Life of Mozart Volume 2 — CHAPTER XXI. COURT SERVICE IN SALZBURG, Part 1

CHAPTER XXI. COURT SERVICE IN SALZBURG.

MOZART was welcomed to the paternal roof with open arms; everything was prepared for his reception; "a convenient cupboard and the clavichord were placed in his room," the cook Theresa had cooked capons without number, the high steward Count von Firmian (Vol. I.

, p. 345) offered him his horses, and Dr. Prexl also placed his "beautiful {MOZART'S DISTASTE TO SALZBURG.

} (85) bay mare" at his disposal; in short, Mozart's return home was a happy and triumphant event to all the good friends of his youth.

We know the feelings with which he returned.

Disappointed in his hopes of rapid and brilliant success, he returned to the old condition of things, and the yoke must have pressed on him all the more heavily now that his illusions were dispelled and he no longer saw a prospect of shaking it off.

He had buried his mother in a foreign land, and his warm true heart had been deceived in its first love; in poverty he returned to his father's house.

He was not in a position to see as clearly as we do how powerfully his added experience of life and manifold artistic impressions had contributed to his moral and mental development, and he could scarcely be expected to look to this development for the strength and courage necessary to face the future.

The commencement of his residence in Salzburg was cheered by the presence of his lively young cousin; she had followed him from Munich on his entreaties, to pay a visit of some weeks to her uncle.

Mozart's amiability and cordial manners renewed many pleasant intimacies, but the actual cause of his distaste to Salzburg, viz.

, the want of cultivation and of a disinterested love of art among its inhabitants, remained as before, and his long absence was likely to make him feel it all the more sensibly.

The Archbishop, compelled by circumstances and his surroundings to recall Mozart, had not by any means forgiven his voluntary resignation of his former office, and the disinclination to return which Mozart had so evidently displayed, was certainly not calculated to appease his ill-will.

We shall soon learn the kind of treatment which Mozart had to expect from him.

The Salzburg public are described by Wolfgang in a letter to his father (May 26, 1781): "When I play in Salzburg, or when any of my compositions are performed, the audience might just as well be chairs or tables."

He declares that, although he actually loves work far better than idleness, the want of congenial intercourse and inspiring surroundings make it often almost impossible for him to set to work at composition.

"And why?

Because my mind is not at ease."

Again, he says (April 8, 1781): "To dawdle away one's {COURT SERVICE IN SALZBURG.

} (86) youth in such a wretched hole is sad enough, and harmful besides."

This and similar expressions might lead one to suppose that Mozart had neglected composition during these years, but a survey of the works which are known to us suffices to dispel this idea.

His musical activity took as a matter of course, in all essential points, the same direction as formerly; his official position as concertmeister and as court and cathedral organist (for so he was entered in the Salzburg Court Calendar), gave occasion for instrumental and church compositions, the style and materials of which were as restricted as before.

The first instrumental composition, in G major (318 K. ), dated April 26, 1779, seems to have been written for some very special occasion.

The orchestra is strongly appointed (besides the quartet there are two flutes, two oboes, two bassoons, four horns in G and D, and two trumpets in C, and used for effects which must have startled the Salzburgers.

It is in the form now usual for overtures, but out of date for concert symphonies, viz.

: three connected movements, Allegro spiritoso 4-4, which contains, besides the principal energetic motif with which it begins, and which constantly recurs in different ways, two independent, quieter motifs in succession: Andante 3-8, gentle and soft, somewhat longer than is usual for middle movements, but simple and without thematic elaboration; it leads back to the first Allegro, shortened (by the omission of the second subordinate subject) and modified in the elaboration.

The individual and dramatic character of this composition, expressed most particularly in the commencement and the close of it, makes it probable that it was written as an introduction to a drama.

We shall see that there was no lack of occasion for such works.

Also belonging to this period are two symphonies in the usual three movements.

[1] The earlier, in B major (319 K. , {SYMPHONIES--SERENADE, 1779.

} (87) part II), composed in the summer (July 9) of 1779, was evidently the results of "a pleased frame of mind"; it is a genuine product of Mozart's humour, lively, cheerful and full of grace and feeling.

The second, a year later (August 29, 1780), in C major (338 K. , part 10), is grander in conception and more serious in tone.

This is particularly noticeable in the first movement; a constant propensity to fall into the minor key blends strength and decision with an expression not so much of melancholy as of consolation.

In perfect harmony of conception, the simple and fervent Andante di molto combines exceeding tenderness with a quiet depth of tone.

The contrasting instrumentation is very effective in this work; the first movement is powerful and brilliant, but in the second only stringed instruments (with doubled tenors) are employed.

The last movement is animated throughout, and sometimes the orchestral treatment is rapid and impetuous.

A Serenade in D major (320 K. ) belongs also to 1779, composed probably for some special festival, and (except that the march is omitted) quite in the style of the early already-noticed serenades[2] (Vol. I.

, p. 301).

A short Adagio serves as introduction to a brilliant Allegro, arranged exactly like the first movement of a symphony, and worked out at considerable length; to this follows a minuet.

Then there is inserted a concertante, described as such in the title, consisting of two movements, an Andante grazioso 3-4, and a rondo, Allegro ma non troppo 2-4, both in G major.

[3] In earlier days, when Mozart figured as a violin-player, a violin solo played the chief part in such compositions;

but now the wind instruments, two flutes, two oboes, and two bassoons are employed concertante; the stringed instruments and horns form the accompaniment proper.

These two pieces are elaborated with great care and accuracy, and are clear and perspicuous as well as tender and graceful;

{COURT SERVICE IN SALZBURG.

} (88) the rondo is somewhat lighter in tone than the first movement.

Of bravura, properly so called, there is none to be found, and the ornamental passages are confined to moderate amplifications of the melodies.

The instruments are solo in that they bear the principal part throughout, concertante in that they emulate each other in manifold and changing combinations; their strife is playful, with sometimes almost a mischievous tone.

The Andantino which follows offers a strong contrast to both movements of the concertante.

This is marked at once by the fact that the stringed instruments are here put forward as the exponents of the musical idea, while the very sparely used wind instruments only emphasise certain sharp points of detail.

But the contrast is deeper than this; the light and sunshiny mood of the two previous movements accentuates the serious melancholy of the Andantino, which seems to tell not of the pain of an existing passion, but of the inner peace of a sorrow overcome.

After a less noticeable minuet[4] the serenade closes with a long elaborate Presto, an important movement full of life and force; the most emphatic contrapuntal arrangement of the principal theme is in the middle passage; it is lively and original, as well as technically correct.

The melodies and subjects of these works show unmistakable progress;

they are of maturer invention, have more musical substance, if the expression may be allowed, more delicacy and nobility of apprehension.

Technical progress is visible in the greater freedom of the contrapuntal treatment, which had already been fully developed in Mozart's vocal compositions.

This is most obviously apparent in those parts where thematic elaboration predominates, which are richer and freer than hitherto.

There are also many motifs which owe their importance mainly to their contrapuntal treatment.

But, above all, we recognise Mozart's sure tact in preserving the limits that prevent the interest in the {PROGRESS IN INSTRUMENTAL MUSIC.

} (89) different combinations of counterpoint to which a motive can be subjected from becoming essentially technical, and losing its artistic character.

Equally surely has his genius preserved him from the mistake of ascribing any absolute value to the contrapuntal method, or favouring the logical element which lies in it to the disadvantage of sensuous beauty.

He makes use of the forms of counterpoint only to arrest the attention and to heighten the interest, without wearying the mind, intruding a foreign element into the original essence of the work, or neglecting beauty of form; Mozart never forgets that music must be melodious.

Therefore a receptive although uncultivated hearer receives a pleasing impression from artistic and even intricate passages, without at all suspecting the difficulties which he enjoys.

But the influence of the contrapuntal method reaches far deeper than well-defined and scholastic forms, just as a well-considered discourse does not consist merely in the observance of syllogistic forms.

The principle of the free movement of the separate members of one whole penetrates the minutest divisions;

and the combined effects of creative ability and artistic cultivation are nowhere so well displayed as in the independent construction of the separate elements which go to form the whole work.

We admire Mozart's art in devising his plan, in accurately distributing his principal parts, and in disposing his lights and shades; but where he is in truth inexhaustible is in his power of strewing round a wealth of small touches which assist the characterisation and give to each part its peculiar effect and, in some respect, the justification of its existence.

This power, which always seems to have something at command beyond the necessities of the case (although, in fact, every detail which seems to be the chance expression of individual vigour is conditioned of necessity by the whole conception), is the prerogative of genuine creative genius.

It approaches the eternal power of nature, whose apparent prodigality is revealed to the deeper view as the wisest economy, or rather as the unruffled harmony of a great whole.

So a statue by Phidias suggests to the spectator the impression of animated {COURT SERVICE IN SALZBURG.

} (90) nature, because it not merely puts before his eyes in general features a representation of the bodily form of man, but suggests to him the totality of the muscular movements which are in a living body in incessant activity.

It is in art as in nature: the further we penetrate the fewer and less complex become the governing forces and impulses.

Many details may be considered as trifling until it is asked whether they, in their place, have the required effect as part of the whole.

When a work of art gives an effect of an artistic whole, in a way which cannot be explained by a consideration of its apparently insignificant parts, this may be taken as the surest proof that the artist worked downwards from his conception of a great whole to the minutest details of his work.

We must not undervalue, on the other hand, Mozart's more exact knowledge and freer use than formerly of external means.

His residence in Mannheim had given him an altogether new conception of the performance of a good orchestra, both as to sound-effects and execution.

The result is present in these compositions, although Salzburg surroundings and customs limited him greatly in his choice of means.

It may be that for these reasons his instrumental combinations show no marked progress on former works, but the skilful use of the forces at his command become all the more apparent.

It is remarkable how, without any alteration in the instrumentation as a whole, the body of sound has become richer and fuller, the result of a more careful consideration of the particular nature of each instrument.

This is most striking in the management of the wind instruments.

The bassoons predominate throughout, independently treated, whereas formerly they only strengthened the bass; and the use of the horns, with their long-sustained notes, shows marked progress.

The combination of the wind instruments, sometimes in opposition to the stringed instruments, sometimes in unison with them, is another advance.

Effective as are the wind instruments in combination, they are still more so in the delicacy of their individual features, and the perfection of their treatment could not fail to influence that of the stringed instruments, which show the same higher conception of what orchestral performances ought to be.

{MOZART AS A CONDUCTOR.

} (91) The Mannheim experiences were not without result either in respect to the executive delivery of the orchestra.

Mozart must have been particularly impressed with the effect of _crescendo_, for almost in every passage we meet with phrases built upon a long-drawn _crescendo_.

The contrast between _piano_ and _forte_ is also made the most of.

Regular alternations of long passages _forte_ and _piano_ were formerly the custom, but now we have a rapid succession of very varied shades, _fortissimo_ and _pianissimo_ being also brought into use.

But all these are only the outward signs of a higher intellectual apprehension, for which it was necessary also to give credit to the performers; the composer, far from relying only on external effect, makes it the mere expression of the deeper meaning and intrinsic value of his compositions; it is from this point of view that the progress made by Mozart in the manipulation of his artistic materials acquires its true worth in the eyes of a musical critic.

We may imagine that Mozart found it no easy task to substitute a completely new style of execution for the time-honoured customs of the Salzburg band.

The energy with which he was able at a later date to inspire the Leipzig orchestra, wedded as it was to its own traditions, gives some indication of his way of proceeding as a young man at Salzburg.

His cousin used to hold forth later on Mozart's eccentric behaviour when conducting, and we may imagine that she witnessed some of the extraordinary scenes she describes during her present visit to Salzburg.

Mozart never appeared again as a violin-player, and we therefore find no compositions for the violin belonging to this period.

After such an expression of opinion concerning the Salzburg public as that noted above, we cannot wonder that he was not over-anxious to appear before them as a clavier-player.

We doubtless owe the Concerto for two claviers with orchestral accompaniment in E flat major (365 K. , part 17) to his wish to play a duet with his sister.

[5] {COURT SERVICE IN SALZBURG.

} (92) In design and treatment it is essentially similar to the earlier triple concerto.

There is no intention apparent of making the two instruments independent; the players emulate each other in the delivery of the melodies and passages, sometimes together, sometimes in succession, often breaking off in rapid changes and interruptions; the melodies are sometimes simply repeated, sometimes with variations so divided between the two instruments that neither can be said to have the advantage over the other.

There are somewhat greater difficulties of execution than have been usual hitherto, a few passages, for instance, in octaves and thirds, but very modest ones; the passages generally have more variety and elegance.

The orchestra is simply and judiciously, but very delicately treated, the wind instruments in sustained chords, as a foundation for the clavier passages; the effect of the _crescendo_ and a greater attention to light and shade show the influence of Mannheim.

Altogether the concerto is a well-arranged composition, clear and melodious, as well as accurately constructed, with a free, cheerful expression, which is most strikingly shown in the fresh gaiety of the last movement.

As organist, Mozart was under the necessity of playing the organ at festivals, but as a rule only for accompaniments and for interludes at set places, which gave him opportunities for improvising--his special delight.

We have some organ sonatas with orchestral accompaniments belonging to this time (328, 329, 336, K. ), quite in the style of those already noticed (Vol. I.

, p. 286); compositions after the fashion of the first movement of a sonata, without a trace of ecclesiastical severity, either in the technical construction, which is very light, or in the style, which is brilliant and cheerful.

The organ occurs as an obbligato instrument only in one of these sonatas (329 K. ), which is the most elaborated, but still very moderate in style, and without any florid passages.

{MASSES, 1779, 1780.

} (93) Of more important church compositions there belong to this period two Masses in C major, of which the earlier (317 K. ) is one of Mozart's best-known works of the kind, bearing date March 23, 1779, and the later (337 K. ) was written in March, 1780. [6] They are quite after the prescribed manner, not too long, not too serious, and yet not light; in no respect difficult or important, and closely allied in substance and treatment to the earlier works which have already been analysed (Vol. I.

, pp. 263 et seq.

).

The easy invention, never at a loss for fitting expression, the talent for organisation which arranges the parts into a connected and coherent whole, the technical sureness which gives to every detail its due share of interest--above all, the inexhaustible gift of melody and symmetry: all these qualities are here to be found, and it is by their aid that, in spite of hampering circumstances, such great and healthy work was done.

Nevertheless, these Masses show more plainly even than earlier works of the same kind how the fetters of outward control check the impulses of inner strength and feeling.

We see Mozart as it were in court dress;

he is expert enough to move in it with tolerable freedom, but he is disguised rather than clothed.

Conventional influence is most apparent in the instrumentation, which, as a whole, is little different from that of the earlier works.

Some passages are remarkable even in their instrumentation; for instance, the Et incarnatus and Crucifixus of the first Mass have an expressive violin passage, and in the second the treatment of the wind instruments in the Crucifixus and Resurrexit, and the organ, oboe, and bassoon in emulation with the voice in the Agnus Dei, remind us of Mannheim.

But these are details, and in its general features the tone-colouring of the orchestra is the same as formerly; rapid violin passages predominate, the trombone follows the voice regularly and _forte_, and so on.

But in other respects original features are not wanting, nor even passages of surprising beauty, to which belongs, for instance, the unusually melodious close of the first Mass, in which the Benedictus, {COURT SERVICE IN SALZBURG.

} (94) contrary to custom in a serious choral movement, is in strict counterpoint.

These are signs of a great genius, which make us regret all the more that the whole work is not dictated and inspired by the same spirit.

To this period also, according to the handwriting, belongs a Kyrie sketched by Mozart and not preserved quite complete (323 K. ), which has been completed and printed as a Regina coeli by Stadler.

It is characterised by a rapid sextole passage which is distributed among the wind instruments in uninterrupted movement.

The voices take their own independent course throughout.

Among other unfinished attempts by Mozart preserved in the Mozarteum at Salzburg, and both by the handwriting and instrumentation, as well as from other reasons, to be referred to this time, we may particularise the beginning of a Mass with obbligato organ (Anh.

, 13 K.

) and the beginning (two pages) of a Kyrie (Anh.

, 16 K.

), which is in such strict counterpoint that the Mass, if it had been finished, would have been among the most elaborate of them all.

But Mozart had neither inducement nor the means for producing such compositions in Salzburg.

Two Vespers by Mozart (321, 339, K. ), of the years 1779 and 1780, have much the same resemblance in substance and compass to masses that litanies had at an earlier period, but they stand higher in many respects.

Five psalms and the Virgin's hymn of praise form the part of the Vespers which is in varied chant; every division ends with the doxology, and is complete in itself.

In the Litany the principal part is framed in, as it were, by two equally original and characteristic movements, the Kyrie and Agnus; the Vespers, on the other hand consist of six separate movements which have no connection, either actual or artistic.

More striking differences of key are therefore permissible than is generally the case with the movements of one composition,[7] and it was possible to put together at pleasure {VESPERS, 1779, 1780.

} (95) psalms belonging to different compositions, sometimes even by different composers.

The Dixit and Magnificat, as the two corner-posts, were considered the principal parts; they were generally specially composed, and: others inserted between them.

As the words of the doxology (Gloria Patri) recur at the close of each movement, it would have been natural that the idea should arise of giving them the same musical rendering, and suggesting a relation between the different movements by this kind of refrain.

But they are, on the contrary, in close connection with the words to which they serve as a conclusion, so as to characterise the use of the general formula as dependent on the special nature of each case.

For the most part, therefore, a principal subject of the piece which it concludes is utilised for the doxology, and it is astonishing of what a variety of appropriate and expressive musical renderings these words are capable.

A settled custom became established, both as to the general conception and the distinguishing characteristics of these compositions, which was closely followed even by Mozart.

In the main, the conception and treatment resembled those of the litanies; the effort is evident to reconcile the requirements of Divine service with the prevailing and somewhat trivial musical taste of the times.

But the vespers preserved the dignity and solemnity of church music more strictly than the litanies.

There is no sign of a leaning to operatic style, concessions to bravura are sparely and exceptionally made, the orchestra preserves the simplicity of the traditional church orchestra,[8] and limited scope is allowed even to grace and pleasing fancies.

Nevertheless, the expression of dignity and solemnity shows the influence of a time which did not exact from sacred art the absorption of the inner man in the sacred and the divine, but was satisfied with a decent {COURT SERVICE IN SALZBURG.

} (96) observance of the forms of external homage.

It was left to the artist, who had a deeper spiritual craving, and such a delicate artistic sense as forbade the use of form without substance, to give a higher tone to his work.

In this sense we may include by far the larger portions of these vespers among Mozart's great works.

As concerns the musical construction in detail, a narrow mode of treatment resulted throughout from the conditions of worship; the words had to be composed straight through, just as in short Masses.

A broader rendering of separate portions which might seem to lend themselves to musical expression was not admitted, and the endeavour after a dramatic characterisation of certain points did not come within the artistic usages of the time.

The important point, therefore, was not to render the words in music, so as to give a new and fitting expression to each detail, but to invent characteristic motifs for the important points which should be suitable for further elaboration, and which, in spite of individual distinction, should spring from the fundamental conception of the whole work.

The task of the composer is not made easier by the words of the psalms; they do not offer a good basis for musical construction, nor are the ideas conveyed in them generally such as would incite to musical production.

The composer must therefore be original in no ordinary degree, and it is excusable if he now and then handles the rules and forms of his art with a certain amount of abruptness, and even makes verbal expression subservient to them, so far as it can be done without harmful pressure.

In order to introduce variety among these closely allied compositions a certain type had been formed, which was not exactly the inevitable consequence of the effort to satisfy the rules of art and of good taste, but, as in the litanies, exercised considerable influence over the treatment of the text.

The two vespers we are considering are very similar in form and workmanship.

Various parts are treated in both with marked preference, and it is scarcely possible to place one before the other in merit, except that perhaps the earlier one is the more serious.

The first psalm, Dixit Dominus, is formed into an {VESPERS, 1779, 1780.

} (97) animated, restless movement, full of strength and dignity; while the same tone predominates in both, there is more fire and brilliancy in the first composition, more mildness and tranquillity in the second.

The kind of treatment may be compared to that of the Gloria and Credo of the Mass.

Without any sustained thematic elaboration, certain principal motifs are maintained and emphasised in different ways.

The animated string passages are not only in varied harmonic combinations, but often in counterpoint, either imitative or a combination of the different subjects.

The voices are free and independent, but with a few trifling exceptions they are treated harmonically; solo voices sometimes alternate with the chorus, but without any special prominence.

The second psalm, Confitebor tibi, Domine, is in the earlier Vesper (321 K.

), a chorale with solo intermixed, accompanied only by the organ and stringed instruments (E minor 3-4).

This mature and beautiful composition approaches the Mass in F major (Vol. I.

, p. 257) both in tender and fervent sentiment and in simplicity and purity of form.

But there the treatment is contrapuntal throughout, here it is essentially harmonic.

The independent progress of the voices displays a succession of rich and startling harmonies in animated but natural development;

notwithstanding many suspensions and unexpected turns, they are always clear and melodious, and always the true and natural expression of the sentiment to be conveyed.

[9] The frame of mind represented is not one of fanatical remorse, but rather of a soul penetrated with the feeling of guilt, and impelled to acknowledge it with shame and anguish.

The moderate expression of such a mood, which might easily pass over into the sentimental, coincides with the symmetry of form observable in the main features as well as in the details of the work.

The corresponding movement of the second Vesper (339 K. ) is not to be placed on the same level as this.

It maintains on the whole the tone of the first movement, with an increase of earnestness, {COURT SERVICE IN SALZBURG.

} (98) and is a clever and melodious composition, with good effect in its place; but the poetical beauty of the other is altogether wanting.

The third psalm, Beatus vir, has least original colouring.

It is in both Vespers a lively, powerful, one might almost say, cheerful movement, suggestive of the Gloria or Credo of more than one mass, but without the solemnity which characterises them.

Here, too, solo voices alternate with the chorus[10] without interrupting the steady flow of the composition.

In the earlier work there are some beautiful harmonic effects; in the later, contrapuntal phrases sometimes occur; an animated rapid accompaniment by the violins is common to both.

As in the Litany, the Pignus futuræ gloriæ, so in the Vesper the fourth psalm, Laudate pueri, was treated in severe counterpoint, and here it was that a thoroughly trained church composer made good his claim to the title.

In the first of the Vespers that we are considering this psalm[11] is a clever piece of counterpoint, original in form, and deviating from the strict regularity which usually characterises Mozart.

It begins with an infinite canon.

The twelve bars melody for the soprano--[See Page Image] is imitated three bars later by the alto in unison.

Then follows the tenor an octave higher, and then the bass in unison.

After the completion of the melody the soprano again takes it up, alto and tenor follow.

The regular progress of the canon is then broken by a complete final cadenza, in which all the voices unite on the last note of the bass melody.

A short theme introduced by the bass--[See Page Image] {LAUDATE PUERI.

} (99) is imitated by the other parts in similar or in contrary motion, and soon passes over into a short passage ending in D minor.

Hereupon the soprano interposes with a new and characteristic melody--[See Page Image] the first bars of which are taken up by the other voices; but instead of a further elaboration, a new theme is introduced by the alto, followed by a counter-theme, which are both imitated together-- whereupon the alto raises a new melody, which is figured by the other parts in imitation as Cantus firmus, and closes in A minor.

Then the alto begins with the previous soprano subject, but now in F major; the soprano follows with the second, but the imitative figuring soon gives place to a fine harmonic elaboration, followed by the third passage;

the imitative parts maintain the same character, and the alto has now another Cantus firmus.

To this at last is appended a long coda, formed of detachments of previous subjects, variously elaborated in stretto and contrary motion, ending in organ point on the dominant.

It cannot fail to be remarked how tuneful and melodious, as well as independent, characteristic, and striking in their effect are the different parts.

The melodies which compose the Cantus firmus may have been, in part at least, borrowed from church tones.

Far more ambitious is the contrapuntal work in the second Vesper,[12] which consists of a close succession of {COURT SERVICE IN SALZBURG.

} (100) difficult problems solved after the severest and most rigorous rules.

After the first regular enunciation of the theme--[See Page Images] there occurs a second motif--which is at first treated freely, and issues into a short harmonic passage, which is afterwards used again as an interlude.

Then the two motifs are combined--[See Page Image] and elaborated together, after which this section closes on the chord of the dominant in a stretto arrangement of the chief subject, while the violins take up the subordinate motif.

When the chief subject has again asserted itself, there follows its inversion as a counter-subject--and regular elaboration, ending in the above interlude, after which the subject and its inversion appear together as an organ point on the fundamental tone, while the violins proceed with an independent accompaniment:--[See Page Images] After the previous stretto has again occurred on the chord of the dominant the two first subjects reappear in new {LAUDATE DOMINUM AND MAGNIFICAT.

} (101) original climacteric treatment, divided between the voices and the accompaniment;--[See Page Image] A free conclusion brings the artistic and forcible work to an end.

As if for refreshment after this effort, the fifth psalm, Lau-date Dominum, is treated as a solo movement of a pleasing character.

In the earlier vesper it is a soprano solo with organ obbligato, not certainly set in prescribed aria form, but in its brilliant passages and easy grouping of the melodies more akin to secular music than any other of Mozart's church compositions of this period.

In the second vesper the psalm has a more solemn character, but even here it is a mild and tender soprano solo, somewhat pastoral in tone, and supported by a solo bassoon; simple throughout, and with a fine climax at the close, the doxology being sung by the chorus.

The Virgin's hymn of praise, "Magnificat anima mea," which forms the conclusion of the Vespers, is by its form the part best fitted for musical rendering.

But the connection in which it here stands with the preceding psalms obliges a corresponding treatment both as to extent and conception.

We must not therefore look either for a comprehensive treatment giving free development to the details of the separate sentences, such as is to be found in the Magnificats of some great masters, or for such an amount of dramatic characterisation as the words give scope for.

The text is tersely and precisely treated, with the avowed intention of concluding the work with a movement in contrast to the {COURT SERVICE IN SALZBURG.

} (102) first psalm.

This is evident not only in the external arrangement, which introduces trumpets and drums, and returns to the original key, but in the technical treatment and the closely allied tone of expression.

The expression of firm and cheerful confidence, which is common to both, is naturally accentuated in the Magnificat in accordance with the text, and the lively expectation of the first psalm is now turned into thanksgiving for its fulfilment.

The technical treatment of the Magnificat is consistently more important and animated, especially in the extended use of the forms of counterpoint; but in the main the two compositions have the same tone and colour, and the same condensed and impulsive style.

The words "Magnificat anima mea Dominum" form a solemn introduction as a short slow movement; "Et exultavit" is in quicker tempo, which is maintained to the end, chorus and solo alternating in the usual way.

Here again it is to be noticed that different points are accentuated in the earlier Magnificat chiefly by harmonic means, in the second chiefly by counterpoint.

Having in these works followed Mozart's steady upward progress along the path which he had previously entered on, a progress maintained against most unfavourable surroundings, let us now turn to his attempts in the new province of music as an adjunct to the drama.

Remembering his intense desire to write for the stage, a desire which had been increased by the manifold influences of his travels, we shall not be surprised that even theatrical undertakings in Salzburg offered him the opportunity he sought.

When he returned home a theatrical company was performing under Böhm's management; in 1780 we find Shikaneder there with his travelling _troupe_, a friend of the Mozart family, joining in their quoit contests and quite ready to turn Wolfgang's talents to his own advantage.

[13] Two great works owe their origin to these performances, although the exact time of their production cannot now be ascertained.

{KÖNIG THAMOS.

}