which recurs free in the second part, and is therefore judiciously used to bring the whole movement to a close. In the B flat major sonata also (454 K.) the interest of the working-out is essentially harmonic; the return to the first subject is as striking to those who hear it now as it could havePIANOFORTE TRIOS.been to Mozart's contemporaries. There are many similar touches which suffice to convince us how great an effect of novelty and boldness these sonatas must have produced. The first place must again be accorded to the slow middle movements by reason of their beautiful melodies, in the steady flow of which the art of not merely beginning well, but of maintaining the interest, and knowing where to leave off, may be admired and studied. In all of them a delicate and tasteful accompaniment, a rich and bold harmonic treatment—I need only mention the effective enharmonic changes in the andante of the B flat major sonata (454 K.), and in the adagio of the E flat major (481 K.)—give to the simple outlines a delicate warmth of colour. Each of these movements is fine of its kind, but the andante of the Sonata in A major (526 K.) is specially attractive from the earnestness of its tone.
In the same class may be reckoned the trios, or, as Mozart called them, terzets for piano, violin, and violoncello, which were also principally intended for the social circle of amateurs. Their composition for special occasions may be inferred from the fact that they all five fall within the summer and autumn of 1786 and 1788:—
G major, composed July 8, 1786 (496 K.).32
B flat major, composed November 18, 1786 (502 K.).
E major, composed June 22, 1788 (542 K.).33
C major, composed July 14, 1788 (548 K.).
G major, composed October 27, 1788 (564 K.).
In June of the latter year Mozart asked his friend Puchberg if he did not intend to give a musical party soon, for he had written a new trio. This was the trio in E major; and a later distinct mention of a trio written for Puchberg probably refers to the same. There can at least be no question as to the superiority of this trio in design and originality, as well as in the effective treatment of the instruments. The first movement is full of fire and energy, the imitative working-out of the second subject beingMOZART'S PIANOFORTE MUSIC.wonderfully heightened in effect by a bold harmonic inflection. The second movement, with something of the character of a national melody, is fresh and charming, and has rhythmic and harmonic points which give it a piquancy altogether modern. The last movement, though not devoid of expression and delicacy, is inferior in vital energy to the first, and seems somewhat too long, perhaps because an exclusive attention to brilliancy loses its effect upon hearers of our day. External influences account for the fact that the succession of the trios is not in accordance with their merit and importance. The two last are inferior not only to that just mentioned, but also to the two first. In these, as usual, the middle movements stand highest; in the first movement of the trio in B flat major (2) there is no new second subject, but the first is employed again with some modification; the second part, therefore, opens with an entirely new and independent melody. The trio in C major (548 K.) is very easy, and seems to have been intended for some particular person. The last (564 K.) was first written by Mozart as a sonata for pianoforte alone. When he had occasion to add the two stringed instruments, he had the original composition copied, added the violin and violoncello parts, and altered what had to be altered for the piano. The original sonata may be easily traced, except here and there, where the alterations have gone deeper, and the different instruments, except in the variations, have little independence. In contrast with the emancipation of the violin part in the violin sonatas, the violoncello part of the trios is always in the background. It is treated as a bass instrument, and only exceptionally leads the melody or takes an independent part; of bravura it has little or none, and thus the original effects of which the combined instruments are capable seldom occur. One remarkable instance of such an effect, however, is in the last movement of the first trio (496 K.) at the passage in G minor, where the violin repeats four times the melancholy bar—[See Page Image]
and then slides on to the G, while the violoncello carries outTRIO FOR PIANOFORTE, CLARINET, AND VIOLA.an expressive bass passage in crotchets, and the piano in two parts moves above both instruments in quavers; an effect of sound and motif which has often been laid claim to in recent days as something new and original. An insurmountable obstacle to the fuller development of the trio (in which Beethoven later put forth all his creative powers) consisted in the want of good violoncellists among the musical circles for whom Mozart composed these works.
A trio in E flat major, for pianoforte, clarinet, and viola (498 K.), composed on August 5, 1786, for Franziska von Jacquin, is very original (Vol. II., p. 278). The unusual combination of instruments necessitated unusual treatment. The viola is not a bass instrument, and is only available for middle parts, so that the usual violoncello part could not be given to it; this necessitated an altogether original design and execution, and a dependence for effect upon a peculiarly light colouring and transparent clearness. The viola, whether accompanying or leading the melody, is treated throughout with special partiality, and has even a certain amount of bravura. Mozart was fond of taking the viola himself in his later years, and Franziska von Jacquin was an excellent pianiste, so that we can understand his providing himself with a good part to perform with his friends. The deeper tones of the clarinet are not used, out of consideration to the viola; its full liquid tones are particularly well adapted for the delivery of the melody. The plan of the movements deviates from the ordinary course. The first is not an Allegro, but an Andante 6-8 (signifying formerly a moderately agitated tempo) which is played straight through with no repetition of the first part. It is in three tolerably equal divisions, in each of which the two beautiful subjects are enlarged upon in an easy but attractive manner, the first of them especially—[See Page Image]
being scarcely ever lost sight of; the movement ends with a short coda. The second movement is a minuet, the only one of the kind in Mozart's pianoforte pieces, serious andMOZART'S PIANOFORTE MUSIC.broad in tone, somewhat elaborated in the trio, the motif of which is taken up in the coda; on the whole, a fine and characteristic movement. The concluding rondo is full of pretty melodies and brilliant passages, and the different parts are delicately and independently treated.
A relatively much higher rank than that of the majority of the trios is taken by the two quartets for pianoforte, violin, viola and violoncello, of which the first, in G minor (478 K.), was composed on October 19, 1785; the second, in E flat major, on June 3, 1786 (493 K.). They are, suitably to their enlarged resources, grander and broader in design, the motifs are fuller, and thematic treatment comes to the foreground. The details of the work are developed from within, and are made subservient to the plan-of the whole. Notwithstanding, therefore, their more elaborate treatment, the mode of expression is more definite, the contents weightier, the expression more forcible and clearer.
The inclination of the present day, since Beethoven has raised chamber music both in substance and form to a hitherto unapproachable height, is to make beauty of form34predominate over force and depth of original expression; it will be instructive, therefore, to cast a glance over a criticism by Rochlitz, written in the year 1800:35—
In these compositions, written for a select and limited circle, the spirit of the artist is displayed after a rare and singular manner, with the grandeur and sublimity of an appearance from another world; there are moments, it is true, of melting sadness or cheerful humour, but they are only moments, and the composer breaks forth again in the greatness, even fierceness, of his strength, or writhes in bitter sorrow—the struggle ending, as it were, only in victory or death. That this may not be taken for mere empty raving, let any one hear, well-executed—(which can only be by persons who possess, together with the requisite skill, both a heart and an understanding for music)—Mozart's quartet for pianoforte, violin, viola and violoncello, in E flat major. Let it be heard, studied, and then heard again.
QUARTETS.
As an illustration of passionate feeling, amounting even to harshness in the force of its expression, we should rather quote the first movement of the quartet in G minor. The following account from Vienna of "the latest musical novelties at grand concerts," written in 1788, will give some idea of the reception which these quartets met with on their first appearance, and of the difficulties they presented to contemporary performers:36—
The favourite pianoforte composer among lady amateurs is Kozeluch, but Pleyel is beginning to be a dangerous rival to him. Pleyel's music contains humour and more of original invention than Kozeluch's, although the latter possesses elegance, regularity of form, and a certain flow of ideas. Mozart is at present residing in Vienna as imperial kapellmeister. He is considered as a remarkable man by every philosophic lover of music. His genius was precocious, and he both composed and played in his eleventh year (even earlier) to the admiration of all who heard him. But what is truly remarkable is that this precocious child should have blossomed into maturity as an accomplished musician. We know the usual rapid course of such a prodigy by sad experience! We look in vain for its fruits, for its stability. Not so with Mozart! But now a few words on a curious phenomenon which he (or his celebrity) has brought to pass. A short time ago appeared a solitary quartet (for piano, violin, viola, and violoncello), very artistically arranged, requiring extreme accuracy of delivery in all the four parts, but even under the most favourable circumstances not likely to please any but musical connoisseurs in amusica di camera. The report, "Mozart has written a new and very remarkable quartet, and such or such a princess possesses it and plays it!" was soon spread abroad, excited curiosity, and caused the indiscretion of the production of this original composition at a grand noisy concert. Many pieces can sustain their reputation even under a mediocre performance; but this work of Mozart's in the hands of indifferent amateurs, carelessly rendered, is simply unendurable. It was so performed innumerable times last winter; at almost every place which I visited I was taken to a concert, and there entered a town-bred miss, or some other conceited amateur, to play this quartet to the noisy company who pretended to find it thegoût. But it gave no real pleasure; every one gaped withennuiat the longtintamarreof four instruments who did not keep together for four bars, and whose contradictoryconcentugave no impression of unity of sentiment. The obstinacy with which it was forced down everywhere was indescribable. It is not enough to stigmatise this folly as an ephemeralmanie du jourforMOZART'S PIANOFORTE MUSIC.it lasted throughout a whole winter, and (as far as I can learn) is still only too often repeated. What a contrast if this masterpiece were to be performed by four skilful musicians, in a quiet room where the listening ear might catch the suspension of every note, in the presence of only two or three attentive listeners! But this would give no opportunity for display or the applause of the vulgar.37
The quintet in E flat major (452 K.) for pianoforte, oboe, clarinet, horn, and bassoon is a composition of peculiarly charming effect; it was composed by Mozart on March 30, 1784, for a concert which he gave in the theatre, and, being excellently performed, was received with great applause. He himself considered it, as he tells his father (Vol. II., p. 287), to be the best thing he had ever written, and he selected it to play before Paesiello (Vol. II., p. 279). It must not be judged from the various arrangements which have been made of it; it is accurately and exclusively fitted for the instruments for which it was written. The sound effects produced by the well-considered combinations of the wind instruments are of surprising beauty, and the pianoforte maintains its ground against its melodious rivals by means of its power of quicker motion. The whole work is clear and easy in each of its multitudinous details, and from beginning to end it is a true triumph of the art of recognising and adapting the peculiar euphonious quality of each instrument. This harmony of sound, combined with a somewhat strongly accentuated harmonic treatment, constitutes the principal charm of the work, which is not rich in thematic invention. Here and there Italian echoes are heard in the melodies, but the German style predominates, as it does in the quartets previously noticed.38Beethoven is known to have emulated this work of Mozart's in his quintet (Op. 16); in no other of his works, perhaps, does he so plainly appear to have set aPIANOFORTE CONCERTOS.pattern before him for imitation; for once he has not succeeded in surpassing it.39
The pianoforte concertos, of which Mozart wrote seventeen in Vienna, must be considered from a somewhat different point of view.40They are as follows:—
F major, composed end of 1782 A major, composed early in 1783 C major, composed early in 1783
Op. 4
(413 K., part 12). (414 K., part 10). (415 K., part 3).
E flat major, composed February 9, 1784, Op. 23 (449 K., part 14).
B flat major, composed March 15, 1784, Op. 67 (450 K., part 14).
D major, composed March 22, 1784, Op. 18 (451 K., part 13).
G major, composed April 12, 1784, Op. 15 (453 K., part 9).
B flat major, composed September 30, 1784, Op. 21 (456 K., part 11).
F major, composed December 11, 1784, Op. 44 (459 K., part 10).
D minor, composed February ro, 1785, Op. 54 (466 K., part 8).
C major, composed March 9, 1785, Op. 82, 6 (467 K., part 1).
E flat major, composed December 16,1785, Op. 82, 4 (482 K., part 6).
A major, composed March 2, 1786, Op. 82, 5 (488 K., part 2).
C minor, composed March 2, 1786, Op. 82, 5 (491 K., part 7).
C major, composed December 4, 1786, Op. 82, 1 (503 K., part 16).
D major, composed February 4, 1788, Op. 46 (537 K., part 20), "Kronungsconcert."
B flat major, composed January 5, 1791, Op. 82, 2 (595 K., part 15).
The greater number of these were composed between 1783 and 1786, when Mozart played much at concerts, and were intended for his own use; some of them also for that of others (Vol. II., p. 294).41This accounts for their great diversity of character and design. Of the three first which were intended to come before the public together (Vol. II., p. 293),MOZART'S PIANOFORTE MUSIC.Mozart wrote to his father, while still at work upon them (December 23, 1782):—
The concertos are a happy medium between too easy and too difficult; they are very brilliant, pleasing to the ear, without, of course, being empty. Here and there are places which appeal exclusively to connoisseurs, but even ignoramuses will be pleased with them without knowing why.
It is plain that he knew what he intended. Of the later concertos he writes (May 24, 1784):—
I cannot make a choice between the two concertos in B flat and D (450, 451, K.). I consider them both tough morsels for the performers (Concerte die schwitzen Machen): but the one in B flat is more difficult than the one in D. I am very curious to hear which of the three concertos in B flat, D, and G major (453 K.) you and my sister like best; that in E flat does not belong to them, being quite peculiar of its kind, and written for a small rather than a large orchestra. So that we have only to do with the three concertos, and I am curious to find whether your opinion agrees with the universal one here, and with my own. They ought, it is true, to be heard with all the parts, and well played.
The emphasis which Mozart laid on the orchestra is very noticeable. The essential merit and originality of his concertos consists in his combination of the orchestra and the solo instrument into a whole, by means of the co-operation of all their separate and independent elements.42The prominence given to the orchestra (which, it must be remembered, owed to Mozart its richer composition, both of wind and stringed instruments) in those larger portions of the work where it occurs independent of the piano, as in the tutti of the ritornelli, gives a symphonic character to the concertos. Even in those places where the pianoforte asserts itself as the solo instrument the orchestra participates so directly in the course of the pianoforte part as to form a not disjointed whole; in fact, the concertos have been aptly designated as symphonies with a part for the pianoforte.43Mozart's art of blending the tone-colouring of the orchestra, which drewPIANOFORTE CONCERTOS.tears from his old father at the hearing of one of his new pianoforte concertos, shows his delicate sense of euphony and accurate knowledge of instrumental effects. The pianoforte, with its comparative want of sustained tone, is at a disadvantage even with solo stringed or wind instruments, far more so with a combination of them. This was still more the case at that time, in consequence of the defective mechanism of the instrument; and both art and ingenuity were required to make it at all effective. When, after an elaborate ritomello, which has given a sense of fulness and satisfaction to the hearers, the pianoforte enters, Mozart aims at producing such a contrast, either by means of extreme simplicity or of a brilliant pianoforte passage, as shall gain over the listener to the peculiar charm of the new element, and excite his attention, which is then kept up by the competition of the rival forces. The composer has no intention of confining the orchestra within the narrow limits of a modest accompaniment (for in that case why should he have appointed it so fully?); he means it to put forth its whole strength, as well as to support and raise the pianoforte part. An inexhaustible succession of fine effects is thus produced. The delivery by the orchestra of the melody in sustained chords supports, as it were, the tendrils thrown out by the pianoforte, and gives a firm basis for figures and passages containing bold harmonic successions: But while it thus seems subservient to the solo instrument, the intensive strength and the tender fragrance of its sound effects are made to form an admirable contrast to the light and brilliant versatility, the sharpness, and clearness of the pianoforte. It seems scarcely necessary to illustrate by an example the universal characteristics of the species, but I may instance the wonderfully fine andante of the Concerto in C major (467 K.) Here the orchestral part is rich in striking harmonic detail, and in fine and original sound effects, which so completely enchant and satisfy the ear as scarcely to allow of a climax. In contrast to this we have a surprisingly simple pianoforte part, displaying the distinctive properties of the instrument without effort or difficulty, and hovering, as it were, like a higher spiritual element over theMOZART'S PIANOFORTE MUSIC.orchestral accompaniment, with which it is nevertheless inseparably connected. Even Beethoven (who made a profound study of Mozart's pianoforte concertos) cannot be said to have surpassed him in this combination from within of different instrumental forces. The superiority of his great pianoforte concertos rests upon other grounds.
It must not be supposed, however, that Mozart had no higher qualities than a finely cultivated sense for the blending of tone colours. The invention, elaboration and distribution of the motifs were governed by the nature of the resources at his command; these had to be taken into account in the first sketch of the work, that so justice might be done them in its completed form; the germ must contain the capacity for development under the most varied conditions. There is scarcely one instance in the concertos of an important motif confided to the orchestra or the pianoforte alone; they are all shared in common. But when a subject is broadly and elaborately treated by the orchestra, it is naturally kept in the background by the pianoforte, while other motifs, merely announced by the orchestra, are rendered with their full effect and embellishments by the solo instrument. This competition of the two forces is most evident in the alternating effects given to the working-out of the different subjects, but even in the brilliant figures and passages the orchestra appears like a well-proportioned edifice, decked with a profusion of arabesque-like ornament by the pianoforte. Thus the charm of these concertos, most rightly so called, depends upon the active co-operation of the contrasted elements, by means of which the whole work is richly and brilliantly grouped, as a picture is grouped by a judicious disposition of light and shade.
The division of the concertos into three movements, as well as the formation of the movements after the analogy of the sonata, were found ready to hand, and only further developed by Mozart. The first and principal movement contains the essential ingredients of the sonata form, namely, a second well-defined subject, and the working-out division but it is freer, and, owing to its improved resources, more fully appointed. A distinct first part with a repetition does notPIANOFORTE CONCERTOS.exist; in its place there appears the first ritornello, with the solo movement belonging to it. The principal subjects, with their working-out, are shared between the orchestra and the piano; but the solo is no mere repetition of the orchestral part; it differs both in the grouping and treatment of the subjects, and leads up to an inevitable climax. A short ritornello brings this section to a close, and introduces the working-out part, equally shared between the pianoforte and orchestra. The severer forms of counterpoint are only sparingly used, the harmonic element being the main support of an animated figure treatment; the polyphonic and homophonie manner are so blended throughout as to display the principal subjects from ever-varying points of view, and to keep the interest alive and active from first to last. This middle movement, on which as usual the main interest is concentrated, leads back to the principal key and the introductory ritornello. The latter is generally shortened, and the first part is not literally repeated, but undergoes modifications in arrangement and elaboration. The conclusion is formed by the customary cadenza, which might also be introduced at other pauses, but was invariable here. It gave opportunity for a free improvisation, consisting of brilliant passages wrought into a sort of capriccio with the addition of an elaborate variation on one of the subjects, or of several subjects so condensed as to form aresumeof the whole movement.44The cadenza thus forms the concluding coda of the pianoforte part, and the orchestra brings the movement to an end in similar fashion by a more or less elaborate ritornello. In this way the first movements of the concertos are developed out of the general sonata form, with such a regard to the relative claims of the orchestra and the pianoforte as serves to distinguish them from corresponding movements of the quartet and the symphony.
MOZART'S PIANOFORTE MUSIC.
The two other movements are altogether simpler in design and execution. The slow movement is in song-form, its working out sometimes that of a rondo, sometimes varied, but always simple and clear, and abounding in charming detail. Here again Mozart has displayed a fund of deep and noble sentiment in its purest form, and the fantastic and romantic elements, mingled with a dreamy resignation, and an earnest endeavour after the expression of individual feeling, are more apparent in these movements than in any other of his compositions. Startling harmonic progressions, scattered touches of piquancy contrasting with vague sentimentality, and rhythmical whimsicalities, give all the greater charm that they in no way interfere with simplicity of conception or purity of form. I need only adduce by way of illustration the simple and beautiful romanze of the Concerto in G major (453 K.), or the pleasing and highly original Siciliana of the Concerto in A major (488 K.). The andante of the C major concerto already mentioned is, however, incomparably the finest (467 K.). The emotion is so pure and lofty that the sorrowful impulses which prompt it, harshly expressed though they may be in places, such as the following—[See Page Image]PIANOFORTE CONCERTOS.penetrate the music like memories of a long since vanquished grief that has no more power to trouble the pure serenity of a mind which has mounted from resignation to holy joy. This example, among many others, should teach us that beauty does not consist in the mere rejection of all that is harsh or keen, but in the maturity of the conception which gives birth to the work, and in the harmony of the conditions under which it is represented. Such fruits as these can only be offered by an artist who has discovered the true secret of life.
The last movement of the concertos is always the easiest; it is generally in rondo form, sometimes in variations, lively and cheerful in tone; its predominant 2-4 time preserves its original character of a dance; or sometimes it is in 6-8 time, after the fashion of a hunting song, as in the rondo of the Concerto in B flat major (450 K.) which closes in a long crescendo with a regular hunting flourish of trumpets.45On the whole these last movements are moreMOZART'S PIANOFORTE MUSIC.interesting than those of the other pianoforte compositions, and full of graceful, even humorous, passages, of which the last movement of the C minor Concerto (491 K.) may serve as an illustration. The peculiar harmonic treatment gives the subject a character entirely its own, and a new transition at the close invests it with a surprising charm. The Concerto in D minor also (466 K.) confirms the oft-repeated observation that Mozart's compositions in the minor keys are his deepest and most important, for its last movement is distinguished above all others by its fire and intensity of expression.46On the other hand, the middle movements of these two symphonies (in E flat and B flat major), although not wanting in grace, are inferior to their other two movements in force and passion. It is true that the andante of the C minor symphony was encored cm its first performance (Vol. II., p. 288), but the effect it made depended not so much on its melodies, charming as they are, as on the obbligato treatment of the wind instruments, which was an entire novelty at that time.
There can be no doubt that Mozart's concertos afford the best standard for our judgment of him as a pianoforte composer. The majority of them, written for himself in his best days, take the highest rank among his works. The first three (413-415 K.) intended for large audiences are, as Mozart rightly indicates, light in character; so is the Concerto in E flat major (449 K.), written for Fräulein Ployer, and the Concerto in B flat major, probably intended for Fraulein Paradies (456 K.); next to these may be placed the Concertos in D major (451 K.) and F major (459 K). They are all distinct in their main characteristics; some, such as those in B flat major (450 K.), G major (453 K.), A major (414, 488 K.), are cheerful and graceful; others, as the D minor (466 K.) and C minor (491 K.), are passionately agitated; others again, serious and self-contained, as the E flat major (452 K.)
1 (return)[ Ed. Fournier, Mozart ä Paris (Revue Franç., 1856, II., t. 7, p. 28).]
2 (return)[ Cf. Histoire du Théätre de l'Opéra en France (Paris, 1753; 2nd Edit., 1757). Castil-Blaze, L'Académie Imp. de Musique de 1645 ä 1855 (Paris, 1855,1., II.).]
3 (return)[ Grimm, Corr. inéd., p. 222; cf. Corr. Litt., I., p. 93. The following is not bad (Corr. Litt., II., p. 205): "M. Hasse, qui avait entendu parler de la légèreté et de la pétulance françaises, ne se lassait point, lorsqu'il fut en ce pays-ci, d'admirer la patience avec laquelle on écoutait ä l'Opéra une musique lourde et monotone." Goldoni amusingly describes the impression made upon him by the French opera (Mém., II., p. 182).]
4 (return)[ Grimm, Corr. Litt., XV., p. 283; cf. IV., p. 165. Grétry gives more particular instances of the faults of the old style ( Mém., I., p. 301).]
5 (return)[ The last performance of one of Lully's operas ("Thésée ") was in 1778.]
6 (return)[ Raguenet, Parallèle des Italiens et François en ce qui regarde la Musique et les Opéras (.Paris, 1702), translated into German, with notes, and the rejoinder of Freneuse de la Vieuville ( Bonnet, Histoire de la Musique, p. 425; Bourdelot, Hist, de la Mus., I., p. 291), in Mattheson's Critica Musica (Hamburg, 1712), I., p. 91, and in Marpurg's Krit. Briefen, I., pp. 65, 89, 113, 398. Freneuse, Comparaison de la Mus. Ital. et de la Mus. Franç. Brussels, 1705 (in Bourdelot'8 Hist, de la Mus., 1725 and 1743, II.-IV.). Raguenet, Défense du Parallèle (Paris, 1705).]
7 (return)[ La Harpe, Corresp. Litt., II., p. 302.]
8 (return)[ When Grimm first came to Paris he wrote to Gottsched: "M. Rameau is rightly considered by all connoisseurs to be the greatest musician who has ever lived" (Danzel Gottsched, p. 349). His opinion soon changed, but the account he afterwards gives of Rameau (Corr. Litt., IV., p. 80), prejudiced as it is, recognises Rameau's merits, though without giving him the credit of them. In his Lettre sur "Omphale" (1752, Corr. Litt., XV., p. 281), Grimm gave a detailed criticism in a very moderate tone. A good account of him may be found in Ad. Adam's Derniers Souvenirs d'un Musicien, p. 39.]
9 (return)[ Hiller, Wöch. Nachr., 1770, p. 331. Schelle, N. Ztschr. f. Mus., LVII., and LVIII., p. 119.]
10 (return)[ According to Castil-Blaze (L'Opéra Italien, p. 144), the operas produced by the Bouffons were, "La Serva Padrona," by Pergolese; "ü Giocatore," by Orlandini: "ü Maestro di Musica," by Al. Scarlatti; "La Finta Cameri'era," by Atella; "La Donna Superba," by Rinaldo da Capua; "La Scaltra Gover-natrice," by Cocchi; "ü Cinese Rimpatriato," by Selletti; "La Zingara" by Rinaldo da Capua; "Gli Artigiani Arrichiti," by Ladlla; "II. Paratajo" by Jomelli; "Bertoldo in Corte," by Ciampi; "I Viaggiatori," by Leo.]
11 (return)[ The Italian opera was conducted from the pianoforte only, while in the French opera time was beaten audibly with a stick. Cf. Grétry, Mém., I.p. 39.]
12 (return)[ The heads of the parties had their regular places below the box of the King and Queen.]
13 (return)[ It was republished (Corr. Litt., XV., p. 315,) and translated into German (N. Ztschr. f. Mus., IV., p. 63, where it is wrongly ascribed to Rousseau). Grimm speaks of its extraordinary success to Gottsched, and Frau Gottsched speaks of an imitation of it directed against Weisse's operetta, "Der Teufel ist los" (Danzel Gottsched, p. 350).]
14 (return)[ The account which he gives to Rameau's nephew of his uncle and Italian music is graphic enough (Goethe, XXIII., p. 208).]
15 (return)[ This was in the well-known Lettre sur la Musique Française (1753), to which the Lettre d'un symphoniste de l'Académie Royale de Musique ä ses camarades de l'orchestre (1753) was a witty after-piece.]
16 (return)[ Grétry, Mém., I., p. 279.]
17 (return)[ Rousseau, Confessions 1., VIII. Grimm, Corr. Litt., I., p. 92. Fétis, Curios. Hist, de la Mus., p. 107.]
18 (return)[ Grimm, Corr. Litt., I., p. 114.]
19 (return)[ Rousseau had apparently a natural musical talent, which was quickened by Italian music; his logical reflections sometimes led him into error, but he remained accessible to new musical impressions, even when they contradicted his expressed opinions.]
20 (return)[ Diderot appears to have had some musical taste, but not much cultivation, and in this respect Grimm had some influence upon his opinions, as he certainly had upon Grimm's in more important matters. The article "Poème lyrique" in the Encyclopédie (publ. Corr. Litt., XV., p. 349), is a curious mixture of Italian taste, and of reflections after Diderot's manner: the views it upholds are often warped and superficial.]
21 (return)[ Grimm, Corr. Litt., VI., p. 229. The parodies are collected in Les Parodies du Nouveau Théätre Italien ( Paris, 1738,I.-IV.). Supplément aux Parodies (Paris, 1763,1. III.).]
22 (return)[ Favart, Mém., I., p. XVII.]
23 (return)[ Favart, Mém., I., pp. 203, 214, 228, 233.]
24 (return)[ [ D'Orville] Histoire de l'Opéra Bouffon (Amst., 1760). [Footnote Desboulmiers] Histoire du Théätre de l'Opéra-Comique (Paris, 1769, I., II.). Fétis, Curios. Hist, de la Mus., p. 342. Castil-Blaze, Acad. Imp. de la Mus., I., p. 216.]
25 (return)[ Grimm, Corr. Litt., VII., p. 289.]
26 (return)[ Goldoni concedes the superiority of the opéra-comique over the Italian huffa (Mém., II., p. 227).]
27 (return)[ Grimm, Corr. Litt., IV., p. 164; VII., p. 126. After 1765 he thought his style "un peu vieux et faible, mais ailleurs plein de finesse, de charme, de grace, et de vérité. C'est toujours malgré sa faiblesse l'homme chez lequel nos jeunes compositeurs devraient aller ä l'école" (Corr. Litt., IV., p. 414). He afterwards exhorts Philidor and Grétry to yield the field to him with honour (Corr. Litt., V.» pp. 140, 369; VI., p. 63).]
28 (return)[ A. Adam, Derniers Souvenirs d'un Musicien, p. 107.]
29 (return)[ Grimm, Corr. Litt., VI., p. 61.]
30 (return)[ Grimm, Corr. Litt., III., p. 136.]
31 (return)[ Grimm judged him so severely (Corr. inéd., p. 219; cf. Corr. Litt., III., p. 136; VI., p. 208; IX., p. 463); that one suspects personal dislike. Madame de Genlis rightly protested against his severity (Mém., II., p. 22).]
32 (return)[ Grimm, even in this case, ascribed all the merit to the poet (Corr. Litt., VI., pp. 197, 206); Madame de Genlis, on the contrary, maintained that Monsigny's music caused one to overlook the improbabilities of the piece ( Mém., II., p. 21)]
33 (return)[ G. Allen, Life of Philidor (Philadelphia, 1863). At first Grimm thought his music no better than other French music (Corr. Litt., II., p. 346; III., p. 89); after 1764 he notes his increasing progress (III., p. 401; IV., p. 200), and praises him highly in 1768 (VI., p. 14). He was accused of stealing from Italian masters, but Grimm retorted that it required great talent to steal in such a way (V., p. 25; VI., p. 145). Later on Grimm considered that Philidor inclined too much to Gluck's manner (IX., p. 378; X., p. 358), and finally he declared that Philidor had grown feeble (XII., p. 468; XIII., p. 137).]
34 (return)[ Tagebuch der Mannh. Schaub'., I., p. 264.]
35 (return)[ Marmontel relates the affair more circumstantially (Mém., IX.; Ouvr., II., p. 72).]
36 (return)[ Grimm discusses this question after the manner of Diderot, on the production of "Le Déserteur," the first comic opera of the kind (Corr. Litt., VI., p. 212). Madame du Deffand thought the exhibition of passion in "Le Déserteur" of very doubtful propriety (Corr. inéd., I., p. 175).]
37 (return)[ Grimm condemns the "barbarous fashion" of mixing spoken dialogue and song in the comic opera, and asserts that there can be no great composers in France until real recitative is made use of (Corr. Litt., IV., p. 166; VI., pp. 120, 209).]
38 (return)[ He has given a detailed account of his education, of the suggestions for his works and of his views on dramatic music in his Mémoires ou Essais sur la Musique (Paris, 1789; Brussels 1829,1.-III.). The naïveté of intense vanity is apparent everywhere. His opinions show some power of observation, but are for the most part trivial and arbitrary.]
39 (return)[ He describes his way of working to the celebrated physician Tronchin (Mém., I., p. 21): "Je lis, je relis vingt fois les paroles que je veux peindre avec des sons; il me faut plusieurs jours pour échauffer ma tète; enfin je perds l'appétit, mes yeux s'enflamment, l'imagination se monte, alors je fais un opéra en trois semaines ou un mois." He maintains that this excitement is more likely to lead a composer aright than attention to rules ( I., pp. 168, 204).]
40 (return)[ Prince Henry of Prussia paid him the most appropriate compliment in the words: "Vous avez le courage d'oublier que vous êtes musicien pour être poète" ( Mém., I., p. 121, cf., p. 346).]
41 (return)[ Mém., I., p. 112.]
42 (return)[ Mém., I., pp. 141, 238; III., p. 144.]
43 (return)[ Mém., I., p. 169.]
44 (return)[ Mém., I., pp. 146, 170.]
45 (return)[ Mém., I., p. 231.]
46 (return)[ He declared the French language to be the one best suited to music ( I., p. 400), although he does not conceal its difficulties ( I., p. 134), and demonstrates that France is destined to be pre-eminent in music.]
47 (return)[ Mém., I., p. 212; cf. pp. 224, 260.]
48 (return)[ Mém., I., p. 339; II., p. 45.]
49 (return)[ Mém., I., pp. 237, 375.]
50 (return)[ Mém., I., p. 356.]
51 (return)[ Mém., II., p. 10. He sometimes gave him good advice (I., p. 215) and Grétry embraced his views (III., p. 377).]
52 (return)[ Grétry, Mém., I., p. 270; cf. II., p. 331.]
53 (return)[ Grimm says, after the performance of "Le Huron" (Corr. Litt., VI., p. 34): "M. Grétry est un jeune homme qui fait ici son coup d'essai; mais ce coup d'essai est le chef-d'ouvre d'un maître, qui élève l'auteur sans contradiction au premier rang." His praise of the "Lucile".]
54 (return)[ Grimm, Corr. Litt., X., p. 228.]
55 (return)[ Grétry, Mém., I., p. 150.]
56 (return)[ He himself examines the grounds on which his music has become naturalised in France, "sans me faire des partisans enthousiastes et sans exciter des ces disputes puériles, telles que nous en avons vu (Mém., I., p. 169).]
57 (return)[ It is almost comical to observe the pertinacity with which the Grand-Opèra brought out its old pieces, to be as pertinaciously attacked by Grimm.]
58 (return)[ A collection of Klopstock's odes, set to music by Gluck has often been published; he had the "Herrmannsschlacht" ready in his head, according to his habit, but it was never written out. For Gluck's intercourse with Klopstock in Karlsruhe. (see Strauss, Kl. Schr., p. 42. p. 122) and the "Tableau parlant" (VI., p. 251) was equally strong, and he accompanied it with a respectful and appreciative criticism.]
59 (return)[ It is worthy of note how certain intellectual currents, running through an age, take simultaneous effect in different spheres. The tendency to individuality in art, to truth and nature, which was due to the encyclopedists, made itself manifest side by side with the principle of simple beauty which Winckelmann laid down as characteristic of ancient art.]
60 (return)[ Planelli, Dell' Opera in Musica (Neap., 1772), p. 148, approves of Gluck's principles, and the latter praises Planelli's performance of "Alceste"; Vine. Manfredini (Regole Arm., p. 163) takes much exception to it.]
61 (return)[ Schelle has (N. Ztschr. f. Mus., LIX., p. 42) published Calsabigi's letter (Mercure de France, Aug. 21,1784), in which the latter, who considered himself neglected, represents his relations with Gluck.]
62 (return)[ Mém. pour servir ä l'Hist. de la révolution opérée dans la Musique par Gluck, p. 8.]
63 (return)[ Calsabigi retracted his opinion on the opera in the letter prefixed to his "Elfrida" in 1794. At that time he believed in Paesiello as the true philosophical composer.]
64 (return)[ Berlioz rightly protests against Gluck's views (Voy. Mus., II., p. 269; X Travers Chants, p. 150). Cf. Hanslick, Vom Musikalisch-Schönen, p. 24.]
65 (return)[ A. B. Marx, Musik des neunzehnten Jahrh., p. 82.]
66 (return)[ Marx ibid., p. 183; he modified his opinion afterwards (Gluck u. d. Opera, II., p. 67. II.]
67 (return)[ It failed in Naples in 1774 (Galiani, Corr. inéd., II., p. 96).]
68 (return)[ Count Durazzo had the score printed there; Favart tells him how highly Mondonville and Philidor thought of the opera. (Favart, Mém., II., pp. 67, 102, 180).]
69 (return)[ Sonnenfels, Briefe IIb. d. Wien. Schaubühne (Ges. Schr., V., p. 155; Hiller, Wöch. Nachr., 1768, p. 127). Riedel, Ueber die Musik des Ritter Gluck, p. IX.]
70 (return)[ Allgem. deutsche Bibl., X., 2 p. 31. Nicolai, Reise, IV., p. 529. Reichardt relates (A. M. Z., XV., p. 612; Schletteier Reichardt, I., p. 264) that the King afterwards expressed himself in violent terms against Gluck. Cf. A. M. Z., III., p. 187.]
71 (return)[ Agricola criticised "Alceste" in the Allgem. deutschen Bibliothek (X., 2 p. 29, XIV., 1 p. 3; also in Forkel's Musik. Krit. Bibl., I., p. 174) in a pedantic, trivial spirit, but not ill-naturedly.]
72 (return)[ Calsabigi says that he wrote the libretti for "Semiramide" and "Iperm-nestra" on Gluck's commission, and they were afterwards taken as the foundation of Salieri's "Danaides" (Cramer, Magaz. d. Mus., I., p. 366; N. Ztschr, f. Mus. LIX., p. 42).]
73 (return)[ This is correctly put forward by Marx ( Musik des neunzehnten Jahr-hunderts, p. 84).]
74 (return)[ His admirable ballet music was slow in making its way in Paris; it was so confidently assumed that the French were the first masters in the world for ballet music, that a foreigner had to contend against much prejudice. La Harpe remarks that want of success in this respect was in Gluck's favour, for that his system, consistently carried out, would exclude ballet.]
75 (return)[ Interesting details of this visit are given by Frz. M. Rudhart, Gluck in Paris (Munich, 1864).]
76 (return)[ Burney, Reise, II., p. 253. Cf. Cramer's Magazin, 1783, p. 561.]
77 (return)[ Madame de Genlis, Mém., II., p. 248.]
78 (return)[ A number of pamphlets and newspaper articles of this and following years are collected in Mémoires pour servir ä l'Histoire de la révolution opérée dans la musique par M. le Chev. Gluck (ä Naples et ä Paris, 1781), partly translated by Siegmeyer: Ueber Gluck und seine Werke (Berlin, 1823). Here again the dispute is chiefly carried on by men of literary rather than musical knowledge (Madame de Genlis, Mém., II., p. 250). The first favourable notices were at once translated by Riedel and published with an enthusiastic preface, Ueber die Musik des Ritters Gluck ( Vienna 1775). This called forth Forkel's criticism (Musik. Krit. Bibl., I., p. 53). He was incapable of appreciating Gluck's true greatness, and as partial and philistine as other Berlin critics of that day; he was spiteful besides; but some of his remarks are true enough. The personal animosity which Forkel afterwards threw into his attacks is quite repulsive.]
79 (return)[ Grimm, Corr. Litt., VIII., p. 320.]
80 (return)[ Grimm, Corr. Litt., VIII., p. 321; IX., pp. 34, 350.]
81 (return)[ Grimm, Corr. Litt., VIII., pp. 321, 427; IX., p. 350.]
82 (return)[ Grimm, Corr. Litt., VIII., p. 321. Garat, Mém. sur M. Suard, II., p. 238. La Harpe, Corr. Litt., I., p. 86. Rudhart, Gluck in Paris, p. xo. A speaking testimony of his reverence for Gluck is the "Réponse sur un morceau de l'Orphée de M. le Chev. Gluck," and the unfinished "Observations sur l'Alceste Italien de M. le Chev. Gluck," where some striking observations are made.]
83 (return)[ Grimm, Corr. Litt., VIII., pp. 78, 322. When he remarked that Gluck influenced other composers, such as Grétry, he turned the full sharpness of his criticism upon them.]
84 (return)[ Berlioz, À Travers Chants, p. 127.]
85 (return)[ Mdlle. de l'Espinasse, in Stendsal, Vie de Rossini, p. 607. As might be expected, Grimm bestowed his highest praise upon "Orphée" (Corr. Litt., VIII., p. 390).]
86 (return)[ Winterfeld, Zur G each. heil. Tonk., II., p. 308.]
87 (return)[ Berlioz, Voy. Mus., II., p. 279; À Travers Chants, p. 142. Schelle, N. Ztschr. f. Mus., LV., p. 205. LVI., p. z.]
88 (return)[ Galiani, Corr. inéd., II., p. 106.]
89 (return)[ Marmontel, Mém. Litt., IX.; Ouvr., II., p. no.]
90 (return)[ Grimm, Corr. Litt., IX., p. 348. Dorat describes very comically in an Irishman's letter the party-fight in the pit (Coup d'Oeil sur la Littér., I., p. 211). Amusing incidents were not wanting. At one concert a song by Gluck was announced; as it began the Piccinnists ostentatiously left the hall, and the Gluckists applauded noisily; it afterwards appeared that the song was by Jomelli (Grimm, Corr. Litt., X., p. 440).]
91 (return)[ An account of the whole dispute from this side is given by Garat, Mém. Hist, sur M. Suard, II., p. 231.]
92 (return)[ Grimm, Corr. Litt., X., p. 34. Schelle, N. Ztschr. f. Mus., LV., p. 197.]
93 (return)[ Grimm, Corr. Litt., IX., p. 352. Galiani, Corr. inéd., II., p. 292.]
94 (return)[ Marmontel, Mém. Litt., IX.; Ouvr., II., p. 115. P. L. Ginguené, Not. sur Piccinni, p. 25.]