbreviations, is an almost exact duplication of the first part and emphasizes the main tonality of G major. That Haydn was not forced to this literal repet.i.tion through any lack of fancy is shown by the skilful amplification of the first theme, in measures 177-184. The whole movement sparkles with sunshine; and those ponderous "heavy-weights" who criticise it because it is not deep or "soulful" are looking for qualities which the music does not pretend to contain. It is the work of a wholesome, cheerful-hearted man expressing through his favorite language his joy in life. In listening to the music we have the same delight as in wandering by the side of a rippling brook. The three remaining movements of the Symphony require little comment; being readily accessible they are not given in the Supplement. The second movement, a set of stereotyped variations, contains the explosive chord which gave to the work its descriptive t.i.tle. Needless to say that this chord does not "surprise" _our_ modern ears to any great extent. The Minuet is one of Haydn's best--full of queer antics in rhythm and modulation. The Finale (Allegro di molto), in the Rondo Sonata form, is the acme of Haydn's vivacity and is a "tour de force" of brilliant writing for the strings. In many pa.s.sages they seem fairly to burn.

[Footnote 119: All symphonic scores give a much better effect when performed on two pianofortes than in a four-hand arrangement for a single instrument. The freedom in control of both pedals possessed by each player secures a greater richness and sonority of tone and it is much easier to make prominent voices stand out in relief.]

Haydn's position in the development of music is of the first importance. Whatever his works may "mean," they contain a rhythmic vitality which will keep them alive for ever, and their "child-like cheerfulness and drollery" will charm away care and sorrow as long as the world shall last.

CHAPTER X

MOZART. THE PERFECTION OF CLa.s.sIC STRUCTURE AND STYLE

Although Mozart, Wolfgang Amadeus[120] (1756-1791), was, in regard to art problems, no more of a broad thinker than Haydn (Mozart and Schubert being pre-eminently men whose whole nature centered in music), yet on hearing his works we are aware that aspects of form and content have certainly changed for the better. In the first place he was more highly gifted than Haydn; he had from his infancy the advantage of a broad cosmopolitan experience, and he was dimly conscious of the expanding possibilities of musical expression. It is a perfectly fair distinction to consider Haydn an able, even brilliant prose-writer, and Mozart a poet. Haydn we can account for, but Mozart is the genius "born, not made"--defying cla.s.sification--and his inspired works seem to fall straight from the blue of Heaven. Whereas Haydn, Beethoven and Schubert were all of very lowly parentage[121]

(their mothers being cooks--a blessing on their heads!), Mozart's father and mother were people of considerable general cultivation, and in particular the father, Leopold Mozart, was an educated man and somewhat of a composer himself, who since 1743 had been in the service of the Archbishop of Salzburg, as director of his private orchestra.

An excellent violinist, he had written and published a treatise on violin playing, which for many years was the standard work on the subject. Both parents were noted for their good looks, were, moreover, of strong character and highly respectable in every way. Among their several children two early exhibited unusual precocity--Maria Anna, born in 1751, and Wolfgang, still more highly gifted. The stories of the boy's skill and general delicacy of perception may be exaggerated, but we have sufficient valid evidence to convince us that he was a phenomenon absolutely "sui generis." Thus, he began to improvise between three and four, actually to compose little pieces (which we have), when he was five, and to perform in public when he was six! In that very year and continuing for nineteen years (until Mozart had reached the age of twenty-five) began the memorable series of concert tours--eleven in all--comprising Vienna, all the chief cities of Italy and Germany, even Paris and London. These tours the father planned and carried through with the utmost solicitude and self-sacrifice--not to exploit the talented children, but to give them a comprehensive education and artistic experience, and eventually to secure for his son some distinguished post worthy his abilities. It is quite impossible to rehea.r.s.e all the details of these trips. For one who wishes to investigate for himself they truly make fascinating reading.

A single incident, however, will show how clearly defined were the two personalities which made up the complete Mozart; and of which one or the other was in the ascendant throughout his life. As a man, Mozart was light-hearted, witty--even volatile--fond of society, dancing, and a good time generally; not of the strongest intellectual power, judged by modern standards, but, as shown by his marvellous dramatic insight, by no means the debonair light-weight he is often represented. Yet whenever music was under consideration he was a changed being; he became instantly serious, and would suffer no disrespect to himself or to his art. During the last sad years of his career in Vienna, when he was in actual want for the bare necessities of life, a publisher once said to him, "Write in a more popular style, or I will not print a note of your music or give you a kreutzer."

"Then, my good sir," replied Mozart, "I have only to resign myself and die of hunger."

[Footnote 120: Amadeus (the beloved of G.o.d).]

[Footnote 121: We may appropriately state that in regard to ancestry and environment all four of the so-called Viennese masters, Haydn, Mozart, Beethoven and Schubert are distinct refutations of the claims so persistently made by German scholars that everything good in music we owe to the Teutons. Haydn was largely Croatian; Mozart was strongly influenced by non-Teutonic folk-music (Tyrolese melodies frequently peep out in his works); Schubert's forebears came from Moravia and Silesia; and Beethoven was partly Dutch. If there be any _single_ race to which the world owes the art of music it is the Italians, for they invented most of the instruments and hinted at all the vocal and instrumental forms. We may be grateful to the Germans for their persevering appropriation of what others had begun; only let them not claim _all_ the credit.]

In Mozart's works, in distinction from the unconscious, nave folk-song type of Haydn, we find highly wrought instrumental melodies; although such was his inborn spontaneity of expression that we are never aware of the labor expended. His works are quite as clear as those of Haydn, but they show a more conscious individuality of style.

They are not so artless, and the phraseology is more elastic--less cut and dried. There is a higher imaginative vitality; trite, mechanical repet.i.tions are in general avoided, climaxes are led up to in a more subtle manner, and a great gain is made in real organic development.

For Mozart, as a master of polyphonic treatment, is second only to Bach. The most striking single feature in his work is the ceaseless flow of expressive melody, notably those wondrous tunes found in his operas, such as "Voi che sapete," "Batti, batti" and numerous others.

He had travelled so widely, so keen was his power of a.s.similation that his melodic style embodied and enhanced the best qualities of contemporary Italian, French and German practice. And yet his innate genius was of sufficient strength to achieve this result without lapsing into formal eclecticism. Whatever suggestions he took he made wholly his own; and his music is nothing if not individual in its inimitable charm and freshness. Whereas Haydn's music often smacks too prominently of the soil, with Mozart we have the fine flower of a broad artistic culture. In his best symphonies and string quartets the art of music made a distinct advance and began to be capable of expressing the universal emotions and aspirations of mankind.

The reactive influence--each upon the other--of Haydn (1732-1809) and Mozart (1756-1791) is a most interesting feature of the period.[122]

By the time Mozart was ripe for his best work Haydn had formulated and exemplified the main lines of instrumental structure. From this preparatory work Mozart reaped such an advantage that in his last compositions there is a spontaneous flowering of genius--a union of individual content with perfect clarity of style--which has kept them alive to this day. Haydn's last symphonies, the two Salomon sets composed for his London tours, show in their turn abundant signs of the stimulating influence of the younger man. The perennial importance of form and style cannot be better understood than by recognizing the fact that both Tchaikowsky and Richard Strauss, two of the most fearlessly independent of modern composers, have considered Mozart as their ideal. But even if in Mozart's best works we are not beyond the preponderating influence of form over substance, they must be judged on their own intrinsic merits and not with reference to progress made since--of which, nevertheless, they were an important foundation. His technique was quite sufficient to express what he had to say. We seldom feel that the contents are bursting through the form, that the spirit is too great for the body. Purity of conception and faultlessness of workmanship were still the desiderata of music. The world had to wait for a Beethoven before the hearer should be shaken out of himself by a spiritual power, of which the music at best was often an inadequate expression. This statement is meant to contain no disparagement. Because Beethoven was more elemental we must never belittle the genius of his predecessor. Any familiarity with Mozart's works will convince us of the grat.i.tude we owe him for his original harmonies, for the stimulating contrapuntal texture and for the perfect finish and care for detail found therein. Could we be forever content with "abstract music"--that which justifies itself by a fulfilment of its own inherent laws--Mozart's music would remain the acme of the art. His fame to-day rests upon his string quartets, his three princ.i.p.al symphonies, and--above all--the operas, of which Don Giovanni and the Marriage of Figaro are noted examples. For consummate character-drawing (so that, as Rubinstein remarks, "Each acting personage has become an immortal type"), for interest sustained by unflagging musical vitality, for a combination of humor and seriousness and for ingenious and characteristic handling of the orchestral forces, these works were unequalled until the advent of Wagner and even to-day in their own field remain unsurpa.s.sed. The real charm of Mozart--that sunny radiance, at times shot through with a haunting pathos--eludes verbal description. As well attempt to put into words the fragrance and charm of a violet. Hazlitt's fine phrase, apropos of performance, says much in a few words. "Mozart's music seems to come from the air and should return to it," and the ecstatic eulogy of Goethe, to whom genius meant Mozart, should be familiar to all. "What else is genius than that productive power through which deeds arise, worthy of standing in the presence of G.o.d and of Nature, and which, for this reason, bear results and are lasting? All the creations of Mozart are of this cla.s.s; within them there is a generative force which is transplanted from age to age, and is not likely soon to be exhausted or devoured."

[Footnote 122: For extended comment, see the _Oxford History of Music_, Vol. V, p. 246, _seq._]

In studying Mozart's works the special points to be noticed are these: the wider sweep and freer rhythmic variety of the melodic curve; the more organic fusion of the different portions of a movement--Mozart's lines of demarcation being perfectly clear but not so rigid as in Haydn; the much greater richness of the whole musical fabric, due to Mozart's marvellous skill in polyphony. The time had not yet come when the composer could pique the fancy of the hearer by unexpected structural devices or even lead him off on a false trail as was so often done by Beethoven. Both Haydn and Mozart are h.o.m.ophonic composers, _i.e._, the outpouring of individual melodies is the chief factor in their works; but whereas in Haydn the tune is almost invariably in the upper voice, in Mozart we find the melody appearing in any one of the voices and often accompanied with fascinating imitations. See, in corroboration, any of the first three movements of the _G minor Symphony_ or the slow movement of the _E-flat major Symphony_. In the structure of music Mozart made slight changes; the forms were still fresh--having just been established by Haydn--and Mozart with his genius filled them to overflowing. His one important contribution to the development of instrumental form was the Pianoforte Concerto; but, as a consideration of this would lead us too far afield, the student is referred to the life of Mozart in Grove's Dictionary and to the Oxford History, Vol. V. The literature[123]

about Mozart and his works is voluminous. Our chief attention nevertheless should be centered on the works themselves rather than on what anyone else writes about them. Certain of these criticisms, however, are so suggestive and illuminating that the student should become familiar with them.