independently when playing together, the orchestra is stronger, and the tutti more important, so that its character, as indicated by the title, is rather that of a symphony.
Nine Concertos remain to be considered:—the one composed in Paris for flute and harp is brilliant without being difficult for the solo instruments; the orchestra is discreetly handled, and the andantino accompanied by string quartet alone, graceful and tender. A concerto for bassoon (191) was composed in Salzburg; two for flute (313, 314) in Mannheim; four for French horn (412, 417, 447, 495) at Vienna, at the house and in the presence of Leutgeb. These last are evidently written hastily and carelessly, and are of no special significance; the autograph is full of absurd marginal notes. [See Leutgeb, p. 126.] The last concerto, composed for Stadler (622), brings out all the fine qualities of the clarinet; Jahn regards it as the basis of modern execution.
The Serenades, Nocturnes, and Divertimenti or Cassationen, mostly with solo instruments concertante, consist generally of from six to eight movements. One of the nocturnes (286) has four orchestras, of two violins, viola, bass, and two horns each, by means of which a triple echo is produced; a short serenade (239) has only strings and drums. Another serenade for wind instruments with cello and bass (361), remodelled in 1780 from a youthful quintet (46), is an important work. Of solid merit are three divertimenti for string-quintet and horns in F, B♭, and C (247, 287, 334); the second is well known. They have six movements each, and are essentially in quartet-style, in spite of the horns. Though written when he was not much above twenty, his mastery of this kind of composition is complete. Another divertimento for the same instruments 'Ein musikalischer Spass, oder auch Bauern-Symphonie' ('a musical joke'), composed in 1787, is irresistibly comic.
The Tafelmusik, Nachtmusik, etc., for wind-instruments, with from six to eight movements each, often present the most extraordinary combinations, such as 2 flutes, 5 trumpets, and 5 drums (187, 188), intended it is true for festal occasions, and 2 oboi, 2 bassoons, and 2 horns, in six divertimenti (213, 240, 252, 253, 270, 289) composed in 1775 and 1776, and graceful in spite of their concise form. Superior to these, and indeed to all mere fête music, are two serenades for wind in E♭ and C minor (375, 388), composed in Vienna in 1781 and 1782; the latter also arranged by Mozart as a quintet (406). Of dance-music for full orchestra the first published was four contredanses (267, Salzburg, 1776); in 1784 followed two quadrilles (463) each consisting of a minuet and an allegro; and in 1787 six German dances (509) and nine contredanses (510). The dances, written for six of the Redouten-Balls in Vienna, begin in Dec. 1788 with the German dances (567) and twelve minuets (568).
In the Symphonies we are able to follow the steps of his progress most closely. He first makes sure of his materials and technique, then the separate parts acquire more freedom and independence, melody and invention grow, the subjects gain in character, there is more substance in the whole, the details are better worked out; the wind-instruments, no longer used merely to strengthen the strings, take their own line and materially assist in the light and shade; in a word, the various component parts of the orchestra become one animated whole. Mozart had a great advantage over Haydn in having heard and studied the fine orchestras at Mannheim, Munich, and Paris, while Haydn was entirely restricted to his own. Mozart at first learned from Haydn, but after 1785 the reverse took place; Haydn's London symphonies also show how much his orchestration gained in fullness and brilliance from contact with the world. Mozart's first attempts in London and the Hague are in three movements; in those composed at Vienna in 1767 and 1768 the minuet is introduced. His later treatment of this movement is distinguished for refinement and dignified cheerfulness, in contrast to the jovial good-humour and banter which characterise Haydn's minuets. Of twenty symphonies composed in Salzburg, two are distinctly superior, that in G minor (183) being serious, almost melancholy, and in some sense the precursor of the later one in the same key, to which the other in A (201), bright, fresh, and sunny, forms a striking contrast. Next comes the lively Parisian or French symphony in D (297) with three movements; then three more in Salzburg, including one in G (318) in one movement, probably intended as an overture to a play.[1] With the exception of two in C and G (425, 444) composed in Linz, and plainly showing Haydn's influence, all the rest were written in Vienna. In the lively bustling symphonies in D (385), composed 1782, and C (504), composed 1786, for the Haffner family of Salzburg, the orchestration reminds us that they had just been preceded by 'Figaro.' The last three, in E♭, G minor, and C with the fugue (Jupiter) (543, 550, 551), were composed in 1778 [App. p.720 "1788"] between the 26th of June and the 10th of August, just over six weeks! Ambros[2] says of them, 'Considered as pure music, it is hardly worth while to ask whether the world possesses anything more perfect.' Jahn calls the first a triumph of beauty in sound, the second a work of art exhausting its topic, and the third in more than one respect the greatest and noblest of Mozart's symphonies.
Next come the Vocal Compositions. Lieder he only wrote casually; and unfortunately to very insignificant words. The greater number are in stanzas, but some few are continuously composed, such as 'An Chloe' (524), more in the style of an Italian canzonet; 'Abendempfindung' (523) fine both in form and expression; 'Unglückliche Liebe' and 'Trennung und Wiedervereinigung' (520, 519) almost passionate; and 'Zu meiner Zeit' (517) in a sportive tone.
