FINE ARTS. 309 



times, to the zenith of their popularity, the claims of Mozart as the 

 originator of a new style for the piano-forte were totally neg- 

 lected. 



Thut JNIozart was the true founder of modern piano-forte music 

 will hardly be doubted by those acquainted with his works for that 

 instrument, as well as with those of his predecessors and cotempo- 

 raries. Haydn's adagios might be taken for songs divested of their 

 words, and his allegros partake largely of the character of his pre- 

 decessors. He was no performer himself, and his sonatas exercised 

 little more influence over the style of writing for the instrument 

 than if they had been only adaptations from the orchestra. With 

 regard to Clementi, who has been styled " the father of modern pi- 

 ano.forte music," a reference to dates will show that, at the time 

 when he was yet a mere performer, Mozart had delighted the Ger- 

 man public as well with the richness and novelty of his ideas as by 

 the brilliancy of his execution. When Clementi came to England 

 he was well acquainted with the compositions of IMozart, with 

 whom he had often played in public. But it little direct benefit 

 was derived from Mozart's piano-forte works, much was gained in- 

 directly by their influence on those of other composers. Cramer, 

 whom the English have long looked up to as the head of the (rue 

 piano-forte school, adopted the great German as his model. We 

 confess we are not of those who delight in setting up forms and 

 modes in array against each other. We care not for the style, the 

 manner, or the form, so long as genius, idea, or mind, is present ; 

 and if the eloquence of IMozart's soul-absorbing phrases cannot rea- 

 son piano-forte players into the same way of thinking, then, in- 

 deed, may we despair of their taste. We despise w hile we pity the 

 affected exclamation of the fashionable world, that Mozart is passe ; 

 and they need hardly be offended if we declare that with minds like 

 his they never have felt sympathy. Fifty years ago they delighted 

 in Pucitta and Von Esch ; let them now applaud Herz and Doni- 

 zetti. 



To the daily increasing number of art's lovers we must, notwith- 

 standing the brevity of our space, say a few words on the charac- 

 teristics of JMozart's writings for the piano-forte. To the trite ob- 

 servation that " melody is the soul of music" we fully subscribe, 

 although we feel inclined to differ from many who make the asser- 

 tion as to what shall properly be called melody. Assuredly not the 

 threadbare molivi of most modern composers, which owe their slen- 

 der attractions to the jingling consonances afforded by the funda- 

 mental bass. Would you learn what melody is, ask of any gieat 

 master, of Sebastian Bach, of Handel, of Mozart, of Beethoven ; 

 they will give you a better idea than any critical definition is capa- 

 ble of imparting. Suffer not yourselves to be misled by the notion 

 that the ancient masters cultivated harmony at the expense of me- 

 lody : such is the shallow conceit of those who, being incapable of 

 comprehending their thoughts, endeavour to fasten on the composer 

 the blame in reality attached to themselves. The florid counter- 



