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Updated: May 11, 2025
Mozart has always been pointed to by preference to show how a really great master shakes his melodies from his sleeves, as it were. Yet, on reading Jahn's elaborate account of Mozart's life and works, nothing strikes one more than the emphasis he places on the amount of preliminary labor which Mozart expended on his compositions, before he wrote them down.
"Rat thee, Jahn," says a stout jade, with her arm out and her fist almost in Jahn's face, "I wish I were a man I'd gie it to thee!" She evidently thinks it a wrong that she was born a woman and upon my word, by that brawny arm, and those masculine features, there does appear to have been a mistake in it.
Moreover, I had brought away with me "German-National" impressions from Plamann's preparatory school, conducted on Jahn's drill-system, in which I lived from my sixth to my twelfth year. These impressions remained in the stage of theoretical reflections, and were not strong enough to extirpate my innate Prussian monarchical sentiments. My historical sympathies remained on the side of authority.
Thayer quotes Jahn's testimony that these afterthoughts are invariably superior to the first conception, and adds that "some of his first ideas for pieces which are now among the jewels of the opera are so extremely trivial and commonplace, that one would hardly dare to attribute them to Beethoven, were they not in his own handwriting."
III. and XIV. For his date Bhandarkar, Vaishṇ. and Śaivism, pp. 58-59 and I.A.. 1914, pp. 233 ff. and 262 ff. Chând. Up. XXXVIII.-XL. contains a violent polemic against them. See Jahn's Analysis, pp. 90-106 and Barth in Mélanges Harlez, pp. 12-25.
The "coincidence" here is striking, as we cannot suppose Marx ever saw Jahn's publication, since he makes no reference to it. In the errors with which Marx spices his narrative occasionally, the coincidence ceases. Here are some instances. According to Marx, one reason of the ill success of the opera at Vienna, in 1805-6, was the popularity of that upon the same subject by Paer.
From her Figaro learns that the letter which he had seen the Count read during the dance was from Susanna, and becomes furiously jealous. The time is come to unmask the Count. The Countess and Susanna have exchanged dresses, and now come into the garden. Here some of Otto Jahn's words are again appropriate:
They wore Jahn's German costume and always acted publicly, until their suppression, when the remaining members formed secret associations.
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