The Appreciation of Music - Vol. 1 (of 3)

Section four contains practically the same material as Sections 1 and 2, with its last half in the tonic instead of the dominant. It will be observed that the harmonic plan of the movement is that of "sonata-form," but that the first two sections (which would constitute the exposition) are not repeated, as was the invariable custom in Haydn's first movements. Yet the resemblance is quite close, for the third part is like a development section and the fourth like a restatement. Still there is not here that decided difference between the three sections of exposition, development, and recapitulation that is essential to sonata-form.

VI. MOZART AND THE CLASSIC STYLE.

The slow movements of the symphonies and string quartets of Mozart, who represents the culmination of the classic type in music, are thoroughly characteristic of the ideals of the classical period. Unlike the rustic Haydn, Mozart was accustomed from his childhood to the atmosphere of courts and lived in the favor of princes. His music is never brusque, nor does it have the homely wit and sentiment of Haydn—it does not smack of the soil—but it possesses a certain ideal beauty and elegance, a certain finesse and finely pointed wit that were beyond Haydn's powers. Yet these ideally beautiful compositions of Mozart are absolutely spontaneous. We are never admitted into his work-shop; we never trace a sign of his labor; his music seems to have sprung full born from his brain. He is the type of the consummate artist who deals with the language of music as easily as an ordinary mortal deals with his native tongue. He was not a philosopher like Bach, nor a great man like Beethoven. We find no evidences of his having been, outside his music, particularly distinguished from his fellows, for his improvidence and fondness for amusement are matters of record. When we think of Beethoven's music we think of Beethoven; Mozart and his art are distinct and separate.[33]

At this point the question naturally arises: "Just what do we mean by classic beauty?" In a general way a book, a picture or a piece of music becomes a "classic" when it is universally accepted as a model of its kind. In this sense Grey's "Elegy in a Country Churchyard" is a classic; so are Lincoln's Gettysburg Address, the Sistine Madonna, and the Apollo Belvedere. The same term is applied to Beethoven's Fifth Symphony, and to Schumann's "Tr?merei." These works of art represent many varieties of mood, of style, and of structure, and the application to them all of the term "classic" is a very broad usage. "Classic," as opposed to "Romantic," in music, means something quite different and much more definite. It refers to purity of outline and simplicity of harmony; to pure beauty of sound as opposed to luxuriance or the poignancy produced by dissonances; to clear and translucent colors and definite lines curved in beauty, rather than to picturesqueness. Classical music tells its story clearly and definitely and does not depend on suggestion, as does, for example, the romantic music of Schumann.

Our illustrations from Haydn have revealed how this classic spirit gradually approached its culmination. In his Andante with Variations there is something of the classic spirit, though the occasional diffuse ornamentation of the trio theme mars the purity of the composition. In the movement from the "Surprise" Symphony there is too much that is rustic to admit of its being considered altogether classic. But a fine example of the classic type is afforded by the first movement of Mozart's G-minor Symphony, discussed in Chapter IX. The distinction may be made still more clear by reference to Figure XLIV, containing (a) the opening phrases of the Finale of Tschaikowsky's "Path?ique" Symphony, and (b) a short quotation from Schumann's Novelette, op. 21, No. 1.

(a)

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(b)

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FIGURE XLIV.

The poignancy of the passage from Tschaikowsky is remarkable, and the opening chord, modulating at once to another key than the tonic, produces a feeling of unrest which is further intensified, as the piece proceeds, by harsh dissonances. The quotation from Schumann's Novelette is notable for its brusqueness, and for the roughness of its dissonances. Effects like these would not have been tolerated in Mozart's time, and illustrate the tendency of music to become more personal and to seek to express a wider range of human feeling. A comparison of these two quotations with the opening of the andante by Mozart will reveal how far apart are the ideals of classic and romantic music.

EXAMPLE FOR ANALYSIS, No. 16.

Mozart: Andante from String Quartet[34] in C-major, dedicated to Haydn.

In Chapter IX reference has been made to the influence of Haydn and Mozart on each other. Mozart undoubtedly profited by Haydn's labors in the quartet form, and Haydn, in turn, shows in his latest quartets that he had learned something from his younger contemporary. Ever since this form came into being it has been a favorite one with composers, for in it they are able to express musical ideas in all their purity and divested of extraneous influences. For this reason the quartet became the medium for their most advanced ideas. Both Mozart and Beethoven wrote quartets that were far in advance of their time, and that were subjected to harsh criticism by their contemporaries. The introduction to the quartet from which this andante is taken is a case in point. The harmonies, within the space of a few measures, wander far from the home key, and commit what were then unpardonable sins of cacophony. A brief quotation from the beginning of this introduction is shown in Figure XLV. The harsh dissonances between the A-flat in the first measure of the viola part and the succeeding A-natural in the first violin part should be noted.

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FIGURE XLV.

The vague harmonies of this introduction serve as an admirable foil to the bright opening of the first movement. The ?thetic purpose they serve is one of which Beethoven also made constant use when he desired to enhance the charm of a passage by vivid contrast of color. The opening theme of the movement (shown at (b) in Figure XLV) will be seen to be foreshadowed in the introduction (Figure XLV (a); viola part, measure 3, first violin part, measures 4-5). From the point of view of both harmony and thematic development this introduction is therefore extremely modern.

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FIGURE XLVI.

Of this andante by Mozart we can say unreservedly that it is a perfect specimen of pure classic beauty. Its translucent harmonies, its exquisite curve of melody, its clear outlines, all make it a model of its kind. The chief theme, extending to measure 12 (see Figure XLVI), should be compared with those of Handel, Haydn and Mozart shown in previous chapters. This comparison will reveal an important element in the present theme, namely, the element of organization. In our earliest musical examples quoted in the first two chapters there was a conspicuous lack of variety. "Three Blind Mice" contented itself with two motives, which were repeated over and over again. "Barbara Allen" was made up of one rhythmic figure, constantly reiterated, and even in the themes of Philip Emanuel Bach and Haydn there were many rhythmic repetitions. In the Haydn quartet movement there were but two motives, and while they were used with the greatest skill, the theme itself was entirely constructed from them. In Mozart's theme, on the contrary, there is hardly a single repetition of rhythm. An examination of the melody will reveal how great a variety is imparted to it by the many different rhythmic figures. Yet there is no sense of vagueness about it; it holds together firmly. This quality distinguishes all highly organized melodies, and is never found in folk-music. The same element may be observed in a developed language in which words have come to be flexible in their meaning, and more or less complicated sentences are possible. In this theme one does not get the sense of what the composer is trying to say until the melody ends; in simple themes, made up by repeating the same motive, one can foresee the end long before it is reached. Themes like this beautiful one of Mozart are possible only after art has become well developed, and after people in general have become sufficiently familiar with the phraseology of music to be able to follow complicated musical sentences.

A further charm is added to this movement by the free and flowing counterpoint of the several parts. This is an essential element in the string quartet, since without it, there being little variety in the tone of the four instruments, monotony would result.

VII. FORM OF MOZART'S ANDANTE.

Here, as in the Haydn slow movement, we find another example of sectional form. It may be tabulated as follows: