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Updated: May 29, 2025
He also sent to me another strictly theoretical work on the 'Structure of Musical Theme and Phrase. In this he showed the originality of his ideas about Mozart's and Beethoven's methods, to an extent which was only equalled by the thoroughness with which he had mastered the question, especially where he discussed their highly characteristic differences.
Quite as great is the effect of the same kind in the "Agnus Dei," which was either written by Mozart, or by Sussmayer with Mozart's spirit looking over him.
Nowhere can the views we have above suggested be better illustrated, than in the fate and character of the singular man who, if not the first, was yet only second to one other, among those on whom music has shed her fullest inspiration. It is not our intention to follow minutely the events of Mozart's life.
We have already seen something of the fortunes of the family into which Mozart married. The father of Mozart's wife was the older brother of Franz Anton von Weber, father of Carl Maria. This Franz Anton was a strange mixture of stalwart and shiftless qualities. He gave up his orchestral position to fight against Frederick the Great, and brought home a red badge of courage.
The conservatory of music executed a mass composed of selections from the best of Mozart's sacred pieces.
One real gain I bring back from England the cordial and genuine friendship which I feel for Berlioz, and which we have mutually concluded. I heard a concert of the New Philharmonic under his direction, and was, it is true, little edified by his performance of Mozart's "G. Minor Symphony," while the very imperfect execution of his "Romeo and Juliet" symphony made me pity him.
Those who, in the old days before the Germans began their career of wholesale robbery and murder, used to hear Mozart's operas in the little rococo Residenz-Theater in Munich, will enjoy reminiscently these stanzas. The Residenz-Theater sparkled and hummed With lights and people. Gebnitz was to sing, That rare soprano.
Méhul's curious experiments in orchestration, and the solemn splendour of Mozart's Egyptian mysteries, alike show the influence of the romantic spirit as surely as the weirdest piece of diablerie ever devised by Weber or his followers.
The proper execution of Mozart's elaborate scheme puts the resources of an opera-house to a pretty severe test, but there is ample reward in the result. Pity that, as a rule, so little intelligence is shown by the ballet master in arranging the dances!
M. Figuier is not a Darwinian: the derivation of our bodies from the bodies of apes is a conception too grossly materialistic for him. Our souls, however, he is quite willing to derive from the souls of lower animals. Obviously we have pre-existed; how are we to account for Mozart's precocity save by supposing his pre-existence? He brought with him the musical skill acquired in a previous life.
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