Books › The new encyclopedia of music and musicians, 1929 › scan 639
Scan 639
The new encyclopedia of music and musicians, 1929
37 lines. Read by computer on 16 September 2026. Printed page 601. See the scan on archive.org.
1only in dexterity, but in impressive warmth and dignity of interpretation, besides having great readiness in extemporization. He naturally used the Viennese type of piano that had been perfected about 1775 and his style was the compact and polished one that went with that type. He was equally expert upon the violin and the viola (for which he had a special liking). His entire life seems to have been spent in the presence of musical thought. Though abounding in good-fellowship and perpetually indulging in jokes and apparent play, he was really always intent upon artistic creation and expression. Even his most elaborate works were usually fully conceived before being written out and on occasion he was able to produce with brilliant assurance without premeditation. No previous composer—and few later—had shown such affluence, certainty and beauty of inspiration.
3To the neat precision of the prevailing form of his time he imparted a luscious charm of melody, harmony and inner structure that were distinctly his own. His instinct for balance and clarity was unerring, but in his hands even the simplest outline was charged with emotional warmth. He attained his highest points in the great concertos, symphonies and operas of his last ten years. It is evident that if he had continued longer he would have risen to still more sublime utterance. As it was, he plainly outstripped the much older Gluck and Haydn and pointed the way for Beethoven and several other masters of the early 19th century. In particular, he showed an appreciation of the instrumental texture of the chamber- and orchestral ensemble that was prophetic. Without working on any such deliberate plan of reform as that of Gluck, he yet powerfully aided the advance of the opera by his intuitive grasp of dramatic values and his exuberant wealth of resource in characterizing personages and in depicting situations. In all his works appeared a fascinating union of genial vitality, absolute musicianship and sympathetic sentiment.
5From the outset he sought expression in all the forms and fields of composition that were prominent in his day. He was thoroughly cosmopolitan in his sympathies, due largely to the breadth of his early experience, and was thus able to fuse together the best tendencies of many schools, at the same time ennobling them by the magic of his own individuality. How immediate and powerful was his artistic impress is seen by its reaction on the veteran Haydn, on the younger Beethoven, on the circle of the first romanticists and even on comparatively recent composers. His genius was the consummate flower of the 'classical' period proper.
7A summary of his more than six hundred works is as follows:
9Vocal Works
10Operas—La Finta Semplice, 1769 (Salzburg), Mitridate, 1770 (Milan), Lucio Silla, 1772 (Milan), La Finta Giardiniera, 1775 (Munich), Idomeneo, Rè di Creta, 1781 (Munich), Die Entführung aus dem Serail, 1782 (Vienna), Le Nozze di Figaro, 1786 (Vienna), Don Giovanni [Il Dissoluto Punito], 1787 (Prague), Così Fan Tutte, 1790 (Vienna), Die Zauberflöte, 1791 (Vienna), La Clemenza di Tito, 1791 (Prague).
11Operettas, Dramatic Cantatas, etc.—Die Schuldigkeit des ersten Gebotes, 1767 (Salzburg, first part only by Mozart), Apollo et Hyacinthus, 1767 (Salzburg), Bastien et Bastienne, 1768 (Vienna), Ascanio in Alba, 1771 (Milan), Il Sogno di Scipione, 1772 (Salzburg), Il Rè Pastore, 1775 (Salzburg), Die Schauspieldirector, (1786) 1796 (Schönbrunn). Incomplete draft of Zaïde (1780); incidental music for Thamos (1780?). About 45 arias and scenas, also duets, trios and quartets.
12Oratorios and Cantatas—La Betulia Liberata, 1772 (Padua?), Davidde Penitente, 1785 (Vienna), 2 Masonic cantatas.
13Church-Music—15 masses (1768–80); the Requiem (incomplete, finished by Süssmayer); 4 Litanies; 2 Vespers; Te Deum; 9 Offertoriums; Dixit et Magnificat; 4 Kyries; Psalm 130; various other canticles, motets, etc.
14About 35 songs, 2 trios and about 20 vocal canons, mostly secular.
16Orchestral Works
1749 symphonies (from 1764!), including especially those in E-flat, G min. and C [Jupiter] (all 1788). [Two of the symphonies are now supposed to be by Abel and M. Haydn respectively.]
1816 divertimenti; 11 serenades; 2 cassations; a notturno; 10 short pieces. All these are written for small ensembles.
19Concertos—about 25 for piano, with 1 for two pianos, 1 for three pianos and a piano-rondo; 7 for violin, with a concertone for two violins, 1 for violin and viola and 2 violin-rondos; 2 for flute, with 1 for flute and harp and a flute-andante; 1 for clarinet; 1 for bassoon; 4 for horn. [Four of the early clavier-concertos are now supposed to be studies from Schobert.]
20A great variety of marches, dances, etc., for various combinations of instruments.
22Chamber-Music
239 string-quintets (one with horn and one with clarinet); 1 for piano, oboe, clarinet, horn and bassoon.
2426 string-quartets (two with flute and one with oboe); 3 quartet-divertimenti, a serenade and an adagio and fugue; 2 piano-quartets.
257 piano-trios; a trio for piano, clarinet and viola; a divertimento for string-trio. Also a duet for two violins and 2 for violin and viola.
2642 violin-sonatas; 2 sets of variations and an allegro for violin and piano.
28Keyboard-Works
2917 piano-sonatas; 4 fantasias; 5 sonatas and a set of variations for 4 hands; a sonata and a fugue for two pianos; 15 sets of variations; a suite; about 15 minor pieces, mostly dances; 35 cadenzas for the piano-concertos.
3017 organ-sonatas, usually with string-trio, but 3 with some wind added.
32Miscellaneous
33Additional accompaniments for Handel's The Messiah, Alexander's Feast, Ode to St. Cecilia and Acis and Galatea.
34A large number of vocal and instrumental fragments, longer or shorter, and some works of uncertain authenticity.
36Thematic catalogues by André, 1805 (2d ed. 1828), and especially by Köchel, 1862 (supplement, 1889, revised and extended by Waldersee, 1905). Standard edition of works by Breitkopf & Härtel, 24 vols. 1876–86. Memoirs by Niemtschek, 1798 (2d ed. 1808), Nissen, 1828, Holmes 1845 (2d ed. 1878), Jahn, 4 vols. 1856–59 (4th ed. by Deiters, 1905–07), Nohl, 1863 (3d ed. by Sakolowski, 1906), and '80, Wilder, 1880 (4th ed. 1889), Meinardus, 1882, Gehrting, 1883 (2d ed. 1911), Klasen, 1897, Fleischer, 1899, Break-
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