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The libretto-part and the melodies, taken together, constitute a new romantic ideal, consistent with experience, but realised with the intensity and universality whereby art is distinguished from life. Don Juan was a myth before Mozart touched him with the magic wand of music. Cherubino became a myth by the same Prospero's spell.
It may be said of Spohr that, as Mozart raised opera to a higher standard, as Beethoven uplifted the ideal of the orchestra, as Clementi laid a solid foundation for piano-playing, so Spohr's creative force as a violinist and writer for the violin has established the grandest school for this instrument, to which all the foremost contemporary artists acknowledge their obligations. Dr.
The bow of Ulysses is still unbent; but he will be a great musician indeed who shall use the resources of the new art with such large ease, freedom, power, and effectiveness as Mozart used those of the comparatively ingenuous art of his day.
Nor need this surprise us. Mozart, Bach, Beethoven were brought up in households where music was as the daily bread; their ears must have been filled with it while they were in their cradles.
Light but curved and strong like a winter oak leaf that had drifted down. Herreschoff. It was a Herreschoff dinghy. He was the Mozart of boat designers." "Like to see that," George said. "It was white," Oliver said. "Always seemed freshly painted. Owl, my stepfather, liked boats. He died in one, or off one. Graceful things are stronger than they look. He told me that once.
The Archbishop, under whom Mozart held the meager office we have spoken of, grew more overbearing in his treatment; he was undoubtedly jealous that great people of Vienna were so deferential to one of his servants, as he chose to call him. At last the rupture came; after a stormy scene Mozart was dismissed from his service, and was free.
Raaff at last said, smiling, "I can quite believe it, for M. Mozart is not WHOLLY here to admire the Parisian beauties; one half of him is elsewhere where I have just come from."
It was as if Mozart had been in spirit in the instrument, and given us, with all the freshness of creation, the music that can never lose its bloom. Scharfenberg was in the box with us, Fred. Rakemann in the next box. I saw Castellan in a private box, and Isaac H. The evening was glorious. Had you only been there! Yet you will see him in Boston.
Yet the same Viennese public, six years before, had actually hissed Mozart's "Nozze di Figaro," which shares with Rossini's "Il Barbiere" the greatest rank in comic opera, and has retained, to this day, its perennial freshness and interest. Cimarosa himself did not share the opinion of his admirers in respect to Mozart.
It was, by this time, almost eight o'clock and tea-time, and soon our master was pressingly reminded of his promise to show his friends Don Juan, which lay under lock and key, but, happily, not too deep down in his trunk. Mozart was ready and willing, and by the time he had told the story of the plot and had brought the libretto, the lights were burning at the piano.
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