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WOLFGANG AMADEUS MOZART

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 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
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COPYRIGHT, 1906, BY OLIVER DITSON COMPANY
INTERNATIONAL COPYRIGHT SECURED

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 CCi!

CONTENTS
PAGE
1. Minuet No. 1, in G major (Kochel, No. I)
2. Allegro for a Sonata (Allegro einer S onate) (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) 77
10. Suite (Kochel, No. 399) 82
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
18. Nine Variations upon a Minuet by Duport (Kochel, No. 573) I 53
I 9 A little Gigue (Eine kleine Gigue) (Kochel, No. 574) I64
20. Sonata No. I7, in D major (Kochel, No. 576) !66
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 Mo-
zart's masterpieces can hardly realize the fact
that more than a century has elapsed since this
great genius closed his eyes in everlasting re-
pose. Time in its arrow-swift flight ruthlessly
sweeps away everything that has a merely ephe-
meral value, and only he who has created for all
epochs, like a Shakespeare, a Goethe, a Michel-
angelo, a Beethoven, remains standing like a
pillar, which, after centuries, still inspires admi-
ration. 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 through-
out his life, owing to his excessive good-nature,
he produced many pieces in the interest of trivial
festivities, and a great deal for dilettante acquain-
tances; in short," occasional works" of all kinds,
such as could not by any possibility lay claim to
immortality, although even in these less signifi-
cant productions his marvellous instinct for per-
fect 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 sym-
phonies, string quartets and quintets, the Re-
quiem, the C minor Mass, and many of his piano-
forte compositions,- first and foremost his piano
concertos in C minor, D minor, D major, B ma-
jor, &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
W ER die Meisterwerke Mozart's heute
mit gesund erhaltenem Sinne fur das
wahrhaft Schone zu geniessen und zu bewun-
dern versteht, der wird sich kaum in die That-
sache 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, Beet-
hoven bleibt wie eine Siiule stehen, die nach
Jahrhunderten noch bewundert wird. Eine sol-
che Siiule ist auch Mozart.
Es ware thoricht, wollte man in blinder Ver-
ehrung aile Werke des Meisters gleich hoch ein-
schiitzen, 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 Gelegenheits-
werke aller Art geschrieben, die nicht auf U n-
sterblichkeit Anspruch machen konnen und
wollen, wenngleich auch in diesen minder bedeu-
tenden W erken der wunderbare Sinn fur vol-
lendete Formschonheit nicht zu verkennen ist.
Man priife darauf hin die zahlreichen Diverti-
menti, 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 Ama-
deus Mozart als Sohn des, Hofmusicus" Leo-
pold Mozart und der Anna Marie Mozart,
Vlll 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 en-
tirely 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 mean-
time 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 self-
consciousness. 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 El-
tern verblieben, wurden ihre Freude und ihr
Stolz, es waren Wolfgang und des sen 4Yz Jahre
altere Schwester, Maria Anna, genannt das Nan-
nerl, welche auch im zarten Kindesalter schon
eine merkwiirdige Begabung fur M usik zeigte
und ihrem jiingeren Bruder zunachst als Vor-
bild diente. Schon als dreijiihriger Knabe horte
der Kleine gern zu, wenn die Schwester Cla-
vier-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 al-
lein erkannt, sondern auch verstandnissvoll ge-
fordert 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 zweistim-
mig gehaltenes Stuck, welches noch heute eine
gute Figur machen wiirde, wenn man den Cla-
viersatz 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 \in-
chen, wo die heiden Kinder jedoch eine solche
Bewunderung erregten, class der Vater sich ent-
schloss, noch in demselben Jahre die kleinen
Kiinstler nach Wien zu fiihren. Am kaiserlichen
Hofe fanden die Kinder die liebevollste Auf-
nahme; 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 ver-
hiitschelte man ihn wegen seiner kindlichen U n-
befangenheit. Er sprang der Kaiserin Maria
Theresia auf den Schooss und kiisste sie herz-
haft ab, der Prinzessin Maria Antoinette aber
(die spater in Paris als Konigin auf der Guillo-
tine endete) versprach er, sie zu heirathen.
Es wiirde zu weit fiihren in diesem kurzen Le-
bensabriss 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 can-
tata entitled '!'he Dutyofthe Firs/Commandment-
a score of two hundred and eight pages! To-
ward 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 gra-
cious! 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 ar-
tists, in spite of their development. So the sub-
stantial 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 clear-
cut 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 Em-
peror's desire he composed this same year his
opera La Pinta Sempfice, which comprises no less
than twenty-six numbers. Its performance, how-
ever, was thwarted through the machinations
of the impresario Affiigio.
In December, I 769, Leopold Mozart took
his son to Italy; by way of Innsbriick, Rove-
redo 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 car-
ried 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, bela-
den mit einem ganzen Magazin von Geschenken
und Kleinodien aller Art. Im Jahre I 766, also
in seinem zehnten Lebensjahre componirte Mo-
zart ein geistliches Singspiel Die Sclzuldigkeit
des ersten Gebotes eine Partitur von 208 Sei-
ten! 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 end-
lich 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 Kin-
dern kleine Geschenke zu machen, wahrend
das Publikum, welches den Wunderkindern der-
einst zugeju belt hatte, fiir die sich entwickeln-
den 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 heim-
isch ist und namentlich durch die scharfe Cha-
ratl:erisirung der verschiedenen Personen iiber-
rascht. Ebenso iiberraschend ist es, class die ersten
Takte der Ouvertiire mit dem Anfangsmotiv
der Sinfonia Eroica von Beethoven iiberein-
stimmen. 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 hintertrie-
ben.
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 Kunst-
stiick 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 cre-
ated hisldomeneo hehadalreadycomposed no less
than three hundred and sixty-five different works,
including twelve operas, thirty-seven sympho-
nies, twenty-two concertos for various instru-
ments, 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 presentday we listen with delight at
concerts to one or another of its many lovely
arias; while the fascinating gavotte from the bal-
let-music, whenever it is heard in German mu-
sic-halls, inevitably awakens a demand for its
repetition.
In 1782 Mozart married hisConstanze.Atrue
friend of the Mozart family described the rela-
tions 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 accommo-
date herself admirably to his disposition, there-
by 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 unzahli-
gen 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 Mo-
zart 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 wie-
der in Salzburg. Als Mozart im Jahre I 7 8 I sei-
nen Idomeneo schuf, hatte er nicht weniger als
36 5 Werke geschrieben, darunter I 2 Opern, 37
Symphonien, 22 Concerte fiir verschiedene In-
strumente, 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 er-
fiillt. Der Meister selbst empfand es schmerz-
lich, dass er gezwungen war, das W erk im tra-
ditionellen Style der damaligen italienischen
Oper und mit subtiler Riicksicht auf die Fahig-
keiten der Sanger schreiben zu miissen. So aus-
sert 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 vie-
len schonen Arien mit Genuss, wahrend die rei-
zende Gavotte aus der Balletmusik die Runde
durch die deutschen Concertsale macht und
stets da capo begehrt wird.
Im Jahre I782 heirathete Mozart seine Con-
stanze. Ein treuer Freund des Mozart'schen
Hauses schildert das Verhaltniss der heiden Ehe-
gatten 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 unquestion-
ably raised himself to the first rank as a master
in the musical art. His GOntemporaries were
able to appreciate The Elopement, and they con-
ferred 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. Cava-
lieri's flexible gullet (gelaufigen Gurgel)."
Mozart's regular residence at Vienna was in-
terrupted 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 wel-
come 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 misera-
ble 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 Kai-
ser?" The King allowed him time for considera-
tion, and in fact_ when Mozart returned to Vi-
enna 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 anzu-
schmiegen wusste und dadurch sein ganzes Zu-
trauen und eine Gewalt iiber ihn gewann, welche
sie nur dazu verwendete, ihn oft von U eberei-
lungen abzuhalten. Er liebte sie wahrhaft, ver-
traute ihr alles, selbst seine kleinen Siinden-
und sie vergalt es ihm mit Zartlichkeit und
treuer Sorgfalt."
Das erste W erk, welches nun der junge Ehe-
mann 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 Zeitge-
nossen 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 un-
terbrochen, 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 Begeis-
terung aus: ,So hat nur noch Bach gespielt!"
In Berlin fand er beim Konig Friedrich Wil-
helm II, der die Entfuhrung und andere Mo-
zart'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 jahr-
lichen Gehalte von 3000 Thalern (9000 Mark)
antrug. Da Mozart in Wien den armseligen Ge-
halt von 8oo Gulden bezog, sollte man denken,
class er die Einladung rasch und freudig ange-
nommen hatte, aber er fand als Antwort nur die
Worte:, Soil ich meinen guten Kaiser ganz ver-
lassen?" Der Konig gestattete ihm Bedenkzeit,
und in der That erbat Mozart in Wien eine

Xll WOLFGANG AMADEUS MOZART
wish to leave me?" the great artist was over-
whelmed with emotion, and uttered only these
three words:" Majestat,ich bleibe!" ("Your Ma-
jesty, I will stay").
When his friends reproached him for having
failed to use his opportunity to demand an in-
crease of salary he replied: " How the devil
could I think of that at such a moment?"
From this time forth there is little worth re-
lating in his life-story, and the narrator might
come to a conclusion with the words: "He com-
posed 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 out-
burst, 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-men-
tioned operas, many of his great instrumental
pieces would seem to demand a searching dis-
cussion. May it be permitted me therefore to
call the attention of those who desire a more
thorough study of Mozart's works to two writ-
ings of mine which may perhaps to some degree
satisfy their demands: these are a pamphlet en-
titled For the Revival of Mozart's Piano-Concertos
(Leipzig: Reinecke Brothers) and the book en-
titled 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 Ent-
lassung 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 dar-
iiber machten, class er die Gelegenheit nicht be-
nutzt habe, urn eine Gehaltserhohung zu ver-
langen, 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, Mo-
zart habe seinen Don ]uan componirt!-Com-
position! -Eine geistige Schopfung ist es, das
Einzelne wie das Ganze aus einem Geiste und
Guss und von dem Hauche eines Lebens durch-
drungen, wobei der Producirende keineswegs
versuchte und stuckelte und nach Willkur ver-
fuhr, sondern wobei der damonische Geist seines
Genies ihn in der Gewalt hatte, so class er aus-
fiihren 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 aus-
fiihrlich 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 nstru-
mentalwerke eine eingehende Besprechung for-
dern. Es sei mir daher gestattet Diejenigen, wel-
che nach Ausfiihrlichem ii ber Mozart's W erke
V erlangen tragen, auf zwei Schriften von mir zu
verweisen, die ihrem Wunsche vielleicht einiger-
massen entsprechen konnten; es sind die Bro-
schiire Zur Wiederbelebung der Mozart' schen Cla-
vierconcerte (Leipzig bei Gebriider Reinecke) und
das Buch Meister der Cf'onkunst: Mozart, Beetho-
ven, Haydn, Weber, Schumann, Mendelssohn (Ber-
lin 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 Wal-
segg.
In the last year of his life Mozart created, be-
side 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.
A WORD CONCERNING
EXECUTION
A correfl execution may be learned; one char-
acterized by beauty, intelligence and soul can be
learned only when the player possesses the ca-
pacity to recognize and to interpret the general
meaning inherent in a piece of music, and like-
wise 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 incor-
rect accentuation of the syllables, a word or a
sentence may be rendered meaningless, so like-
wise may a musical thought be made incoherent
by means of incorrect accentuation of the com-
ponent 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 corre-
sponds the accent of the individual quarter-notes
in 2/4 measure. As an example of this we may
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 aberistmitziem-
licher 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 Re-
quiem noch 28 W erke von zum Theil gros-
serem U mfange; aber der starke, immer schaf-
fende Geist konnte doch den V erfall des schwa-
chen Korpers nicht aufhalten, und am 5. De-
cember 1791 schloss der Meister die Augen zur
ewigen Ruhe. Er war nur 35 Jahre alt geworden.
..
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 no-
tengetreue Wiedergabe vorausgesetzt; wie aber
durch unrichtige Betonung der Sylben ein Wort
oder ein Satz unverstandlich werden kann, so
auch ein musikalischer Gedanke durch unrich-
tige 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
 XIV WOLFGANG AMADEUS MOZART
adduce Beethoven's sonata Les Adieux, first mea-
Fare thee well Fare thee well
sure, ~l}pt but not ~J~
The beginning of the Beethoven sonata, Op.
79,.corresponds to the daCtyl - v "", and there-
fore the second and third quarter-notes should
not be so strongly accented as the first: thus,
~~
not but - Whoever is
able to apply this rule also to the allied mea-
sures of time (4/4, 6/8, 6/4, &c.) will, from a
technical standpoint at least, never play unmu-
sically. 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
1
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 circum-
stances may be the exaCt: opposite of beautiful;
a beautiful performance may apparently offend
against all the rules. For example, in Beetho-
ven'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 Mo-
zart'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 let-
ter to his father he wrote as follows regarding the
then famous Nanette Stein: ''She will never at-
tain the most essential and the most difficult and
the one absolutely necessary thing in music-
that is, tempo; because from her youth up she has
with perfeCt: assiduity accustomed herself never
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).
set angefiihrt Beethoven's Sonate Les Adieux
Le-bewokl Le-bewohl
~~~~m ~,~~m
T:akt I - --!!.--.- f nicht aber _: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
::>-
>- .(11... >- ::>- _,.._
~~~~ sondern ~~~~~~~~
W er diese
Regel auch bei den zusammengesetzten Takt-
arten ( 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 re-
gelrechter Vortrag kann unter U mstiinden un-
schon 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 Takt-
tht!il hervorgehoben werden, sondern siimmtliche
acht Achtel sollen gleichmiissig pianissimo er-
klingen, wenn man dem CharaCter dieses Gedan-
kens 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 oth-
wendigste und Hiirteste und die Hauptsache in
der Musique, namlich das Tempo, niemals be-
kommen, weil sie sich von J ugend auf vollig
beflissen hat, nicht auf den TaCt zu spielen.
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
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 re-
garding this point. I have already fairly con-
verted 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 soli-
citude prescribed what it should be.
Nevertheless the intelligent interpreter's in-
dividuality 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 :
"If 'tis not felt, 'twill not he caught hy chasing."
CoNcERNING THE ORNAMENTS
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 pos-
sible from the works of the masters themselves
their own preferences as to the execution of em-
bellishments; and on the basis of results thus ob-
tained I have noted them in this album. For ex-
ample, I infer that Mozart in the C minor Fan-
tasia (Kochel, No. 475), in the third and fourth
1
'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.
XV
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 geist-
vollen 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 gewis-
sen 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 un-
zureichend aber die Sprache ist urn dergleichen
zu lehren, fiihlt der M usiker bei jedem erneu-
ten V ersuche, und unwillkiirlich denkt er an des
Dichters Wort:
,Wenn ihr's nichtfohlt, ihr werdet's nicht erjagen."
UEBER DIE 0RNAMENTE
Es existiren Regeln und Traditionen iiber die
Ausfiihrung der Verzierungen, und dennoch-
wie verschieden sind die Ansichten der Fach-
miinner hinsichtlich dieser M aterie. Ich per-
sonlich 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
XVI WOLFGANG AMADEUS MOZART
measures after the II, writes the notes as fol-
1ows: ~ rn s'H-b
,__.,. _====
-~iiLA:~
~~t:f:Ej= wh"l .
1 e 1t must
be evident to every thoughtful musician that the
master must have played the last two notes
~~ and not g\ We find a similar nota-
tion in the slow movement of the G minor
Symphony. After Mozart has written the motive
~~ which first appears in the seventh mea-
sure, almost a hundred times in this way, he no-
tates it in the thirteenth measure before the end
~~~
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
~ >,r,-
E~
thus: E~ If it be asked now why Mozart
here inserted a grace-note the answer is: be-
cause 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 in-
trusted in large measure the appropriate intro-
duction of ornamentation, would understand its
correct execution. Similar examples could be ad-
duced, but these few suffice to prove that Mo-
zart 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. Embel-
lishments -if they are truly such and not ab-
breviations-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.
.
sen notlrt: a~r=r~ --=
3 und 4 Takte nach der II folgendermas-
E,-=+=~ .. -
+ - - 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
7 Takte zuerst auftretende Motiv ~-eft fast
hundertmal in dieser Weise geschrieben hat, no-
tirt er im IJ. Takte vor dem Schluss des ersten
Theils wie folgt: ~~~"C U nd ebenso klar wie
in der Fantasie ist es, class Mozart jenes Motiv
in consequenter Weise fortgesetzt haben wollte,
also: ~ Fragt man nun, warum Mozart hier
einen ,Vorschlag" notirt habe, so lautet die Ant-
wort, 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 ge-
nugen 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 Ausschreib-
ung der Verzierungen nicht einverstanden sein
wird, und ware es auch nur, weil es oft abso-
lut unmoglich ist, dieselben genau so zu no-
tiren wie sie gespielt werden soil en; V erzier-
ungen ( 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 abge-
sehen,die Ausfiihrung derTriller auszuschreiben.
 WOLFGANG AMADEUS MOZART XVll

A WoRD coNCERNING THE ART-FoRMs EM- EINIGES UBER DIE GEBRAUCHLICHSTEN KuNsT-
PLOYED IN INSTRUMENTAL Music FORMEN IN DER lNSTRUMENTALMUSIK

THE simplest form is the so-called song or dance DIE einfachste Form ist die sogenannte Lied-
form 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), zu-
in 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) be-
gins; 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 Mittel-
The 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 Ron-
essential 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 Haupt-
the 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 (Beet-
with a cantabile adagio (Beethoven's Sonata hoven, Op. 26) oder mit einem liedartig ge-
quasi 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 ver-
is 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 de- Sehr haufig wird dieser erste Theil wiederholt.
velopment seCtion, in which the composer em- N ach diesem Abschlusse beginnt der soge-
ploys 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 com-
his 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 dif-
ference 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 move-
ments in sonata-form correspond, with compara-
tively few exceptions, to the above analysis.
The suite in its original form arose out of a
series of dance-pieces-allemande, courante, ga-
votte 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 ma-
jor and ended it in E flat major. Moreover
the autograph contains an unfinished sarabande.
The fantasia, as its name implies, has no con-
ventional 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 song-
form, and the other one in C minor is from the
very beginning written in sonata-form.
Variations, as the word implies, are altera-
tions 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 Sympho-
nies, in which works they are employed in ex-
ceedingly 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 un-
ziihliger 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 ein-
geleitet und mit einer Gigue geschlossen ward.
Die Mozart'sche Suite ist ein Torso geblieben,
denn Mozart wiirde nie eine Suite in C-dur be-
gonnen und in Es-dur geendet haben. U ebri-
gen:s enthalt das Autograph auch noch eine un-
vollendete Sarabande.
Die F antasie hat, wie schon der N arne er-
warten liisst, keine bestimmte Form. Mozart
aber, mit seinem ungemein feinen Formgefiihl,
hat seinen Fantasien stets festgefugte Siitze an-
geschlossen 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 ge-
schrieben.
Variationen sind, wie schon das Wort sagt,
Veriinderungen eines Themas durch Bereich-
erung nach melodischer, harmonischer, rhythm-
isch,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 devel-
oped 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 ariationen-
form 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 Stim-
men von gleicher Bedeutung und Wichtigkeit
sind, gebaut auf ein Thema, welches zuerst in
einer Stimme allein auftritt, dann von den iibri-
gen Stimmen nach gewissen Regeln gebracht
und nach Ermessen des Componisten in sol-
cher Weise fortgefuhrt wird, class das Fugen-
thema 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 J. T. Hutchinson. London,
1895
HALE, PHILIP : Mozart (in Famous Composers and their Works). Boston, 189 I
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 8-
MOZART, 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, x8-
W 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
 1

MINUET No 1, in G Major
(Composed ~t Salzburg, in 1761)

Edited by Carl Reinecke 'VOLFGANG AMADEUS MOZART

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2

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Edited by Carl Reinecke WOLFGANG AMADEUS MOZART
(Composed about 1778)
N~ 312 (Kochel)

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SONATA N<.? 11, in A Major

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N2 331 (Kochel)

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SON AT A I~Q 14
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(Die 27 Takte zwischen den Sternchen sind nicht in Mozarts Autograph, wohl aber in allen, auch den aJtesten Ausgaben vorhanden.
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136

M L-1422-8
137
138

RONDO, in A Minor
(composed March 11J 1787)

Edited by Carl Reinecke WOLFGANG AMADEUS MOZART

NQ 511 (Kochel)

PLANO

~. *

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 139

M L-1267 -10
140

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M L-1267-10
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148

ADAGIO, in B Minor
(composed March 19, 1788)

Edited by Carl Reinecke WOLFGANG AMADEUS MOZAR'I

N2 540 (Kochel)

PIANO

5 2 3 4

M L-1268-5
Copyright MCMVI by Oliver Ditson Company
 149

M L-12!i ...,- 5
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1 2
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It 112

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 153

NINE VARIATIONS
UPON A 1fiNUET BY DUPORT
(composed at Potsdam, April 29, 1789)

Edited by Carl Reinecke \VOLFGANG AMADEUS MOZART

N~ 573 (Kochel)

PI.:\ NO

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VAR. I (J=t26)
4

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 159
VAR.VI
Min ore (J =tos)
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 161
VAR. VIII
Adagio (}>=1. .~a~2)_ _ _ __

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 162

VAR. IX
Allegro (J =t32)
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 163

*
:M L-1Z70-11
164

A LITTLE GIGUE
(EINE KLEINE GIGUE)
(composed in Leipzig, May 171 1789)

Edited by Carl Reinecke WOLFGANG AMADEUS MOZART

_
N2 574 (Kochel)
J= 1o8)
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Copyri~ht MCMVI by Oliver Dit.&on Company M L-1269-2

 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)

PIANO

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 167

5 5

M L-1271-16
168

1 2 3 1

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 169

M L-1271-16
170

3 1

M r,-1211-1<:
 171

1 1

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Adagio (/l= 1a2)
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2 2
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M L-127.1-_1~
 173

M L-1~71-16
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M L-1271-16
 175

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