WOLFGANG AMADEUS MOZART

Press, Volume LX, Issue 18141, 2 August 1924, Page 13

WOLFGANG AMADEUS MOZART

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[By "Strad."]

We owe it to the reticent approval of publishers that biographies of famous men, and of musicians in particular, are in most cases interesting reading. We may suffer disappointment by the discovery that some of our idols have feet of clay; that we have wrongly placed them on a pedestal which crumbles away when wo penetrate to their inner lives, because we have rashly assumed that the very distinction of their art must emanate from superior beings. Still it is human nature to "want to know," and it may lead to a better understanding of their works if we strike up acquaintance with the man behind. So I beg to enlist your interest on behalf of one of my own idols, who can well stand a scrutiny of his character and life-story, and is one of tho greatest among the great masters of music, second to none in some respects, though almost unknown in our quarter of the globe. His name spells Wolfgang Amadeus Mozart. The principal cause of an ignorance otherwise incomprehensible may be attributed to the fact that most of his compositions we are familiar with are dedicated to the piano and adapted to an instrument materially differing from the perfected types of our day. Neither in tonevolume, nor tone-sustaining capacity, could it compare with the present pianoforte, though it lent itself admirably to a technique of pure linger action, favourable to dainty, pearly, sparkling passage work, exquisite to a degree which present-day virtuosos vainly attempt to emulate. With Mosehcles and Reinecke, players of Mozart have practically died out. Yet you cannot imagine anything of greater charm than some of.Mozart's Concertos in perfect execution. Many of the Sonatas contained in the full collection were simply written for the training of his pupils; are little favoured by our students, and may be regarded truly enough as mere trifles among an output of marvellous productivity. Even so, some, like the F<uitasria and Sonata in C minor, written at a stage when pianos more nearly resembling our own were already constructed, rank high among the treasury of that art-form.

Influence of the Pianoforte. I With- * the fuller tone and j resonance of the modern _ pianoforte and tho extension of its compass, its scope and effect were immensely enlarged. Alany. of Beethoven's Sonatas would never have been written without this epoch-marking development of the instrument; the ambition of a Liszt to make it the medium- of quasi-orchestral sensations would hardly have been awakened. Technique was bound to live up to the newly-opened avenues ■ accessible by . these improvements, though they involved a sacrifice of the more subtle charm and elegance of the Mozartean style. We gained vastly in richness, pathos, and power, though at a loss of much pure, sweet, beauty. Thus it has. come to pass that the little we know here of Mozart conveys most imperfectly his significance as one of thp.most eminent factors and creators in the realm of musical art and its evolution. We take Beethoven for granted as the supreme master: genius', but without his being preceded by a Mozart, Beethoven could hardly Have risen to that pinnacle, for his mighty conceptions were built upon the very foundations laid by his illustrious, older contemporary. Beethoven's early chamber music and his first symphonies furnish conclusive evidence of the truth of this'assertion. Mozart clearly recognised Beethoven's ascendancy. "Mark hiin," he said, "he will make a noiae in the world. Even as a pianist Beethoven is known to' have remodelled his rather rugged style, impressed and:' fascinated by a Mozart performance. So it may well be argued that upon Mozart's shoulders Beethoven climbed to his Olympian heights. And let us not' forget that Mozart is .pre-eminent' in Opera.

A Tragic Life. When you hear the story of his life, vou will find him worthy of your sympathy, your veneration, . your affection. With nio you will look up to him, will,grieve for. the sordidnes3, the cruelty, the tragedy of a life that would have strangled most men; grieve for the inestimable loss musical art has sustained by his death in the prime of manhood, liappv release though it was for him. Perhaps no other child ever entered A musical career with a brighter prospect of world-wide fame and a. surer expectancy of all the good things on earth and unblighted happiness. Most prodigies, as we call these exceptionally gifted musical infants, fail in after life because the world spoils them with indigestible flattery, and because these oarly successes, easily won, unfit them for tlie severe studies indispensable for the davs of maturity. Very few, numerous as they are, are heard of in later life, and the expectations based upon their precocity are rarely fulfilled. , Mozart's father was a very able Musician who directed the studies of his son from infancy to msnhood with great skill and prudence. The great <rifts of the boy were manifest "Jmost from babyhood. The Mozarts lived in one of the loveliest spots of the Tyrol, in Salzburg. Imposing snow-crowned mountains surround the beautiful valley traverse.d by a noble stream whose sides stretches out the -quaint mediaeval town. It is not ensy to trace in Mozart's music impressions of such a scenic appeal unliko Beethoven's, who was an ardent lover of Nature and sought in it inspiration often reflected in hi 3 compositions. His Pastoral Symphony is a wonderful Nature study. As we shall see, Mozart grew to hate his native place, and we can hardly blame him. In those days princes and noblemen made patrons of music, and engaged a more or less numerous retinue of musicians, ana in this way Mozart, the father, was employed by the Archbishop of Salzburg. From earliest childhood young Moaart composed music with an astounding facility, equalled perhaps only by Schubert. But it was as virtuoso on the piano that he entered upon his musical career.

On Tottr at Six. At the age of six he had arrived at such an advanced. stage that his father made plans i'or a concert tour, in which a sister five years older, and also highly gifted, took part. i&> thev set out for Munich and Wenna, where* they created a sensation, subsequently roused at every capital they visited. Two years later they travelled, with many triumphs on the way, to Paiis, were received at Court and feted in the highest circles. Some of the music written at the time was dedicated to the King's daughter. Inevitably London was to be the next plaee, and there again immense excitement was caused, single eeneerts returning as much as a hundred guineas. Lionised eveiywhere, the boy was even permitted to act as accompanist to the Queen. His first Symphony, at the age of eight, was composed in London. But a* best prodigies are a day's wonder, and little by little the Mozarts found high society cooling down in London as in Parys. i Xrautlting yaa e^geaaive

withal funds never 'wore superabundant. And era at this youthful period intrigues played &,part',. and. intrigues he was fated to encounter all his life. At the age of twelve the grand tour of Italy was undertaken, which proved not only the happiest time of his life, hut brought him also under tho dominating influence of Italian music, stirring him to emulation. In Bologna, at Milan famous and learned masters of music, like the Padro Matini, catecaised him, devised sever# tests in composition, from which he brilliantly emerged. During Easter week was annually performed, at St. Peter's in Rome, AllegriV "Miserere," a great work, and jealously guarded that it should be heard nowhere else. Mosart wrote it down from memory after the first hearing. He was knighted :by the Pope, elected a '.'Maestro di Capella" (Master of Music) at Bologna, and even had to wield the baton in an opera of his at Milan. These were wonderful days for the boy of twelve. A great musician exclaimed: "This boy will cause us all to be forgotten"; another declared: "This wonderful genius will l>e the greatest composer who ever lived." Mozart then not only excelled on the piano, but was almost equally proficient on the organ and violin. Later on, ho took a great liking to tho viola.

Adolescence. The years of adolescence worn filled out with diligent study, concert enterprise and tho pro- : duction of numerous works. Re- ! turning to Salnburg, he failed to obtain paying employment, and by degrees the place, thescehe of many disappointments, grew intolerable to him. And then suddenly the world looked ro3e-colourcd once more. He fell in love. She was a noted singer; ho would marry her, take her to Italy, write operas for her. what would he not dot But a stern father interposed and a good son reluctantly obeyed, delaying the contemplated union. When, still deeply enamoured, he returned, she who had wept copious tears at his departure, barely remembered him. The course of true love went crooked. At the summons of the new Archbishop, at whose Court he still held an almost nominal post, he came once more back to Salzburg. The overbearing Prelate treated him as a mere servant, abused him vilely, and in the end literally kicked him out. That was the end of Salzburg, and off to Yiehna ho went, for good and all. There are records of a contest with Clcmenti, in those days a great celebrity, but easily beaten by Mozart. Clcmenti was generous enough to admit "he had never heard such a player." For another contest, this time with Haydn, he had composed a movement which, ho declared, his rival could not play. True enough, while both hands were kept busy at the extreme ends of the keyboard, suddenly a note was interposed in the centre of the piano. "Impossible!" exclaimed Haydn. Imperturbably Mozart sat down to play, and when he arrived at the point, swooped down upon the central _ note with his nose, which was well designed by Nature for the feat, wherein, had he thought of it, Haydn's pug-nose could not have followed. In Vienna he was made much of: tho Emperor himself encouraged him warmly, the nobility swarmed to his concerts. Once he gave twenty-two concerts in six weeks. Pupils - were scarce; only those highly talented appealed to him, and were taught patiently to do him credit. And all' attempts to' secure a permanent, decently-paid 1 position were vain; lie had countless admirers: none were influential enough to mako him secure in life. Yet, optimistic ever, he married, and his choice fell upon a sister ,of his first love. She was an * attractive, amiable girl, but, alas! an incompetent housekeeper. Within very few months pecuniary embarrassments became tho rule, and clung to him for all his remaining years.:

A Victita of Intrigue, Compositions in every art-fortn then appeared in quick succession, although operatic productions took the-lead. .It must be understood that at that time Italy reigned supreme in opera j most of tho lucrative appointments connected with opera-houses were held by Italians. They had every reason to fear tho rivalry of such .a competitor. And bo every effort was made to . discredit and hound down tho noxious newcomer. At the first staging at Vienna, "Figaro," which as a non-dramatic, opera has never bid an equal, came very near failure, because the Italian singers, adversely influenced, sang badly on purpose, but so brilliant was its success at Prague, that all further opposition was easily defeated. It stands to this day as a monument of beaufcy. The next year saw the birth of'"Den Giovanni. A peculiar incident is recorded in connexion with it. It was discovered on the eve of its production that somehow Mozart had forgotten to write the overture. An opera without overture. was unthinkable, preposterous. So Mozart'sat down, writing all night, often overcome by sleep* but finishing the full score by 7 next - morning. Copvists were working feverishly to get the "band-parts ready, aid just in the nick of time they, were delivered at the conductor's desk, and placed immediately tit first sight. This overture is a master-work of the first tank; its principal thenie, unheard of in overture, is a magnificently, elaborated fugue. For once fickle fortune seemed to smile Upon him. Frederic William 11. offered him the conductorship of the Boyal Opera, with a stipend of £450. But he declined, like the faithful dog he was, with the words: "How could I leave my Emperorf'' His beloved Emperor, forsooth, who had never given him a dog's chance! Always the greatest trouble j was to find good librettos for his operas. I With the exception of "Figaro," none I can be deemed satisfactory. • The. last, ! an utterly stupid concoction,' resulted yet in the making of what is considered by many, even by Beethoven, his greatest work,, the "Enchanted Flute." In my own opinion, with all deference, no- j thing can compare with '' Figaro.''

A Pauper's Qrav®. Shortly afterwards a mysterious, sombre individual interviewed him with the request to compose a Requiem, to be delivered within a certain date. Mozart accepted the commission, but ill, disillusioned, and harassed as he was, somehow the idea caught hold of him that he was writing his own death-song. He fancied himself poisoned by enemies; he wrote with difficulty. The flnclyconceived, lovely work was never quite completed. Death claimed fcim in 1791 at the age of 35, a human wreck. On a stormy night, followed by a very few friends, who turned back at the city gates; without a note of music; without a tear at his grave; this glorious, immortal master of music, was brutally laid to rest in a pauper's common gTave. Yes! in a pauper'» grave! he, who had been idolised by princes galore; by wealth and beauty; he, the darling of queens, the playmate of Antoinette—illfated queen not long after—the wonder of the world at his maturity, laid in a pauper 's grave. Does it not- seem like mockery that great monuments have been erected in his honour, that the "Mozarteum" —the house he lived in at Balzburg—his become a plaee of pilgrimage 1 Beviewing his attainments, we know already that as a virtuoso he was incomparable, equally great in improvisation. Haydn expressed himself in the words: "His playing went to the heart. I go to the grave convinced that there is only one Mozart." The erratic way of his teaching has already beea touched upon. But M the unconscious teacher of other great masters his position is unique. He, influenced himself in early 1 works by Haydn, turned the tables later on, and for Beethoven's artistic growth he was as indispensable as only those j realise who are fully acquainted with the works of both masters in all successive stages. In fact, the great ; txiuitj, Haydn, Mosasrt, aid Bedttoveiy