Read Ebook: Life of Mozart Vol. 1 (of 3) by Jahn Otto Grove George Commentator Townsend Pauline D Translator

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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 U?bicheff 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 ; 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.

U?bicheff 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,

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

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.

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

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.

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

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 Andr?'s collection. It is well known; that the Hofrath Andr? 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 Andr?'s heirs, as denoted by a "Thematic Catalogue of the original manuscripts by Mozart in the possession of Hofrath Andr?" . 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. Andr?'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 Andr?'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.

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

of 1853, in order to examine this remarkable collection. The brothers Carl and Julius Andr? 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 Andr? 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

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.

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

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.

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

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 Andr? has edited .

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 Andr? 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

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

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 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

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.

INTRODUCTION TO THE SECOND EDITION.

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