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Updated: June 8, 2025
The money-getting instinct has been aroused within them all, with the result that when I invited Mozart to meet a few friends at dinner at my place last autumn, he sent me a card stating his terms for dinners. Let me see, I think I have it with me; I've kept it by me for fear of losing it, it is such a complete revelation of the actual condition of affairs in this locality.
The Singspiel, established by Hiller and perfected by Mozart, had languished during the early years of the century, or rather had fallen into the hands of composers who were entirely unable to do justice to its possibilities.
He also made such good progress at school that at Easter 1820 he was able to enter the Zwickau Academy. The love for music grew with each day. With a boy of his own age, as devoted as himself to music, four-hand works of Haydn, Mozart and Beethoven, as well as pieces by Weber, Hummel and Czerny, were played almost daily.
Let Prague keep him, ah! and well reward him, for without that the history of geniuses is bad; alas! we see so many noble minds crushed beneath adversity. Mozart is incomparable, and I am annoyed that he is unable to obtain any court appointment. Forgive me if I get excited when speaking of him, I am so fond of him." Mozart's admiration for Haydn's music, too, was very marked.
Speaking of an infant child, our composer would say merrily, "That boy will be a true Mozart, for he always cries in the very key in which I am playing." Mozart's musical greatness, shown in the symmetry of his art as well as in the richness of his inspirations, has been unanimously acknowledged by his brother composers. Meyerbeer could not restrain his tears when speaking of him.
When he was writing the music that forces us to place him near the noblest composers, he obeyed the invariable rule, and was in turn being influenced by Mozart. The case is remarkable, but it is only what anyone with a seeing eye might have predicted, and to us to-day it is quite plain. It is the constructive part of his work the work of his middle period we must now briefly examine.
In the Mass in C a new theory is developed in mass composition. It differs radically from the style of church composition made popular by Haydn and Mozart, beautiful as some of that is. Their music is a concord of sweet melodies, illustrating the peace and happiness which a contemplation of the religious life affords.
Compared with Mozart he appears as a monstrum per excessum in the direction of sensibility, which, not being checked and balanced by an intellectual counterweight from the arithmetical side, can hardly be conceived as able to exist or to escape premature destruction, if it had not fortunately been protected by a singularly tough and robust constitution.
The most eminent men who treated it at various times were the Spaniard known as Tirza di Molina, the Frenchman Moliere, the Italian Goldoni, and the Englishman Thomas Shadwell, whose "Libertine Destroyed" was brought forward in 1676. Before Mozart, Le Tellier had used it for a French comic opera, Righini and Gazzaniga for Italian operas, and Gluck for a ballet.
Beethoven grew out of Mozart and Haydn, adding a leaven which in the end leavened the whole lump, but in the outset adding little; Mozart grew out of Haydn, in the outset adding little; Haydn grew out of Domenico Scarlatti and Emmanuel Bach, adding, in the outset, little.
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