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On one occasion he came to me and said that he and I were to dine with Count Sickingen some day soon; adding, "The Count and I were conversing together, and I said to him, 'A propos, has your Excellency heard our Mozart? 'No; but I should like very much both to see and to hear him, for they write me most astonishing things about him from Mannheim. 'When your Excellency does hear him, you will see that what has been written to you is rather too little than too much. 'Is it possible? 'Beyond all doubt, your Excellency." Now, this was the first time that I had any reason to think Raaff interested in me.
In the quintet which accompanies these sayings and doings, there is exquisite music, which, it is said, Mozart conceived while playing at billiards. Finally the ladies announce that three boys, "young, beautiful, pure, and wise," shall guide the pair to the castle of Sarastro. We are next in a room of the castle before the would-be rescuers arrive.
When the theorists said that the celebrated false relations at the opening of Mozart's C major quartet were wrong, Haydn was merely impatient; he said that if Mozart wrote them we might depend upon it Mozart had an excellent reason for doing so. Probably he did not want Beethoven to waste his time on piffling schoolboy exercises.
He could play the violin himself, as the violin was then played, and all his life, even in quartets, he had to write for players who would be considered tenth-rate to-day. As for orchestration, that was an art neither he nor Mozart was to hit upon for some time.
These great Germans, against whom he revolted, were they not his blood, his flesh, his most precious life? He was only severe with them because he was severe with himself. Who loved them better than he? Who felt more than he the goodness of Schubert, the innocence of Haydn, the tenderness of Mozart, the great heroic heart of Beethoven?
In literary and artistic creation similar examples are frequent. The second phase is only an instant, but essential the moment of discovery, when the creator exclaims his "Eureka!" With it, the work is virtually or really ended. This is the process in intuitive minds. Such seems to have been the case of Mozart, Poe, etc.
With a gentle inclination of her head, she turned toward other guests looked back and with a last little courteous attention offered to him, said, "If you like music, Mr. Penrose, I advise you to go to the picture gallery. They are going to play a Quartet by Mozart." Penrose thanked her, noticing that her voice and manner had become strangely subdued.
With all concessions made to Mozart as the founder of the forms of modern opera, an equally high place must be given to Rossini for the vigor and audacity with which he made these available, and impressed them on all his contemporaries and successors.
The emperor desired to establish a national opera, and Mozart took up the composition of his "Die Entführung aus dem Serail." In the first moment of his quarrel with the Archbishop Mozart had left the retinue and sought rooms outside.
And who save Beethoven saw the possibilities of this? But Haydn had to find such themes and see their possibilities before Mozart or Beethoven, and it was only after Mozart's death he was completely successful. He still largely depended upon fanfares and key-relationships in leading from passage to passage, and getting variety while keeping unity.
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