Part 11 (1/2)
[Footnote 123: We reco essay by Philip Hale in _Famous Composers and Their Works_; the chapter on Mozart in _Beethoven and His Forerunners_ by DG Mason; and, as throwing light on aspects of his personality which are little known, ”_Mozart Revealed in his Own Words_” by Kerst-Krehbiel (see especially the chapter on Mozart's religious nature, p 142 and passi _Reminiscences of Michael Kelly_, a personal friend of the composer; and, above all, the monumental life of Mozart, unhappily as yet incomplete, by Wyzewa and St Foix The third chapter of Vol II of _The Art of Music_ is also orth reading; and in _Mozart's Operas, a Critical Study_ by EJ Dent are found valuable comments on his dramatic style, so prominent a feature in many of his instrumental works]
As illustrations[124] for comment we select the _F ic Flute Overture for Orchestra_ and the little known but io in B ain, as in the case of Haydn, we ive exa Quartets, the Quintet in GClarinet Quintet Any faenius is very incomplete which does not comprise the C major Quartet, especially its heavenly Andante Cantabile; likewise the E-flatpoignant dissonances--a striking anticipation of _Tristan and Isolde_
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[Footnote 124: The first three coiven in the Supplement, because readily available in several standard editions
The saiven in connection with Haydn, apply to the performance of the _G minor Symphony_]
The F major Sonata is selected to illustrate Mozart's pianoforte style because it bubbles over with typical Mozartian melody and because the Sonata-form is the basis of all three movements; in the first and last strictly employed and in the slow movement somewhat modified The structure, while just as clear and easy to follow as that of Haydn, represents an advance in the sustained interest of the transitional passages and in the organic treat particularly true of the Finale--the nificant The Sonata, without prelude, begins with a soaring, lyric ht measure forht about by an i exay so pro sentence of eight s us to the transition which is to introduce the second the animation of the rhythm and how the fresh entry of the second theme (in Ctonality of C raceful htened fervour and then expanded by means of various modulatory and rhyth in the bass Intheroups of cadential chords
The Development is short and, save for the dynamic contrasts in the h a bit nave it is neither labored nor dull The Recapitulation with the necessary adjust in Fio--we see the beautiful use Mozartit not as less embroidery or to cover up deficiencies in the instrural factor in the ner with his ”essential turn” The ed[125] Sonata-forular Exposition with two the Recapitulation, but the Development is entirely omitted and in its place we find merely two modulatory measures which take us back to the third part Such a for that the Slow Movement should be one of direct melodic and emotional appeal and should not concern itself with protracted discussion of themeasures are of a wondrous serenity, peculiar to Mozart The Finale, Allegro assai, in coor and dash, the happiest exains with a brilliant running they, and then, after a cadence in measure 14, is at once followed by an out and out Waltz tune of a very seductive swing[126]
This is developed to a brilliant climax and then closes _pp_ in a delicate, wistful manner The transition, with so sequences, leads us to the second theme at measure 50
This--one of Mozart's loveliest melodies--is rather exceptionally in the dominant minor (_ie_, C minor) and with its mood of pathetic revery affords a wonderful contrast to the headlong dash of the first theme This melody alone would prove that Mozart had hisportion which resumes the exuberant mood characteristic of the Exposition as a whole The Developes in the first thee which seems to be a counterpart of the second theme, save that it is in the h a series of passages, with pungent dissonances and imitative phrases, to a fortissi cadenza-like passage we are whirled back to the Recapitulation In material and treatment this corresponds exactly to the Exposition and has the saenuine originality and was a delightful contrast to the conventional flourish of trumpets hich the Finale of the period was expected to end Music is often most impressive when most subdued
[Footnote 125: This modification beca the Slow movement of the Fifth Sonata, where the Develople chord; the Slow moveretto Scherzando of the Eighth Symphony, where a series of contrasted accents keeps the interest alive and leads most deftly to the Recapitulation]
[Footnote 126: Insyncopations--an anticipation of what now-a-days is known as ”rag-tied to be the highest achievement of 18th century instrumental music and is also premonitory of that subjective spirit peculiar to the 19th century It will re touched by a sincere revelation of emotion combined with a perfection of utterance which seems fairly Divine This delicate treatment and this exquisite finish are two prominent characteristics of Mozart's style Truly the Symphony is the quintessence of Mozart in terms of sound and rhythe and receive it with grateful appreciation The work contains the four customary movements, all of them (save the three-part Minuet and Trio) in coins at once with a gracefully poised the by the violins, a theme which may be likened in its outlines to the purity of a Greek statue The entrancing effect of this melody cannot be realized except on the orchestra, for it see chords of the violas like a beautiful flower
Everyone who hears the work is at once arrested by this highly original treat_
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The transition is short but leads us in a happy state of expectancy through a change of rhythorous phrase
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and by a bold run, thrice repeated, to the entrance of the second theme in measure 43 This theme, in the customary relative major (B-flat), illustrates Mozart's fondness for the chroives toportion, beginning at measure 71, is an exa It is based entirely on the htful imitations tossed about by different sections of the orchestra The second part is a genuine Develops in its contrapuntal vitality; the theme appears in all parts of the texture--upper, inner and lower voices--and we are carried vigorously onward by the daring modulations Just at the close of the Development we see Mozart's constructive skill in the fusion of this part with the subsequent Recapitulation A series of drifting chroht fleecy clouds, keeps us in a state of suspended wonder when quietly there eun It is one of the truly poetic touches in musical literature and has been often imitated--especially by Tchaikowsky in his _Fifth_ and _Sixth Symphonies_[127] The Recapitulation corresponds exactly with the Exposition, but an added pathos is given to the second theme by its appearance in the tonic key of G minor Observe the impassioned intensity of the cli back from the end) The ins cannot be translated into words; why atteifted ie aand ideal aspiration The movement is very concise but in complete Sonata-form, and with an orchestration felicitous in the treatment of the horns and the ind instruments The Minuet, noteworthy for the three- phrase,
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shows clearly the new life which Mozart infused into the old form by his remarkable polyphonic skill Note at the outset of the second part the vigorous effect of the the dissonances The charrace and siain we find an eloquent use of the ind group The Finale, in coins with a perfectly balanced periodic theht measures, each repeated If from our present standpoint we feel that the tone of this hts of the preceding movements, let us remember that it was composed when the Finale was eneral atmosphere of sunshi+ne and satisfaction, its purpose was fulfilled For the Finale, which, like the glorious splendor of an autu objective towards which the other , we must wait for Beethoven and his eneral trend of a Haydn or a Mozart Symphony by a decrescendo, thus [decrescendo syenius of the coinning with Beethoven, we find an organic climactic effect[128] from the first movement to the last, thus [crescendo syracious and unjust Mozart's the incontredance rhythms, fill our hearts with life and carry us irresistibly onward And the Developenius of Mozart asserts itself Note the bold leaps and daringtrite or for polyphonic treat in y for seventydevelop Beethoven himself The Recapitulation, in subject matter, is an exact duplication of the Exposition and allows us to recover gradually from our excitement and to return to the ordinary world of men and events The presentation of the second theme, however, shows Mozart's mastery of melodic variation The substance is the sa_
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[Music: Recapitulation]
[Footnote 127: See the Waltz movement of the _Fifth Symphony_ and the secondof interest is distinctly felt in Beethoven's Fifth Symphony, in Brahms's First, in Tchaikowsky's Fifth and in that by Cesar Franck]
The Overtures to Mozart's three operas: The _Marriage of Figaro_, _Don Giovanni_ and the _Magic Flute_ are of particular interest, not only for the beauty of their contents but because they are our earliest examples of the Overture fashi+oned in coinally the Overture had been a prelude to the opening of a play, a prelude of the lightest andwith Monteverde, abound in all the early Italian opera composers[129]
Lully of the French school and Alessandro Scarlatti of the Italian were the first to as and to establish a definite standard of structure In both schools this standard represented an application of the Three-part for their contrasts, slow, fast, slow (the so-called French overture--of which we have an example in Handel's Messiah) and the Italians, fast, slow, fast (the so-called Italian Overture) Although Gluck (1714-1787) did much to establish a more dramatic connection between the overture and the play, even the best of his Overtures, Iphigenia in Aulis, is a rather loosely expanded tripartite structure with a goodafter Haydn's definite establish interest of the public in instrumental e of these circuht his hearers with a piece of genuine music This he did and his operatic overtures are of such distinct import and self-sufficiency that they are often detached froic Flute Overture is also noteworthy because of the polyphonic treatal presentation in four voices The second theht and winning, ly with the first theme, which indeed keeps up at the same time, in the inner voices, its rhyth phrase, _eg_,
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