LEOPOLD MOZART had every reason to be satisfied with the result of his tour; the extraordinary talents of his children had been duly appreciated,1 honours of every kind had been heaped upon them, and the three years exertions had produced a not inconsiderable pecuniary gain.2 In spite of repeated, and sometimes severe, attacks of illness, the children returned to Salzburg in full health and vigour, and, what was of not less importance, with their childlike simple minds unspoiled by the exceptional degree of notice and admiration they had everywhere excited. The little Orpheus rode round the room on his father's stick, and sprang up to play with his favourite cat, in the middle of his improvisations on the clavier.

During the journey he had amused himself by constructing an imaginary kingdom, which he called RÜcken; it was inhabited by children, of whom he was king, and his invention of fresh gifts and qualities for his kingdom and subjects was inexhaustible. So vividly was it impressed on his imagination, that he made a servant, who was something of a draughtsman, draw a map of it, to which he supplied the names of the places.3 A very favourite idea of his was to compose an opera, to be performed entirely by young Salzburgers, of whom he drew up a list with his father. His tenderness of heart was constantly displayed. One morning on awaking, he began to cry bitterly, and STUDY IN SALZBURG. being asked the reason, answered that he longed to see his friends in Salzburg, all of whom he then mentioned by name. When he heard that Hagenauer's son Dominicus had entered the Monastery of St. Peter's he burst into tears, imagining that he should never see him again. Reassured on this point, he planned a visit to St. Peter's immediately on his return home, and talked of the games that he and his friend would play together.

Occasionally, Wolfgang displayed a considerable amount of self-assertion. A gentleman of rank in Salzburg was uncertain how to address the boy in conversation. The formal pronoun Sie appeared unbefitting a child, while Du was too familiar for so celebrated an artist; he took refuge in Wir, and began: "So we have been in France and England"—"We have been introduced at court"—"We have been honoured"—when Mozart interrupted him hastily: "And yet, sir, I do not remember to have seen you anywhere but in Salzburg."

But L. Mozart's satisfaction was not entirely without alloy. He was too intimately acquainted with the Salzburg court to feel certain of obtaining such a position as would enable him to educate his children in a way befitting their talents. On this point he had written to Hagenauer, shortly before their return:—

Everything depends on my having a position at home which is suitable to my children. God (all too merciful to me, miserable sinner) has endowed my children with such genius that, laying aside my duty as a father, my ambition urges me to sacrifice all else to their education. Every moment lost, is lost for ever, and if I never realised before how precious the time of youth is, I know it now. You know that my children are accustomed to work; if they once had an excuse for idleness, such as an inconvenient house, or want of opportunity for study, my whole fabric would fall to the ground. Custom is an iron path, and Wolfgang has still much to learn. But how shall we be treated in Salzburg? Perhaps we shall be only too glad to take our knapsacks on our backs and be off again. At any rate, I offer my children to my country. If it will have none of them, that is not my fault, and will be my country's loss.

So shrewd a man of the world had no idea of burying the pound that might produce such excellent interest. INSTRUCTION IN COUNTERPOINT. The uneventful stay of nearly a year which L. Mozart made with his children in Salzburg was employed in mechanical practice, and perhaps still more in the study of composition. A detailed account of these studies is not obtainable; but L. Mozart's wise and earnest views, his clear apprehension that genius entails twofold labour and exertion on its possessor, leave no doubt as to the severity and thoroughness of his instruction to his son. An exercise book containing exercises in thorough-bass and counterpoint is preserved in the Mozarteum at Salzburg, bearing no date, but evidently falling within this period. The intervals and scales are followed by a long list of short lessons on a given melody generally in three parts, to be worked out harmonically and according to the different kinds of simple counterpoint. (Nota contra notam; duoy quatuor nota contra notam; cum ligaturis; floridum.) The choral tunes which serve as Cantus firmus are taken from Fux's Gradus ad Pamassum, which was no doubt employed as a textbook. 4 The lessons, corrections, and brief notes are generally in the father's writing, the working out and the fair copies of the corrected lessons are of course made by Wolfgang; on one occasion he jokingly notes the different parts as Il Sign. d'Alto, il Marchese Tenore, il Duca Basso. An observation of the compositions of this period, which are still preserved, will show us the result of the studies.

Archbishop Sigismund,5 incredulous of Wolfgang's powers, caused him, so Barrington says, to be locked up for a week, seeing no one, during which time he was to compose an oratorio, for which the Archbishop provided the subject. Wolfgang stood the test triumphantly, and the oratorio was publicly performed, with great success, during Lent, 1767.

This composition (35 K.) was printed in Salzburg (1767) with the title:— STUDY IN SALZBURG. The Obligation of the First and Greatest Commandment, Mark 12, v. 30: Thou shalt love the Lord Thy God with all thy hearty with all thy mind, with all thy soul, and with all thy strength.

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After this preface, the declaration "that there is no more dangerous state for the soul than lukewarmness in the work of salvation" is given as a reason for this musical representation "by which it is intended not only to delight the mind but to elevate the soul."

In the first part the understanding and judgment of the lukewarm Christian are stirred by the loving and indefatigable zeal of the Christian Spirit, with the assistance of Divine Mercy and Justice. In the second part, right FIRST ORATORIO, 1767. judgment is victorious, the will is prepared for surrender, to be finally and completely freed from fear and wavering in the third and last part.

The verses, richly garnished with Latin texts, have quite the prosaic bombastic character of the period.

Mozart's original score6 has the title in his father's writing: "Oratorium di Wolfgango Mozart composto nel mese di Marzo, 1766." As they were then in the Netherlands, we must suspect an error. But the date 1766 is established by the "10 years old" on the title-page; he must have set to work immediately after his return, quite at the end of 1766, and the representation must have taken place in March of the following year.

The score, which fills 208 pages, bears unmistakable traces of boyish workmanship in the blotted notes, and in the uncertain writing and spelling of the text of the songs (that of the recitatives is in another and a firmer handwriting), but there is not a sign of boyishness in the music itself. The whole composition is modelled on the Italian oratorio, and shows a complete mastery of its forms. The introductory symphony is an allegro in the usual two parts, simple in its execution, and with no actual thematic elaboration, but precise and well rounded. The dialogue is in recitative, and maintained throughout with correct declamation, here and there displaying a fine sense of fitting expression, which tells more for the independent power of comprehension than even the surprising technical skill exhibited. Here and there comes an accompanied recitative, with an effort after originality, depending chiefly on the expression of the words, which are poor stuff in most cases. For instance, after the lines—

STUDY IN SALZBURG.

which have been given in secco-recitative, comes the strongly accented passage:—[See Page Image] FIRST ORATORIO, 1767. They are in the usual form, the principal subject elaborated and repeated after a short intermediate subject, with ritornellos differing in length and character, according to the commonly accepted varieties. The perfect decision of style and composition leaves the inexperienced hand of the scholar hardly visible, and it is plain that the boy has taken in and turned to account all that he has heard. But although the work may be considered on a level with most of the similar compositions of the time, it cannot be said to be distinguished from them by individual character. It conforms on all important points to the Italian style, although there is now and then a sentimental colouring suggested by Graun's German verses.

The melodies are simple and good, with here and there a pure and dignified phrase, and a delicate expression of deep feeling. Witness the passage in the second soprano air, "Du wirst von deinem Leben genaue Rechnung geben," which is afterwards well made use of in the recitative. The very moderate embellishment of the whole work is in great measure the father's addition. The third tenor air rises above the level of the rest; the words, although themselves certainly not inspired, have given opportunity for the expression of a tender earnest mood in a charming flowing melody whose well-chosen harmonies and admirable instrumentation shadow forth unmistakably the later Mozart. He must himself have felt the charm of this air, for, as we shall see, he repeated it in his first opera. The finale of the oratorio is a pleasing terzet for two soprani and tenor, with the parts in easy imitation. The orchestra is the usual one of the day, stringed instruments, bassoons, seldom used independently, two horns, and two oboes, sometimes replaced by two flutes. The parts are, as was usual, carefully put together, but without any pretence to more than technical skill; only the second tenor air has an obbligato alto trombone accompaniment suggested by a reference in the text to the trump of doom.7

STUDY IN SALZBURG.

A little cantata for two voices was also evidently composed for this Lent. It bears the title "Grab-Musik, 1767" (42 K.), and is a dialogue between the Soul and an Angel, the verses having a decided smack of the local poet of Salzburg. The Soul is intrusted to a bass voice, which was not employed in the oratorio. The cantata begins at once with a Recitative for the Soul:

Then follows the air—

Here Wolfgang has striven to express the somewhat whining pathos of the text both by the voice and the instruments, and the result is a bravura song, handled with great skill. There can be no doubt that this song made a great effect at the time, though its want of good taste shocks us now. The succeeding soprano air, on the other hand, which closes with the warning— [See Page Image] GRAB-MUSIK, 1767. expresses a soft, not unpleasing sentimental mood, which is still more toned down in the concluding duet. Yet even here we have fanciful passages—accepted at the time as legitimate both in music and poetry, as corresponding to a complex state of feeling.

For a later performance, probably before 1775, Mozart added a final chorus, introduced by a short recitative, in unjson throughout, thus bringing the whole piece simply and melodiously to a conclusion. A little song (146 K.): "Kom-met her, ihr frechen SÜnder, seht den Heyland aller Welt," not in any way remarkable, belonging probably to the beginning of 1770, was also intended for a Lenten performance.

Not long after Wolfgang's return from Paris, he paid a visit to the Monastery of Seeon, where he was on friendly terms with the monks. During dinner the abbot expressed his regret that no offertory had been composed for the festival of St. Benedict. Wolfgang took advantage of the first pause STUDY IN SALZBURG. to leave the dining-hall, and leaning on the ledge of the window opposite the door, he wrote his offertory "Scande coeli limina" (34 K.). It begins with a pleasing soprano solo, a gentle flowing melody accompanied by the violins; then comes a lively chorus with drums and trumpets, somewhat cramped in style and pedantic in the imitative arrangement of its parts.

Among the monks was a certain Herr v. Haasy, called Father Johannes, who was very fond of Wolfgang. The boy sprang towards him as soon as he entered the monastery, climbed on his neck and stroked his cheeks, singing the while:—

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This scene excited great amusement, and the monks were never tired of teasing him about his tune. When the fÊte-day of Father Johannes came round, Wolfgang presented him with an offertory (72 K.). It begins in a joyous burst with the words (Matth. xi. 11), "Inter natos mulierum non surrexit maior"; then with the words "Ioanne Baptista" he introduces the above melody as a birthday greeting to his friend. Apart from this charming display of childish affection, the offertory, which in any case belongs to his early boyhood, is a beautiful piece of music. The subject, which is pursued throughout with a natural, easy movement of the parts, has the caressing little melody running through it, and is twice interrupted by the words (S. John i. v. 29), "Ecce Agnus Dei qui tollit peccata mundi," given in a quiet, serious manner, that has a charming effect. The greeting breaks out once more in the "Alleluia," which ends the piece.8

In the spring of 1767, Wolfgang again came forward as a composer in his native town.

It was the general custom at the university to celebrate the close of the scholastic year by a dramatic representation APOLLO ET HYACINTHUS. among the students. In the year 1661, a large theatre, supplied with twelve scenes, was built to replace the smaller one hitherto used, and excited great admiration.9 According to custom, a Latin play, written by the Professor of Poetry, or some other ecclesiastic, was represented by the "Benedictine Muses," i.e., by the students. The subject was taken from the Old or New Testament, more rarely from heathen mythology, and was always intended to point some particular moral.10 Following an old usage, musical portions were interspersed through the tragedy or comedy, as they were also in the Italian spoken drama, so that a short Latin opera of a congenial tendency, with one part serving as a prologue, was introduced between the acts of the drama, just as in the opera seria the intermezzi or ballets came between the acts. Members of the chapel undertook the composition, and some of the singers assisted the performance by taking the more difficult parts.

On May 13, 1767, the Syntax, that is, the students of the second class, performed the tragedy, "dementia Croesi." This time the musical supplement was entitled "Apollo et Hyacinthus seu Hyacinthi Metamorphosis," and composed by Wolfgang, who is set forth in the printed text-book thus: Auctor operis musici nobilis dominus Wolfgangus Mozart, un-decennis, filius nobilis ac strenui domini Leopoldi Mozart, Capello Magistri.

The old myth is treated with considerable freedom, after the manner of an Italian opera; for the edification of pious youth Melia becomes the beloved of Apollo and Zephyrus, Hyacinthus a comparatively insignificant personage. The piece ends en rÈgle with a betrothal. A regular dramatic treatment is not even attempted, only long detached airs and duets, old-fashioned in style and form, and adapted of necessity to the Latin text. The dialogue is in Iambics, the choruses and songs are rhymed. The text is correct enough, but devoid of taste, and imitates in some particulars the STUDY IN SALZBURG. libretti of the Italian opera. After a short overture in two parts, simple and well put together, the action begins with a recitative between Hyacinthus and Zephyrus, who betrays his love for Melia and jealousy of Apollo; Æbalus and Melia appear and sacrifice to Apollo, who is invoked by the chorus:—

The sacrifice is not accepted; a thunderbolt scatters them all, and Æbalus tries to reassure Hyacinthus in an air:—

Then Apollo appears, and begs for the protection of Æbalus, Jupiter having banished him; after many civilities on either side, Apollo returns thanks in an air. Hereupon follow the two first acts of the tragedy. Then Æbalus informs his daughter that Apollo demands her in marriage; she willingly consents, and expresses her delight in an elaborate air.

But now comes in Zephyrus with the tidings that Hyacinthus is slain by Apollo. Melia thereupon declares that she cannot accept him, OEbalus wishes to banish him, and Zephyrus expresses in an air the hopes to which these APOLLO ET HYACINTH US. events give birth. Then enters Apollo, overwhelms Zephyrus with abuse, and causes him to be borne away by the winds; Melia, enraged by this fresh deed of violence, reproaches Apollo, and a duet follows, in which she rejects and dismisses him, while he bewails his love and her cruelty.

Hereupon follow the third and fourth acts of the tragedy. Then Hyacinthus is borne in dying, and declares in an accompanied recitative that Zephyrus is his murderer, which gives occasion to Æbalus to rage duly in an air, followed by a duet between him and Melia, dreading the anger of the offended god. But Apollo appearing, changes Hyacinthus into a flower, extends his forgiveness to Æbalus and Melia, and betrothes himself to the latter.

A concluding terzet expresses the general satisfaction.

This composition manifests throughout great decision of style, and in many respects a very marked progress. The songs—in the old-fashioned aria form—are more freely treated, the handling of the parts is more independent, and a disposition to the imitative form is more marked than heretofore. In the duet between Melia and Æbalus, for instance, and in the first chorus, where the voices are treated harmonically, the violins have an imitative phrase in the accompaniment.

Mistakes here and there in the text prove Wolfgang's Latin to be still that of a learner. A droll little note written in 1769, to Madame Hagenauer, shows that he was then working hard at it. The note runs as follows:—

Dear Friend,—I hope you will excuse the liberty I take in troubling you with these few lines; but since you told me yesterday that you understood everything, and that I might write Latin to you as much as I chose, I cannot refrain from sending you at once some Latin lines, and when you have read them please send the answer back by one of your own servants, for our girl cannot wait. (But you must send me the answer in a letter.)

Cuperem scire, de qua causa, À quam plurimis adolescentibus ottium usque adeo Æstimetur, ut ipsi se nec verbis, nec verberibus, ab hoc sinant abduci.

Even if the text were translated and explained to him, it would have been strange if he had found no difficulty in the STUDY IN SALZBURG. language; and it is only another proof of the boy's musical apprehension that his setting of the familiar German sacred texts has a more distinctive character than that of this piece of declamatory school rhetoric; the mere fact of being set to produce a brilliant work as a task had its influence on the music, which is cold and stiff, and sometimes devoid of taste. No doubt the long passages, the peculiar turns given to the pompous or amorous melodies, all that appears to us most tiresome was then most loudly applauded, and the truly surprising ability shown in the working out may have passed at that time for original productive power, which is just what we cannot grant it to have been. Still, there are not wanting signs even of this, and the young artist asserts his individuality at once whenever he has to express a simple emotion, such as he can comprehend and enter into.

There is a little solo in the first chorus (G major, 3-4) which, in its expressive simplicity, almost reminds us of Gluck. Again, in the duet between Melia and Obalus there is a long well-worked-out cantilene, which is not without beauty and expression, and is further distinguished by original instrumentation. In this the first violins (muted) lead the melody, the second violins and bass accompany pizzicato, two tenors coll' arco, and two horns are introduced; a very striking variation on the otherwise simple orchestral accompaniment, consisting of the string quartet, two oboes, and two horns.

The duet between Melia and Apollo shows most dramatic talent, being the only expression of an exciting situation and contrasting emotions. The recitatives are not distinguished by characteristic expression in the same degree as those of the sacred pieces; they are easy and flowing, but quite in the style of the ordinary recitative of Italian opera; no doubt because Mozart felt that such an expression of feeling as suited the elevated, lyrical emotions of the cantata was unsuited to the dialogue of an opera.

It is an astonishing proof of the productiveness and constant industry of the young composer that, between December and May, three important works were completed and performed. In the summer of 1767 we find him preparing VIENNA, 1767. [See Page Image]

for a journey to Vienna, and composing four clavier concertos (37,39-41 K.), in F (April), B flat ( June), D and G major ( July), with the usual orchestral accompaniment; once, only, trumpets are added. The form is the usual one in three movements, like the symphony. The compositions are not above the ordinary level, and have little either of original or technical interest. It is noteworthy that even in these works, which were to serve as show pieces, we can trace no signs of boyish pleasure in odd or artificial effects; the love of tuneful melody, and the endeavour to blend the orchestra and the solo part into an harmonious whole, are as observable in his first compositions as in his last.