INTRODUCTION.

To Professor Gustav Hartenstein.

MY DEAR FRIEND,—I have little doubt that the afternoon of November 7, 1847, is as fresh in your memory as in my own. We had assembled in the Johan-niskirche to accompany the remains of Mendelssohn on their last sad journey, and by chance (for I had not been long in Leipzig, and my acquaintance with you was slight) we walked side by side in the long line of mourners. From grief at the early loss of a master, whose cultivation, self-discipline, and endeavours after the good and the beautiful had exercised a truly beneficial influence over the art of our age, our grave talk turned to the more particular consideration of music in itself, and to the great masters of the past! This led us to the interchange of many ideas, and to a conviction of our unanimity of principle and sentiment on most subjects. Thus, for instance, we coincided in our experience that at a certain period of our mental development Mozart's music had seemed cold and unintelligible to our restless spirits, ever soaring into the unknown, and incapable of appreciating a master whose passions in their workings are not laid bare to view, but who offers us perfect beauty victorious over turbulence and impurity. Turning to him again in later years, we are amazed alike at the wondrous wealth of his art, and at our former insensibility to it. For my own part, I confided to you how, after severe illness, which had debarred me from music for many years, it was Mozart who first gave me courage and interest to turn to it again. We agreed, also, that minds which are able to receive and appreciate art for its own sake, must yield themselves captive to Mozart, but without sacrificing their freedom to recognise all that is grand and beautiful elsewhere.

LIFE OF MOZART.

This conversation was the beginning of a more constant intercourse, leading to a friendship founded on such close agreement of principle in all matters of importance as to render it indissoluble: I have ever since, in joy or sorrow, been assured of your hearty sympathy and support.

I should be perfectly justified in offering you this book as a testimony of my love and gratitude, even if its contents concerned you less. But music has ever played so important a part in our intercourse, whether I sat beside you at the piano, or stood behind your chair, or we wandered into talk; so great a share in the book belongs to you, who have ever urged me forward with the work, sometimes (I may acknowledge it now) even unmercifully, that I can offer it in its completed form to none with more pleasure and confidence than to yourself.

And now you must give me leave to lay before you much that is on my mind concerning it. Let me imagine that I have come as of old to you and your wife for comfort and encouragement, and prepare for a long talk.

You are aware, my dear friend, how this biography originated, and how it has gradually increased to an extent which has alarmed even myself. Occupied at first only with the biography of Beethoven, I soon saw that it would be impossible to do full justice to his great and original creations without a clear survey of the life and works of Mozart, the pioneer of the musical future, as whose natural heir Beethoven attained his pre-eminent position in the history of music. The exposition would have been too comprehensive for an introduction, and I determined to arrange the ill-digested and unreadable mass of biographical material which Nissen had collected into a readable treatise on the life of Mozart, to serve as a foundation for the observations which I meant to deduce therefrom. With this end in view, I gradually amassed so large a store of materials for the story of his life and the appreciation of his works, that there rose before me the duty of erecting a new structure upon a new foundation. But before I proceed to specify the sources whence I have drawn my materials, INTRODUCTION. allow me to glance over all the biographies of Mozart hitherto published, so far as they are known to me.

Soon after Mozart's death there appeared a biographical article upon him in Schlichtegrolls Nekrolog for 1791. This is precise and trustworthy so far as it relates to the period of his childhood, and rests on the testimony of his sister; but the notices of his later years are superficial; and the judgment passed upon him as a man rests upon a preconceived and unfavourable opinion which then prevailed in Vienna partly on professional grounds, and which took such deep root that even at the present day I know not if I shall succeed in establishing the truth. It was not surprising that Mozart's widow, in order to stop the circulation of such injurious representations, should buy up an impression of this article which appeared under the title of Mozart's Life (Jos. Georg Hubeck: Gratz, 1794).

A biography which appeared the same year in Sonnleithner's Vienna Theater-Almanach (p. 94) is only an abridgment of the article in the Nekrolog; and a French translation was made by Beyle, under the noms de plume of Bombet and Stendhal, as "Lettres sur Haydn suivies d'une vie de Mozart" (Paris, 1814). An English translation of the article appeared in London, 1817, and a revised French version in Paris, 1817.

A "Life of the Imperial Kapellmeister Wolfgang Gottlieb Mozart, compiled from original sources by Franz Niemet-schek" (Prague, 1798), is founded partly on communications by the family, especially the widow, partly on personal acquaintance with Mozart: I have made use of the second edition of this work (1808). Unfortunately it does not enter into details so much as might be wished, particularly in its later portions; but all that this excellent, well-informed, and devoted friend records of Mozart is trustworthy and accurate.

Something more was to be expected from Friedrich Rochlitz, who busied himself for a considerable time in writing a biography of Mozart. He had become acquainted with him during his stay in Leipzig in 1789, and moving much in musical circles with Doles and Hiller, he was so charmed with the genius and amiability of the master, LIFE OF MOZART. that he even then carefully noted whatever appeared remarkable in their interviews.

When he afterwards proposed to prepare a life of Mozart, both the widow and the sister supplied him with anecdotes and traits of character, and the widow further (as I gather from their letters) allowed him to make use of Mozart's correspondence.

Some of the anecdotes and particulars supplied by the widow and sister or resulting from his own observation were published in the "Allgemeine Musikalische Zeitung" (A.M.Z., Vol. I., pp. 17,49,81,113,145,177,480; Vol. II., pp. 450, 493, 590), and Rochlitz often alluded in later issues to his acquaintance with Mozart; but there it remained, and I have failed to discover why he abandoned his idea of a biography. When Nissen's biography appeared he complained that he had not been called into counsel by Mosel, and was of opinion that "the widow must have changed very much in her old age, if she was not proved to have acted shabbily in this affair" (Vienna, A.M.Z., 1848, p. 209). I set on foot investigations as to whether Rochlitz had left behind any records or communications which, springing from now exhausted sources, might be of service to me in my work. This led to a discovery which, painful as it is to me to cast a slur on the memory of an otherwise deserving man, I must yet, in the interests of truth, reveal; I could not fail to observe that those particulars of Mozart's life which Rochlitz gives as the result of his own observation or as narrated to him by Mozart, are peculiar to himself in form and colouring, and that many of the circumstances which he relates with absolute certainty are manifestly untrue. I sought to account for these facts as slips of memory or the result of that kind of self-deception which confounds a logical inference with a fact springing from it. But my search led to the further discovery of a parallel (also printed in the A.M.Z.) between Mozart and Raphael, giving a detailed account of the circumstances of Mozart's marriage, and with express reference to Mozart's own narrative of the affair which Rochlitz was supposed to have written down the same night. Now for the period which is here treated of, that INTRODUCTION. is, between 1780 and 1783, Mozart's entire correspondence is preserved, and any error upon essential points is, as you will readily grant, impossible. All the statements of Rochlitz as to time, place, persons, and events are completely false. You will remember my consternation at this unwelcome discovery; no poetical license could account for it; unpleasant as it is, I consider it my duty to expose the affair, partly that it may teach caution, and partly that tedious and vexatious discussion may be avoided, should the narrative in question ever be printed.

These anecdotes from the A.M.Z., together with the information of Schlichtegroll and Niemetschek have formed the chief material for the more or less complete accounts of Mozart which afterwards appeared; what was added consisted partly of anecdotes, generally badly authenticated and often ill-turned, such as gain currency among artists, and partly of phrases, or turns of speech which, as Zelter says, every one makes for himself. I must not spare you the enumeration of some of the works of this class.

Cramer's "Anecdotes sur Mozart" (Paris, 1801), is a mere translation of the anecdotes; some of them, together with a general account, are also given by J. B. A. Suard,

"Anecdotes sur Mozart," in his "MÉlanges de LittÉrature", (Paris, 1804), Vol. II., p. 337, as well as by Guattani, in the "Memorie Enciclopediche Romane" (Rome, 1806) Vol. I., pp. 107, 134. A work of more pretension is "Mozarts Geist. Seine kurze Biographie und Äthetische Darstellung seiner Werke. Ein Bildungsbuch fÜr junge TonkÜnstler" (Erfurt, 1803). Zelter asked Goethe to tell him who was the author of this "short biography half dedicated to Goethe," which was "neither short nor aesthetic, nor a good likeness of the man," and was not a little surprised to learn that Goethe knew nothing either of the work or its author ("Correspondence," Vol. I., pp. 56, 67,65). It was, however, by J. E. F. Arnold, of Erfurt, whose subsequent publication, "Mozart und Haydn. Versuch einer Parallele" (Erfurt, 1810), was scarcely calculated to draw a more favourable expression of opinion from Zelter.

Of no greater intrinsic value are Hormayr's statements: LIFE OF MOZART. in the "Austrian Plutarch" (VII., 2, 15; Vienna, 1807), or Lichtenthal's "Cenni biografici intorno al celebre Maestro Wolfgango Amadeo Mozart" (Milan, 1816). I have not been able to procure the "Elogio' storico di Mozart del Conte Schizzi" (Cremona, 1817). The articles in Gerber's "TonkÜnstlerlexicon" are carefully compiled, but not complete; and "Mozarts Biographie," by J. A. Schlosser (Prague, 1828; third edition, 1844), is a compilation altogether wanting in judgment.

An unsuspected wealth of fresh resources was brought to light by the "Biographie W. A. Mozarts," by G. N. v. Nissen. Leipzig, 1828 (with an appendix). In order to estimate this book justly, and to make a right use of it, it is necessary to ascertain how and whence it proceeded, a task of considerably more difficulty than merely mocking and railing at it.

Nissen, who came to Vienna, after Mozart's death, as a Danish diplomatist, became acquainted with his widow, and interested himself in her unprotected condition. He had a great turn for business matters, and was fond of arranging papers, writing letters, and even copying, without understanding what it was that he was occupied about. He therefore willingly undertook to put Mozart's effects in order, to assist the widow in all her business arrangements, and to carry on her correspondence. A long series of letters which he wrote in her name show him to have been a well-meaning, sensible man, somewhat over-circumstantial in his style of writing. After his marriage with Mozart's widow he felt it his duty to labour with the same conscientious care for his memory as he had formerly done for his property, and he employed the leisure of his remaining years, which were spent at Salzburg, in carrying out this design.

We ought to own ourselves deeply indebted to him, for without his care the most important documents and traditions would have been hopelessly lost. Mozart's sister was then living at Salzburg; her recollections, and those of his wife, afforded an abundance of characteristic traits, and the carefully preserved papers and family correspondence, were a rich mine of authentic documents.

Besides a number of separate deeds, letters, and memoranda, he had at his disposal: Leopold Mozart's letters to Hagenauer during the journey to Vienna (September, 1762, to January, 1763); during the great journey (from June, 1763, to November, 1766); during the Vienna journey (September, 1767, to December, 1768); letters both of the father and son to their family during the Italian journey (December, 1769, to March, 1771; from August 13, 1771, to December, 1771; from October, 1772, to March, 1773); from Vienna (July, 1773, to September, 1773); from Munich (December, 1774, to March, 1775); Wolfgang's and his mother's letters home, together with the answers of Leopold and his daughter during the journey to Paris (September, 1777, to January, 1779); Wolfgang's correspondence with his father and sister during his journey to Munich and residence in Vienna. Wolfgang's letters come down to 1784, his father's to 1781.

Nissen possessed both the industry and the goodwill to turn these treasures to account; unhappily these qualities do not suffice for such an undertaking. Not to mention that he has no idea of adaptation or of description, he had neither taste nor cultivation in music, nor tact to distinguish what was trivial from what was important; nor was he capable of accurately conveying an idea. Having had at my service a portion of the documents made use of by him, I have been able to check him, and to form an idea of his mode of proceeding. He is never dishonest, never alters with intent to deceive; but he deals with his documents in the most summary manner possible. He seldom gives them entire, but only so much of them as he considers of interest. Unfortunately he is no judge either of what is musically important nor psychologically interesting, and thus his selection is often singularly unhappy. He was influenced, too, by consideration for distinguished living personages, and by the prejudices of his wife, who naturally wished many family circumstances to remain untouched; his sins, however, are always those of omission. But silence, by obscuring the connection of events, and by concealing the motives of actions, may be as prejudicial as actual LIFE OF MOZART. misstatement to historical accuracy, and the sufferer by a too tender consideration for the feelings of others is invariably the person whose character it is attempted to depict. Fortunately, for the most important years of Mozart's life from 1777 onwards, I have been able myself to make use of the family correspondence; you will see what a different conception I have thereby been enabled to form of this period. It is of less importance, but nevertheless a drawback, that Nissen has thought good to alter the details of style and expression in many of the letters. Neither father nor son were in need of such emendations, both writing clearly and shrewdly, and with an individuality all their own; but even were this not the case, and Nissen the man (which he was not) to correct their defects, such an effacement of individual character would remain altogether inexcusable.

Had Nissen confined himself to the publication of the letters and extracts, together with such information as he could gather from Mozart's wife and sister, or from other credible witnesses, he would have done posterity important service. But in attempting more than this he verified the saying of Hesiod that "the whole is less than the part." Many manuscripts, newspapers, journals, &c., treating of Mozart's professional doings, had been preserved among the family archives; not content with these, Nissen has taken incredible pains to collect whatever else had been written concerning Mozart; he has then copied out all that appeared to him important, and has arranged these extracts categorically as seemed to him good, putting together, for instance, all that related to one particular work; finally, he has huddled together these heterogeneous fragments without design, connection, or explanation. If this confused and ill-proportioned mass is to be made use of at all, it must be separated into its component parts, and these must be restored to their proper place and connection; it may fairly be taken for granted that where any idea or judgment is expressed, Nissen is not speaking in his own person. He has, however, simplified the task of restoring each fragment to its proper position by a catalogue of the INTRODUCTION. writings in which Mozart is mentioned; and although some documents made use of by him have since disappeared,

I have been able in almost every case to discover his authorities. In most cases these are of little value; but among much that is worthless, there are here and there communications resting on family traditions, which Nissen has tacitly appropriated with but slight alterations; it is undoubtedly desirable to be able to appeal to the original in such cases, but for the most part they speak for themselves, and are seldom of importance.

The statements I have made were necessary for the proper use of Nissen's work; but you must not, therefore, imagine that I am unjust towards him. True the mass of printed matter is enough to drive one to absolute despair; but when it is remembered that a large proportion of the documents he embodies have since dissappeared, we must be grateful to the man who has enabled us to take so comprehensive a glance into an artist's life, and who has laboured with unselfish reverence for Mozart's memory, while a succeeding generation did not think it worth while even to preserve the documents which Nissen made use of.

It must not be lost sight of either, that Nissen did not see his work through the press; he died on March 24, 1826, before it was put in hand, and it is quite possible that he would have improved it in many ways upon final revision.

It is significant that although all were agreed that Nissen's book was unreadable without alteration and adaptation, no writer in Germany undertook the task, and that it was left to foreigners to turn the treasure to account. FÉtis undertook

it in his "Biographie Universelle des Musiciens," IV., p. 432 (Brussels, 1840), VI., p. 222 (2nd edit., Brussels, 1864), so far as it could be done within the narrow limits of a general work of the kind.

But the obvious task of compiling an interesting and readable biography by means of an orderly arrangement of the really interesting portions of Nissen's materials was first undertaken by Edward Holmes, in his "Life of Mozart, including his Correspondence" (London, 1845).

Holmes has arranged the essential portions of the LIFE OF MOZART. correspondence with intelligence and discrimination, and has connected them by a narrative built upon previous notices; he has thus produced a trustworthy and, as far as was possible, an exhaustive account of Mozart's life. Holmes has, moreover, made use of AndrÉ's published Catalogue of Mozart's Works, and the indications there given of their date of appearance. He undertook a journey through Germany to inspect the original manuscripts in AndrÉ's possession, and to collect stray oral traditions. He took care to make himself acquainted with musical literature, and the result is a work which must be considered as the most trustworthy and serviceable biography that could be produced by a skilful employment of the materials generally accessible. Holmes has not attempted to draw from hitherto unknown sources; he neither carries his researches to any depth, nor offers any original opinions or explanations.

The letters of both Mozarts, father and son, were edited by J. Goschler in a spirit which is indicated clearly enough by the title of his book, "Mozart; Vie d'un Artiste ChrÉtien au XVIII. siÈcle." Paris, 1857.

Alexander UlibichefÏ proceeded from quite another point of view in his work, "Nouvelle Biographie de Mozart, suivie d'un aperÇu sur l'histoire gÉnÉrale de la musique, et de l'analyse des principales ouvres de Mozart" (Moscow, 1843), in three parts, which is generally known in Germany in the translations of A. Schraishuon (Stuttgart, 1847), and of L. Gantte (Stuttgart, 1859). The enthusiastic reverence of the author for Mozart speaks from every page, and involved many years of study and many real sacrifices; but this must not blind our judgment as to the intrinsic value of his work. I do not fear your reproaching me in the words of the old proverb about the kettle reproving the pot, if I express myself freely as to what I consider the weak points of this book. Ulibicheffs main object has been a critical and aesthetic analysis of Mozart's later works, on which his fame mainly rests, and which bear the most perfect impress of his genius. The author's observations, therefore, are confined to a definite portion of Mozart's compositions—the best known, because the greatest—and any idea of extending INTRODUCTION. them does not seem to have occurred to him. Anything further in his works is meant to serve only as a foundation for those observations. He does not fail to perceive that the greatness of perfected genius can only be apprehended by a knowledge of the gradual stages of its achievement, and that, since Mozart takes his place in the history of music by something more than mere chance, the whole process of musical development is necessarily incorporated in his progress.

Ulibicheff is content to extract all that seems to point to his conclusions from Nissen's account of Mozart's development. He makes up for his reticence in this direction by expatiating freely on the general history of the art. In fact, his review of the whole history of music results only in the observation that since any exceptional phenomenon is the sum and crown of all that has gone before, therefore the development of modern music in every direction, from Guido of Arezzo, onwards, has its raison d'etre in the production of Mozart, who is to be considered as its perfect expression.

No one knows better than yourself, my friend, the false conclusions to which this exaggeration of an idea, true and suggestive in itself, has led. The partiality of enthusiasm and dilettantism join issue here. It needs no great penetration to discover that Ulibicheffs epitome of the history of music is not the result of impartial research, or of a practical knowledge of even the more important works of past ages, but that it is compiled from a few easily recognised works with the express object of demonstrating that all that has gone before has its end and consummation in Mozart. An author who can seriously maintain that the great masters of counterpoint, Palestrina, Bach, and Handel were only called into being in order that the Requiem might be produced, an author who can only grasp and develop the idea of natural progress up to a certain point and no further—that author has surely mastered neither the idea of progress, nor the nature of the art, nor the work of the master whom he seeks to honour. Such a partial and exclusive appreciation of any artist may satisfy individual taste, for which it is proverbially impossible to account; but scientific investigation, LIFE OF MOZART. which can always be accounted for, seeing that it proceeds from a rational basis, rejects it at once and altogether. You will, I know, agree with me that the critic who, like Ulibicheff, depreciates Beethoven in order to maintain Mozart on his pedestal, does not understand Mozart. The distortion and exaggeration of such an idea leads further to the neglect of those clues to a right understanding of Mozart's development which exist in the circumstances of his life, in his youthful works, and in the conditions of his age and surroundings. These had all direct effect upon his genius, and, in so far as they are disregarded, our conception of the man and the artist will be defective.

I am, of course, far from denying that UÜbicheff has brought to the performance of his task considerable power of delicate aesthetic analysis, together with much spirit and ingenuity. But his analysis of particular works does not start from artistic form, the specific basis of all works of art; he never seeks to demonstrate how the universal laws of art, under certain conditions, govern all concrete forms according to the individuality of the artist (a difficult task in music, but still essential to its true understanding); instead of this he contents himself with giving us his own reflections on the various compositions he analyses, and the feelings and ideas which they suggest to himself. Such reflections are pleasant and entertaining when they proceed from a clever and cultivated mind; but they are usually more characteristic of the author than of his subject, and are mainly satisfactory to those who fail to grasp the substance of a work of art, and are fain to content themselves with its shadow.

UÜbicheff invariably displays both intellect and cultivation, but it is the cultivation of a man of the world, not that of a musician, which has no bias of enthusiasm or dilettantism; his remarks seldom reach the root of the matter, and are often deceptive in their brilliancy, thus accomplishing little for a better appreciation of his subject.

Do not be alarmed, my dear friend, at the invidious position in which I place myself and my work by my want of reserve as to others. My cause is that of knowledge, and I must have a clear understanding as to my powers, INTRODUCTION. and the means at my disposal, for accomplishing the task before me; least of all would I appear to deprecate censure on my own work by sparing it to that of others. You are aware that music has, from my youth up, occupied a large share of my time and thoughts, so much so, that my elders were in the habit of shaking their heads and auguring ill for my philological studies. They may have been right; I must at any rate acknowledge that music has ever been to me quite as serious a study as philology, and that I have striven to acquire such a thorough and scientific knowledge as should give me an insight into its nature and mechanism.

I considered it therefore as a duty to myself to turn to account the labour that had occupied a good share of my life, and I embraced with eagerness the opportunity of dedicating my researches to the great masters, to whom I owed so much. I believed myself justified in considering that a representation of the life and works of a great master offers so many sides, and makes so many demands, that only united forces can prove themselves fully equal to the task. If, therefore, I was obliged, perforce, to leave much that was essential to the musician by profession, my greater practice in scientific method might advance the undertaking in other and not less important directions. Consoled by these reflections, I set to work.

The task I proposed to myself was a thorough investigation of the sources available for a trustworthy and exhaustive account of Mozart's life, with special reference to all that was calculated to affect his moral and musical development in the general conditions of his time, and in the local and personal circumstances which influenced him; and, in addition, a history of his development as an artist, and a characterisation of his artistic performances as comprehensive as a thorough study and appreciation of his compositions could make it. No side of this task could be treated altogether independently, both the researches and the remarks resulting from them, touching now one, now the other; in the biography as in the individual, the artist and the man are indissolubly united

I soon became painfully aware of the insufficiency of my LIFE OF MOZART. materials, and the scattered additions to Nissen's collection which came in from time to time were but scanty gleanings; it was essential to reach the original sources. My journey to Vienna in 1852 was undertaken, as you know, chiefly with the object of collecting such traditions of Beethoven as might remain there; I did not hope to find much which might lead to a closer knowledge of Mozart.

Living testimony as to his life, person, or circumstances was almost extinct, little of what I learnt was from impressions at first hand, and it was generally necessary to guard against such communications as the result of book knowledge distorted by verbal transmission.

Nevertheless, my visit was an instructive one even as concerned Mozart. Widely different as was the Vienna of 1852 from the Vienna of 1780 to 1790, yet much was gained by actual observation and impressions, which could not be given by books, and which operates more in the colour and tone of the whole representation that in any precise details.

Intercourse, also, with accomplished friends led to much which would otherwise have remained untouched.

My valued friend Karajan in particular, with his musical knowledge and his intimate acquaintance with Vienna, rendered my stay in that city as instructive as it was agreeable. He had a good opportunity of experiencing how much trouble one is capable of giving to a friend who is always ready with explanations, and willing to enter on the driest search into matters of detail, if he can thereby help forward another. At the Imperial Library I found not only the different manuscripts of the Requiem which serve as the surest testimony on the much debated question of its authorship, but many other important manuscripts and rich material of all kinds, my access to which I owe to the unfailing courtesy of the custodian, A. Schmid.

But the most important aid came from Aloys Fuchs. With extraordinary perseverance he had collected every writing that in any way related to Mozart, and with a disinterested liberality, rare among collectors, he placed at my service all that he possessed and all that he knew. INTRODUCTION. His chronological catalogue of all Mozart's works, published and unpublished, was of the greatest service to me, as well as the long list of documents, newspapers, journals, and pamphlets, which he had either in the original or copies.

I sometimes regretted, however, that the collection was made more in the spirit of a collector than in the interests of science; so that, for example, he has scarcely ever noted the source of his extracts; but much was brought to my notice which would scarcely otherwise have occurred to me, much trouble was spared, and a number of Mozart's letters were made known to me for the first time. I was unfortunately prevented from thoroughly examining Fuchs's valuable collection of Mozart's compositions in their different editions and copies; my time was short, and I hoped to be able to avail myself of a future opportunity for doing so. This hope was frustrated by the death of Aloys Fuchs a few months after I left Vienna. It has been a painful feeling to me not to be able to express my gratitude for so much friendly service by offering to him the book in which I know he would have taken pleasure.

The greatest service which he rendered me, however, was the intelligence that all that were preserved of Mozart's letters had been presented to the Mozarteum in Salzburg by the Frau Baroni-Cavalcabo, to whom they were bequeathed by Mozart's son Wolfgang. In November of the same year I repaired, therefore, to Salzburg. I here found the only remains of that complete correspondence which Nissen had edited, viz., the letters between 1777 and 1784, just as he had made use of them; fortunately they embraced the most important period of the biography. A cursory glance convinced me that Nissen had been not only inexact and arbitrary in his selections in matters of detail, but that he had altogether suppressed the most important events affecting the proper understanding of the period. Here, then was much to be done; but it was richly worth the trouble. Through the kind assistance of the secretary of the Mozarteum, Dr. v. Hilleprandt, and of the custodian, Jelinek, I was enabled to give my whole attention to the work. I collated the letters printed by Nissen, like an LIFE OF MOZART. old schoolman, copying them entire or making voluminous extracts. One may boast of one's industry, and I can offer an unimpeachable witness of mine in old Theresa at the Golden Ox, who afterwards forgot my name, but remembered me as the professor who sat in his room for more than three weeks writing from morning to night. Fortunately, it was bad weather, or it would have been too hard a trial, even for a professor, to sit in his room all day at Salzburg. But the usually hateful task of transcription was on this occasion a real enjoyment. I could fancy myself in intercourse with the man himself as I lived his life again letter by letter.

I could realise the emotions of joy or sorrow which had prompted his words, the impressions which they had made on the recipients, and even the variations in the handwriting grew to have their own significance. It is my most earnest wish that some breath of this feeling may have passed into my own performance, but it would scarcely be possible to' reproduce the inspiration which contact with the letters awoke in myself.

On the completion of this task, I made researches for any of Mozart's compositions which might still remain in Salzburg; I failed, however, to discover any. Although Mozart's sister, his widow, and her sister had lived in Salzburg within the last ten years, it had occurred to no one to make inquiries concerning their great countryman, or to preserve to posterity the rich treasures of family tradition which encircled his whole life; I found, when I inquired, that all was as completely forgotten, as irrecoverably lost as his grave. Nor had anything further been preserved in the way of family papers and documents. (After the death of Mozart's eldest son Carl, all that he possessed of letters—written during the journeys of 1762 to 1775—and other documents, were placed in the Mozarteum.)

Treasure such as that correspondence I could scarcely expect to excavate elsewhere; but through the kindness of friends and well-wishers many letters have been placed at my disposal which have added to the interest, more particularly of Mozart's later years. I have no doubt that many INTRODUCTION. documents are still hidden in autograph collections and elsewhere; perchance my book may open the eyes of the possessors to the true value of their treasures, and I shall consider it as a rich reward of my labours if they aid in bringing to light any such relics of Mozart.

Assistance of another kind, not less important than the foregoing, came from AndrÉ's collection. It is well known; that the Hofrath AndrÉ purchased from Mozart's widow the entire collection of Mozart's original manuscripts, of printed and unprinted works, and this collection, with the exception of a few pieces disposed of at an earlier date, was preserved in Frankfort entire, in the possession of AndrÉ's heirs, as denoted by a "Thematic Catalogue of the original manuscripts by Mozart in the possession of Hofrath AndrÉ" (Offenbach, 1841). Leopold Mozart carefully preserved all Wolfgang's youthful works, and at his death they came into the son's possession: although not by any means so careless about his compositions as he has been represented, he, nevertheless, lost or gave away a considerable number. After his death, however, it was found that his works previous to %his residence in Vienna had been preserved almost entire, and by far the greater number of those of later years. AndrÉ's collection contains further the enumeration, in Mozart's own handwriting, of his works from his earliest years in almost unbroken succession to his death. The more important and greater number of his compositions previous to 1780 are still unprinted, and many of the printed ones are so carelessly edited that a comparison with the original is indispensable. The importance of AndrÉ's collection is manifest, and it is probable that none of equal value, historical and artistic, exists for any other great master, whatever be his art. (Unhappily, the apprehension that Germany could conceive no worthier or more lasting way of honouring Mozart than by the erection of statues and busts has been fulfilled, and Mozart's manuscripts have already been in great measure dispersed.)

Convinced that a review of Mozart's musical development would be impossible without an exhaustive knowledge of his youthful works, I repaired to Frankfort in the summer LIFE OF MOZART. of 1853, in order to examine this remarkable collection. The brothers Carl and Julius AndrÉ granted me ready access to it, and kindly prepared me an apartment in their house, where I had full liberty to study the MSS. and make what notes and extracts I pleased; a task which occupied five weeks. As it proceeded, I could not but feel that the most accurate notices could not give the fresh impression of the actual work. Here again, the brothers AndrÉ came to my aid, displaying throughout a warmth of interest in my work, and a liberality which I could not have ventured to expect; they provided me, as my work progressed, with each particular manuscript on which I was engaged, so that my remarks could be grounded on the actual examination of every composition. Without the confidence and aid of these gentlemen, my book could not have succeeded in attaining that wherein I place its essential value. It is owing to their courtesy and kindness that I may boast, not only of a perfect acquaintance with all Mozart's works, with few and unimportant exceptions, but also of having enjoyed the singular happiness and advantage of studying the greater number of them in his own handwriting.

You will perceive, my dear friend, that all this led, of necessity, to fresh disclosures, to a fuller and more accurate insight into that which had hitherto been only partially known; and you will further take for granted that I, as a "philolog," would not neglect such researches into the literature of my subject as should bring together the scattered materials available for my task. But you must keep in mind that musical literature is not so accessible as philological; and that many expedients, which lighten our labours in the latter path, are wholly wanting in the former. I am, therefore, far from flattering myself that I have even approached a complete study of the literature of my subject. I only aimed at such a study so far as it concerned main principles; for to become acquainted with, or even to quote, everything that has been thought, dreamt, or raved concerning Mozart's music was as far from my intention as from my desire. I was more than satisfied with what came in my way of this kind in the course of my reading, and my INTRODUCTION. readers will be more than satisfied with what I offer them of it by way of example.

My first aim, then, was the verification and authentication of facts, and their unbiassed statement, so far as this was of interest. The written or authentic verbal traditions of Mozart and his family were here my chief dependence, and, except where some special authority is adduced, Nissen's correspondence forms the basis of my narrative. But since it was my wish to bring together all that appeared of lasting interest, and to dispense with Nissen's collection, for all readers who do not desire to search and prove for themselves, I have, therefore, quoted verbally from the letters wherever it was feasible, and have not hesitated to displace them where it answered my purpose in the narrative. I have in every case indicated the letters by their date, without mentioning whether they have been printed by Nissen or not. (They may be readily referred to in the careful collection of L. Nohl, "Mozarts Briefe": Salzburg, 1865.)

I must remark, by the way, that my version cannot be verified by Nissen, since his is neither accurate nor entire; and in order to avoid any misunderstanding, I may also mention, that besides the collections referred to above, many single letters of Leopold and Wolfgang Mozart have come to hand, to which I was able to make more exact reference. As a matter of course, I have made use of originals whenever they were to be had, and of Nissen's version only when they were wanting. From you, my dear friend, I need only request confidence in my scrupulous honesty as to these matters, and I have hope that my book may inspire the reader with a belief in the accuracy of my rendering. It need scarcely be said that I have not made the slightest alteration in the style and expressions of the letters. I have only taken a few liberties with the orthography in order not to distract the reader's attention unnecessarily from the characterisation. I have accurately indicated any reference to authorities other than the letters.

It has been my aim to represent, not only what immediately concerns Mozart, but also the time in which he lived, his circumstances, and the persons with whom he came in LIFE OF MOZART. contact, so far as all these affected the development of his genius. And here again I found the need of trustworthy information. Well informed as we may be on the history of literature and culture during the latter half of the eighteenth century, yet our information as to musical events and persons is meagre and obscure, and we know least of those regions which are of the greatest interest in the history of music. I doubt not that an historian, occupied with the study of this age, would discover much that has escaped me of interest, although I have heard even such complain of the poverty of material.

I have striven with a certain amount of zeal to bring together all that appeared to render my narrative more graphic and lifelike, and have not refrained from adducing my authorities, partly for the sake of accuracy, partly to point the way to those who find the subject of interest. I have gone even further than this, and have added to the names of many persons, principally musicians, of whom mention had to be made, a short notice of their life and sometimes an epitome of their performances. It is probable that the minority of my readers will already have such facts in their minds, and they are essential to a clear perception of the whole work: I have been anxious to spare them the trouble of continual reference to a biographical dictionary.

I have confined myself to the accessible and, of its kind, excellent Dictionary of Musicians by Gerber and FÉtis, but my own investigations, leading me into the detailed history of this time, have not seldom supplied additional data for such notices; I remark this not to depreciate the merit of those works, but that it may not be supposed that my statements can always be verified by a reference to accessible authorities.

You may perhaps smile at the zeal of the "philolog" betraying itself in such minute particulars. Be it so. I hold to my craft, and occasionally you will not find it amiss that I do so.

I may remark besides, not to you, but to those who hold in horror notes, digressions, quotations, and references as the merciless weapons of pedantry, that they need not for this INTRODUCTION. reason at once reject my book. I have striven so to write that the text is complete in itself and requires no notes for its comprehension; and those who do not desire the information they contain, may contentedly pass them over. On the other hand, I hope that you will uphold my opinion that the application of the scientific method even to these researches, cannot but be to their advantage. This is perhaps most strikingly evident in the chronological notification of each separate work.

We are well supplied with chronological information as to Mozart's compositions. From 1784 onwards we possess his own carefully compiled thematic catalogue which AndrÉ has edited (Offenbach, 1805 and 1828).

On earlier compositions the data is generally correctly given with the autograph signature, and the list of authentically dated works comprises by far their greater number. But not quite all; the autograph is wanting to many, and they are not all dated. It thus becomes necessary to resort to classification resting on the external evidence of paper and handwriting, and the internal evidence of style and technical treatment, as well as on the testimony of witnesses.

Hofrath AndrÉ compiled for his own use a chronological catalogue coming down to the year 1784, of which I have made use. It contains many suggestive remarks, and did me good service, although, of course, it could not spare me my own investigations, by means of which I have, in most cases, come to a solution of my difficulties. The catalogue which I have compiled with considerable pains will, I hope, recommend itself by its brevity, clearness, and trustworthiness. I was obliged to give up the idea of noting what had been already printed, where, and how often; to do this with completeness and exactitude would require an amount of time and study which it was out of my power to bestow.

The treatment of historical facts, both in detail and as a whole, has its own secure and beaten path. Its final object is truth, and my sole concern has been to discover and set forth the truth. No consideration for others has led me to conceal what was essential or important for the due understanding of Mozart as a man and an artist; neither have I LIFE OF MOZART. been tempted to silence on points which were to his disadvantage. Public opinion on his achievements as a fully developed artist is firmly established, and is perhaps only susceptible of modifications of detail and degree; but my work is the first attempt that has been made towards a correct judgment of Mozart as a student and as a man. It has been a pleasure to me to find that as I proceeded, my admiration, esteem, and love for Mozart were constantly on the increase; but not on any account would I have my representation of his character considered in the light of an apology. It is my firm conviction that injustice is done to great men by concealing or slurring over their failings; we serve them best by seeking to make them understood just as they were.

An attempt to lay Mozart's individuality before the reader seemed hardly complete without some presentation of his outward appearance. You will find, therefore, in this book, the charming picture of Mozart as a boy, engraved from the portrait in oils, painted in Verona in 1770; also the characteristic portrait from the family group in the Mo-zarteum at Salzburg, which was painted in 1780, and an engraving of Tischbein's portrait, painted at Mayence in 1790. I have thought it right, further, in a work which is intended to transmit traditions, to preserve the well-known profile of Posch's medallion, which served as a model for all early portraits, more and more unlike in every copy, and yet always like. Various fac-similes of Mozart's handwriting are also given, and I do not fear that you will find out of place a portrait of his father, also taken from the Salzburg family picture.

May I add one word on the musical criticism contained in my work? I am quite aware that it must stand on its own merits, and I am only anxious to express my full consciousness of the difficulty of my undertaking. That the substance of a musical work cannot be verbally represented, and that its effect on the hearer is incapable of being reproduced by description, least of all by a climax of high-sounding adjectives, admits of no dispute. Properly speaking, as Schumann once wished for the musical critic, when a INTRODUCTION. composition is discussed, there should be singers and instrumentalists ready at hand to perform it. But this being scarcely feasible, we are driven to a verbal attempt at reproducing the essence of the work. Such an attempt can only succeed by starting from artistic form, and showing how its laws and types, its technical conditions, its manifold application and development, are all represented in the most individual modifications. A general idea of the work, however, is all that can be arrived at by this means; the immediate impressions made upon the mind by its performance cannot be reproduced; neither can the attempt to express in words the artistic frame of mind which finds its expression in the forms of the work be altogether successful, and it is impossible to apprehend the degree in which the artistic mood imbues the artistic form otherwise than by observation of the work itself.

Descriptions of musical works, therefore, since music cannot, like painting, borrow analogies from visible nature, must remain mere approximations of the original; they become more definite in proportion as they fall in with the reader's own experiences, and find in these analogies and, as it were, precedents for the new ideas it is sought to convey. The main difficulty consists in the fact' that among a large circle of readers (which I know you wish for me) the degrees of musical cultivation to which appeal may be made are necessarily very varied. It would be impossible, on this account, to treat the subject in the purely technical manner which would be the shortest and most convenient were musicians only addressed; neither can every separate point be treated from its very beginning, without a presupposition of some knowledge and comprehension on the part of the reader. There only remains then, as it seems to me, such a consideration of musical form from varied points of view, and proceeding in varied directions, yet always with reference to some particular case, as shall bring into play the reader's special musical experiences and assist him to a true understanding of the subject. If he should be struck with only one particular point and should feel it become a reality for LIFE OF MOZART. him, he will henceforward have a clue to the mastery of the rest. To this end I hope that my historical survey of the development of musical forms, and my general observations concerning the laws of the art, may tend. And here I must remark that I have had no intention of providing the technical musician with a theoretical analysis of separate works, but that my characterisation has been limited by the position of its object in the whole representation. I leave you to judge, my dear friend, how far, under these difficult circumstances, I have succeeded in expressing myself clearly and forcibly; I can only affirm with confidence that all that I have said has been realised and experienced by myself.

The sympathy and assistance of my honoured friend Hauptmann has been a source of great gratification to me during the publication of my book. I do not desire to impose upon him any share of responsibility in it, by thanking him for the care with which he has overlooked the author as well as the compositor; but you will understand how I have been encouraged and refreshed during my labours by continual proofs of his friendly sympathy, and how sorely I miss my pleasant personal intercourse with him.

The hour is late, my dear friend, later than it was our wont to separate after our musical revels, which, in the opinion of your amiable wife, often lasted far too long.

Farewell, and accept my book with the same cordial sympathy and indulgence which I have hitherto found so invaluable.

OTTO JAHN.

Bonn, November 30, 1855.