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قراءة كتاب Life Of Mozart, Vol. 3 (of 3)
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LIFE OF MOZART
By Otto Jahn
Translated From the German by Pauline D. Townsend.
With A Preface By George Grove, Esq., D.C.L.
In Three Volumes Vol. III.
London Novello, Ewer & Co.
| Volume I. | Volume II. |
FAC-SIMILES
Fac-similé No. 1 is of Mozart's letter to Bullinger from Paris, after the death of his mother (see Vol. II., p. 53).
Fac-simile No. 2 is of the original MS. of "Das Veil-chen," now in the possession of Mr. Speyer, of Herne Hill (see Vol. II., p. 373).
Fac-similes Nos. 3 and 4 are sketches illustrative of Mozart's method of composing. Sketch I. is described in Vol. II., p. 425. Sketch II. is of part of Denis's Ode, the words of which are given below; it is noticed in Vol. II., pp. 370, 424:
Doch blickt dein tausendjähriger
Gipfel Ruhig auf Welten umher.
Siehe dort wölkt es sich auf
Ueber die westlichen Wogen her,
Wölket sich breiter und ahnender auf,—
Es flattert, O Calpe! Segelgewolk!
Flügel der Hülfe! Wie prachtig
Wallet die Fahne Brittaniens
Deiner getreuen Verheisserin!
Calpe! Sie walltl Aber die Nacht sinkt,
Sie deckt mit ihren schwàrzesten,
Unholdesten Rabenfittigen Gebirge,
Flàchen, Meer und Bucht Und Klippen, wo der bleiche
Tod Des Schiffers, Kiele spaltend, sitzt.
Hinan!
CONTENTS
CHAPTER XXXIV. MOZART'S INSTRUMENTAL MUSIC.
CHAPTER XXXV. MOZART AS AN OPERA COMPOSER.
CHAPTER XXXVI. "LE NOZZE DI FIGARO."
CHAPTER XXXVII. MOZART IN PRAGUE.
CHAPTER XXXVIII. "DON GIOVANNI."
CHAPTER XXXIX. OFFICIAL AND OCCASIONAL WORKS.
CHAPTER XL. A PROFESSIONAL TOUR.
CHAPTER XLI. "COSÌ FAN TUTTE,"
CHAPTER XLII. LABOUR AND POVERTY.
CHAPTER XLIII. "DIE ZAUBERFLÖTE"
CHAPTER XLIV. ILLNESS AND DEATH.
APPENDIX II. ARRANGEMENTS OF MOZART'S CHURCH MUSIC.
APPENDIX III. PORTRAITS OF MOZART.
APPENDIX IV. LIST OF WORKS and INDEX
CHAPTER XXXIV. MOZART'S INSTRUMENTAL MUSIC.
NEXT to pianoforte music for amateur musical entertainments, the quartet for stringed instruments was the favourite form of chamber music. The performers were occasionally highly cultivated amateurs, but more often professional musicians, thus giving scope for more pretentious compositions. The comparatively small expense involved enabled others besides noblemen, even those of the citizen class who were so inclined, to include quartet-playing among their regular entertainments. 1 Jos. Haydn was, as is well known, the musician who gave to the quartet its characteristic form and development. 2 Other composers had written works for four stringed instruments, but the string quartet in its well-defined and henceforth stationary constitution was his creation, the result of his life-work. It is seldom that an artist has been so successful in discovering the fittest outcome for his individual productiveness; the quartet was Haydn's natural expression of his musical nature.