In examining the works themselves, many of them must be passed over without notice. Some were written for special occasions; some, for combinations of instruments, that no longer, or rarely, are heard in concert-halls; and it would be idle to assert that all his works are equally worthy of respect. The complete collection of the writings of even such a genius as Voltaire contains dreary pages and frivolous opinions. Let us examine more particularly his pianoforte music, the chamber music, such as the string quartets and quintets; the symphonies; the religious music; and the operas, looking at the works themselves, comparing them with that which was contemporaneous, and observing the influence on the musicians that followed him. The songs, with the exception of the "Veilchen" (The Violet), were set to meaningless words and are not to be ranked with the best of his compositions; but this same "Violet" in its lyrical-dramatic setting pointed the way to the after glory of the German song as seen in Schubert, Schumann and Franz. And nearly all of the concert-arias written for special singers and for special use seem to-day a little antiquated, and cast in the old and traditional mould. As Mozart first was known as a pianoforte player, let us first look at his writings for that instrument. (I use the term pianoforte throughout this article, following the example of Rubinstein, who, in his "Conversation on Music" (1892), speaks of compositions for Clavecin, Clavichord, Clavi-cymbal, Virginal, Spinett, etc., "as written for pianoforte, as to-day we can only perform them on this instrument.")
There is no doubt but that Mozart was the greatest pianoforte player of his time. The testimony in his favor is overwhelming. His hands were small and well-shaped, and some of his hearers wondered that he could do so much with them. He had elaborated an admirable system of fingering, which he owed to the careful study of Bach, whose pianoforte music he had played from a very early age. He regarded good fingering as the basis of expressive playing. He insisted that the player should have "a quiet, steady hand," and that the passages should "flow like oil"; he therefore objected to all bravura feats that might be detrimental to "the natural ease and flexibility." He was vexed by exaggerations of tempos, by over-rapidity of execution, by sentimental rubatos. He demanded correctness, "ease and certainty, delicacy and good taste, and above all the power of breathing life and emotion into the music and of so expressing its meaning as to place the performer for the moment on a level with the creator of the work before him." It is hard for men of another generation to gain an idea of the qualities of the virtuosoship of the pianist that moved and thrilled the audiences of his time. We must take the word of his hearers. Clementi declared that he never heard any one play so intellectually and gracefully as Mozart. Rochlitz waxed enthusiastic over the brilliancy and "the heart-melting tenderness of his execution;" Dittersdorf praised the union of art and taste; and Haydn, with tears in his eyes, could not forget his playing, because it came from the heart. Unfortunately we can not estimate his virtues as a player from his works, for all that heard him agree that his improvising was the crowning glory of his art. Variations on a well-known theme were in fashion, and the variations were often improvised. The published variations of Mozart are light and pleasing; he did not care for them, and they were written, no doubt, for the entertainment of his pupils or his friends. Of the three rondos, the one in A minor (1787) is very original and of exquisite beauty, and is a favorite to-day in concert-halls. The fantasia in C minor (1785) is an important work. Five movements, in various keys and tempos are bound together, and though each is in a measure independent, the sections seem to follow each other inevitably. The harmonies are daring, when the date of its composition is considered, and the mood, the _Stimmung_, is modern in its melancholy and doubt. In treating the sonata form Mozart was the successor of Ph. Em. Bach and Haydn.