THE MAYFAIR BIOGRAPHIES 
 
 UC-NRLF 
 
 
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 OZART 
 
 BY 
 
 SIR FREDERIC COWEN 
 
 MURDOCH. MURDOCH ft CO^ 
 
 », PRINCES STREBT» OXFORD CIRCUS, 
 
 LONDON, V.I. 
 
MOZART 
 
 BY 
 
 SIR FREDERIC COWEN 
 
 MURDOCH, 
 
 LONDON. 
 
 PRICE 1/e NBT. 
 
The 
 
 MAYFAIR BIOGRAPHIES 
 
 uniform with this volume, by eminent musicians of the day, 
 
 including — 
 
 Sir GHAS. V. STANFORD, Sir FREDERIC GOWEN, 
 
 Sir ALEXANDER G. MACKENZIE, 
 
 Sir LANDON RONALD, Etc. 
 
 «^ 
 
 No. 1. BEETHOVEN 
 
 2. BRAHMS 
 
 3. LISZT 
 
 4. MOZART 
 
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 8. WAGNER 
 
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 n. RUBINSTEIN 
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 Frederick Corder, F.R.A.M. 
 
 Sir Charles V. Stanford. 
 
 Sir Alexander C. Mackenzie. 
 
 ... Sir Frederic Cowen. 
 
 Sir Landon Ronald. 
 
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 Sir Frederic Cowen. 
 
 Frederick Corder, F.R.A.M. 
 
 Henry Davey 
 
 ... Sir Frederic Cowen 
 
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 Sir Landon Ronald 
 
 Price 1/6 each net 
 
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 LBW. No. 63 
 
MOZART. 
 
 After the picture by C. Jager. Photo Bntckiiiunii, Munich. 
 
A/ A. v/^ 
 
MOZART 
 
 LITTLE boy of four is seated at a desk, hard at work 
 composing. He dips his pen to the bottom of the 
 inkstand and makes a blot each time he puts it on 
 the paper, wiping this out with his hand and going 
 on writing. His father is standing at the boy's side, 
 while tears of happiness and admiration fall from 
 his eyes. ' Look,' he says to a friend, * how correctly 
 it is all written, only it is of no use because it is too difficult for any 
 one to play.' ' That is just why it is called a concerto,' replies the 
 youthful genius ; ' people must practise it until they can play it per- 
 fectly. This is how it should go ! ' The child goes to the piano and 
 makes an attempt to play the composition, but his tiny fingers are 
 hardly equal to the task, and can do no more than give a mere outline 
 of the ideas that have emanated from his precocious brain. 
 
 Two years pass. The scene is at the Court of Vienna. The Emperor 
 is testing the little musician's skill, making him, in joke, play with one 
 finger only, and with the keyboard covered. The Empress then takes 
 him on her lap and lo\dngly fondles and kisses him, to which he responds 
 with all the frank innocence of an unspoilt child. 
 
 The boy has grown into a youth. He is no longer the juvenile 
 predigy whose gifts have been exhibited to the world, but has ripened 
 into the fully matured artist. He is leaving his native city, in which there 
 is but a narrow scope for his genius, to seek further fame and fortune 
 elsewhere. His mother accompanies him. As they set forth on their 
 journey, his father remembers that in his distress at the parting he has 
 
 ivil43633 
 
6 . 
 
 MOZART 
 
 forgotten to give the son his blessing : he rushes to the window and 
 stretches out his hand in silent benediction — ^but the carriage is already 
 out of sight. 
 
 It is a few months later. Love has entered into the young musician's 
 heart — ^the ardent first love of youth — and he cannot tear himself away 
 from the place which holds the dear object of his affections. He is tossed 
 between the desire of his heart and his sense of duty and respect for his 
 
 parents' mshes : but at last the latter 
 prevails. The golden thread is broken, 
 and the first romance of his life is at 
 an end. 
 
 The scene again changes. He has 
 become famous throughout the world. 
 The memory of his early love has 
 faded, and he has placed his happi- 
 ness in another's keeping. But though 
 success and fame have come to him, 
 the struggle to find support for those 
 nearest and dearest to him is a hard 
 one. The years pass on. The troubles 
 do not cease nor the struggles lessen; 
 and in the end that which the strain 
 of work and anxiety has partially 
 accomplished, sickness completes. And 
 — oh ! the irony of Fate — ^the ameliora- 
 tion of his daily wants, which he has so 
 earnestly sought, comes to him at this 
 moment, but alas ! it comes too late. 
 One scene more. The great musician lies on his deathbed, stricken 
 down when barely half the allotted span of his life is spent. The score 
 of his last incompleted work is spread out before him, and at his request 
 the friends assembled round his bed join with him in singing some of its 
 beautiful melodies. Overcome by the thought that he cannot live to 
 finish the work, he bursts into a violent fit of weeping. The music is 
 taken away from him. All is hushed in the death-chamber. Tended 
 by his loving wife, the end gradually approaches. His thoughts are still 
 upon the work which has occupied his last remaining days of health 
 
 BOIT8E IN SALZBURG WHERE HOZART WAS BORN, 
 NO. 9 6ETREIDEGASSE. 
 
MOZART 7 
 
 and strength, and he endeavours by signs to indicate those places in the 
 score where certain instruments should come in, but his powers fail him. 
 At last, he raises himself up ^vith his eyes fixed ; then, turning his head 
 on one side, falls back once more upon his pillow — and is asleep. 
 
 These are some of the pictures which are conjured up in one's mind 
 by the name of Mozart ; that name which is associated with so much 
 that is beautiful in art, and pure and lovable in human nature. 
 
 The Hfe-liistory of one of the world's greatest geniuses has often 
 
 ROOM IS WHICH MOZART WAS BORN, NO. 9 OETREIDEGASSE, SALZBURG. 
 
 been related, but for the benefit of those of my readers — there cannot 
 be many — who are perhaps unacquainted with it, I \vill retell the story 
 as briefly and as simply as I can. 
 
 Mozart was born at Salzburg on 27th January 1756. The names 
 by which he was christened were Joannes Chrysostomus Wolfgangus 
 Theophilus, but he eventually adopted the latinised version of the latter 
 and, dropping the first two names, became known as Wolfgang Amadeus. 
 His father, Leopold Mozart, was a musician and composer of considerable, 
 if not striking, talent, and at the time of Wolfgang's birth occupied the 
 not too remunerative position of Court composer and leader of the 
 orchestra to the Archbishop of Salzburg. Out of seven children, the 
 subject of this monograph and one sister, Marianne, foiu* years older 
 than himself, were the only two who survived. She also inherited the 
 
8 MOZART 
 
 musical gifts of her father, playing as a child remarkably well on the 
 clavier (the pianoforte as we know it now did not exist in those days), 
 and it was while listening to her that the little Wolfgang first gave signs 
 of that genius which was destined to shed so much histre on the world 
 of music. 
 
 At four years of age he began to play little pieces which his father 
 taught him, and which he learnt •v\dth remarkable rapidity, and also 
 made his first juvenile essays in composition, which the former wrote 
 down for liim. It was not long, however, before he was able to write 
 these down for himself, in how correct a fashion has already been men- 
 tioned in the opening words of this article. Nor did his wonderful 
 precocity stop at this, for only a year or two later we read of his taking 
 the second violin part in some trios, without ever having had a lesson 
 on that instrument, and getting through his task in a way which evoked 
 the surprise and admiration of all present. 
 
 The progress that the two children made in their studies was so 
 rapid that Leopold Mozart resolved to make a tour with them, for 
 the purpose of exhibiting their talent, in the different cities of Europe. 
 Accordingly they started in January 1762 ; went first to Munich and 
 then to Vienna, where they remained some months. After a short time 
 spent at home they once more left Salzburg, and went to Paris, stopping 
 on the way at Munich, the Rhine cities, and Brussels. 
 
 A stay of some duration in Paris was followed by a visit to London, 
 which extended over a year. Everywhere the success of the children was 
 immense ; they played at all the Courts, and the pubUc came in crowds 
 to see and hear them. But though the girl was certainly a clever pianist 
 for her age, she was far eclipsed by her brother, and it was the little 
 Wolfgang, "svith his wonderful gifts, his boyish manner, and unspoilt 
 nature, who was the centre of attraction, and created the most astonish- 
 ment and enthusiasm. In those days prodigies were not so frequent 
 as they are now, and one can easily imagine the sensation that such a 
 wonder-child must have created in the minds and hearts of the public. 
 His father writes of him at this time : ' What he knew when we left 
 Salzburg is a mere shadow to what he knows now . . . the mighty 
 Wolfgang, to put it briefly, knows all in this his eighth year, that one 
 could ask from a man of forty. In short, any one who does not see and 
 hear it cannot beheve it.' That he should be naturally proud of his 
 
MOZART 
 
 son is not to be wondered at, but there was more than the mere favourable 
 prejudice of a parent in the statement, for undoubtedly the praise lavished 
 on the boy from all quarters was fully deserved. 
 
 However, even the attraction of such a youthful genius as he was 
 could not last for ever. The London public began to grow tired of the 
 novelty, and though the elder Mozart tried by every means he could 
 devise to revive interest in the little ones, the response to his appeal 
 became gradually less and less, until 
 at last he made up his mind to leave 
 England and to seek further success 
 for his children elsewhere. 
 
 They started for Holland in 
 July 1765, but at Lille Wolfgang 
 Was taken ill, and, in consequence, 
 they were compelled to remain in 
 that town for a month. On their 
 arrival at the Hague another severe 
 illness attacked both the children, 
 from which it took them many 
 weeks to recover, and it was not 
 until the following January that 
 they were able to make their re- 
 appearance in public. Concerts 
 were then given in Amsterdam, 
 
 the Hague, and other places ; and in May they proceeded by way of 
 Paris to S^vitzerland, where they played in all the chief towns, and were 
 received with the greatest enthusiasm. In November 1766 they returned 
 to Salzburg, after an absence of more than three years. 
 
 During all this long period, and notwithstanding the fatigue and 
 excitement of concert-giving and the constant travelling, the little 
 Wolfgang did not neglect his composition. While in Paris and London 
 he composed several symphonies, sonatas, and other pieces, and some of 
 these were printed at the time at his father's own expense. The reputation 
 which the youthful genius had gained in all parts of Europe naturally 
 spread to his native town, but the archbishop was slow to believe all he 
 had heard, and in order to put the boy's powers to the test and expose 
 what he thought was a deception, he had him shut up in a room in the 
 
 MOZART IV HIS NINTH YEAR. 
 ORIGINAL IN THE MOZARTEUM IN SALZBURG. 
 
10 
 
 MOZART 
 
 palace, and giving him the words of a sacred cantata, bade him remain 
 there until he had set them to music. For more than a week the little 
 prisoner was confined to his cell, seeing no one except the servant who 
 
 brought him his food. Judge of the sur- 
 prise when at the end of the time the score 
 was produced, and being tried by the Court 
 band, was pronounced by all present to be 
 a delightful and musicianly work. The 
 archbishop had, of course, to confess his 
 mistake, and to acknowledge himself con- 
 vinced of the boy's wonderful gifts. After 
 pursuing his interrupted studies at home 
 for a year or so, Wolfgang again visited 
 Vienna with his family. But things were 
 no longer as before, and the Viennese 
 public did not find the same attraction 
 in the young artist of twelve as they had 
 previously done in the juvenile prodigy ; 
 moreover, the musicians began to fear 
 him as a rival — the greatest compliment 
 they could have paid him — and sur- 
 rounded him on all sides with envy and 
 jealousy. Even the performance of the 
 opera La Finta Semplice, which the Em- 
 peror had commissioned him to compose, 
 had to be abandoned on account of the 
 ^1^^^ ^^^ many intrigues of his antagonists. But 
 
 th^^lTn f'l ' ' ^-^^ -^^ ^K^ he was somewhat consoled for this dis- 
 appointment by the production, at a 
 friend's private theatre, of another little 
 operetta he had written — Bastien and 
 Bastienne. On his return to Salzburg a further consolation awaited liim, 
 as the archbishop, to make amends for his former distrust, had the 
 neglected opera La Finta Semplice performed at the palace, and also 
 appointed the young composer leader of his orchestra — an appointment 
 which, though carrying with it a mere nominal salary, was still a great 
 honour for a boy of his age. At the end of 1769, the father and son again 
 
 BBONZE STATIC OF MOZART BY BARRIAS, 
 IN THE LUXEMBOURG. 
 
MOZART 11 
 
 left Salzburg and Went for a tour through the principal cities of Italy, 
 which lasted two years. The same success and enthusiasm attended 
 the young musician's performances in this country as everywhere else ; 
 indeed, his success was perhaps more legitimate, as he was judged solely 
 on his merits, and without the curiosity and astonishment attaching to 
 the child with which former publics had regarded him. He was honoiu-ed 
 on all sides ; the Pope decorated him with the order of the ' Golden 
 Spur ' ; and the Philharmonic Society of Bologna elected him as one of 
 their members. He also received a commission to write an opera for 
 Milan, which work, Mitridate Re di Ponto, was produced there during his 
 stay and performed twenty times in succession to crowded houses. This 
 success brought him two other commissions, one from the Empress 
 Maria Theresa for a serenata, Ascanio in Alba, in honour of the marriage 
 of the Archduke Ferdinand, and the other for a new opera to be produced 
 at Milan the next year. The serenata was written in a fortnight, and 
 very favourably received ; and indeed, it was this work which gave rise 
 to Hasse the composer's well-known prophecy that ' this boy will cause 
 us all to be forgotten ! ' The Milan opera, Lucio Silla, was composed soon 
 afterwards, and its production met with the same, or even greater success 
 than his previous one Mitridate had done. 
 
 From 1773 to 1777, with the exception of further visits to Milan 
 and Vienna, and one to Munich to produce his opera La Finta Giardiniere, 
 Mozart remained in Salzburg, pursuing his studies and composing works 
 of every description. But these four years of his life were far from 
 happy. His old patron had died, and the new archbishop cared nothing 
 for music ; and although the young musician still retained his position 
 at the Court, the want of appreciation and the contempt shown him by 
 his tyrannical employer made his life unbearable. Moreover, his salary 
 was ridiculously small (about £15 per annum), and he received no extra 
 remuneration for the work he did as composer in connection with his 
 office. He was now' a young man of twenty-one, and felt that the moment 
 had come when he should endeavour to better his position, which seemed 
 very unlikely in his native town, where the necessary aitistic atmo- 
 sphere was entirely lacking ; so he at last determined to apply for his 
 discharge, which was grudgingly granted, and he once more set off in 
 quest of further fame and some position in which he could earn a more 
 substantial livelihood than hitherto. This time his mother accompanied 
 
12 
 
 MOZART 
 
 him, as his father was unable to leave Salzburg, and did not like the idea 
 of sending his son into the world by himself. Almost the first place they 
 visited was Mannheim, and almost the first thing he did when they 
 arrived there was to fall in love. The young lady's name was Aloysia 
 Weber ; she possessed considerable beauty and was a gifted singer, and 
 no doubt these qualities were largely responsible for the impression she 
 made on him. In any case, so smitten was he that he desired to marry 
 her at once and take her with him to Italy, but the elder Mozart, hearing 
 
 of the attachment, and knowing 
 the inadvisability of his son's 
 fettering himself at such an early 
 age, refused his consent to the 
 union; and Wolfgang, out of that 
 love and filial obedience which 
 had existed in his nature from 
 childhood, gave way to his father's 
 wishes, though not mthout a 
 severe struggle. The parting from 
 his loved one was a hard trial, but, 
 as time proved, it was for the best, 
 for when they met again she had 
 almost forgotten him, and not long 
 after this she became the wife of 
 another. Sad at heart, Mozart 
 went to Paris, in the hope of 
 finding scope there for his genius, 
 but he had scarcely settled down when a further and greater misfortune 
 befell him, for his mother was taken seriously ill and died in his arms. 
 Overcome by grief, he felt it impossible to remain any longer in Paris, 
 so he once more returned home, stopping on the way at Strassburg 
 (where he gave some concerts) and also at Mannheim. 
 
 Mozart's position in Salzburg was novr, for the moment, somewhat 
 better than it previously had been : the archbishop, seeing his mistake 
 in allowing such a genius to leave his service, had re-installed him in the 
 capacity of second kapellmeister and organist, with the small salary of 
 £40 a year, and permission to absent himself whenever he wanted to 
 write an opera. But the ecclesiastic's motives were at bottom only of a 
 
 RELIEF OF MOZART AS A YOUNG MAN. 
 
MOZART 13 
 
 dog-in-the-manger charaeter, for his treatment of his 'protege continued 
 on the same churlish hues as before, and, indeed, reached such a pitch 
 that the rupture, which came before very long, was unavoidable. In the 
 meanwhile, however, Mozart's official worries and troubles did not inter- 
 fere with his assiduity in composition : he ■wrote incessantly, and some 
 of his best works belong to this period — notably the Mass in C, two 
 serenades, and the opera Idomeneo, commissioned for and produced at 
 Munich in 1781. Tliis latter work was a great step in advance of any 
 of his previous operas : his now fully-matured genius manifested itself 
 in the greater richness of harmony and orchestration, the deeper signi- 
 ficance of the music throughout, and the stronger sense of dramatic 
 characterisation ; all of which qualities not only ensured for the work 
 an enthusiastic reception, but stamped him at once and for all time as 
 a great operatic composer. With the success of his opera still ringing in 
 his ears, Mozart was summoned to join his patron the archbishop in 
 Vienna, but only to find himself subjected there to more indignities 
 than he had already suffered in Salzburg. He was treated as a lacquey, 
 made to take his meals with the servants, and was even refused permission 
 to accept any engagements by which he might have increased his income 
 — in fact, insults were heaped upon him to such an extent that the rupture 
 already alluded to took place then and there, the young composer sending 
 in his resignation, and starting on his own account in the city which was 
 destined to become his home for the rest of his short life. 
 
 He had now to depend for his livelihood on playing at concerts and 
 soirees, and giving lessons, for although he composed diligently, his 
 works brought him little or no money. His reputation, however, con- 
 tinued to increase, and his next opera, Die Enifuhrung aus dem Serail 
 (II Seraglio), produced in 1782 by the Emperor's express command, was 
 even a greater success than Idomeneo, attracting swarms of people to the 
 theatre for some months after its production. About this time Mozart's 
 friends, the Webers, came to reside in Vienna, and the intimacy between 
 him and the family of his former love was renewed. There was a younger 
 sister, Constanze, and that daily intercourse and propinquity w^hich are 
 responsible for so many of Cupid's arrows, together perhaps with the 
 sympathy of old associations, brought about a mutual attachment 
 between the two young people which proved as deep and lasting as the 
 earlier romance had been fleeting. It is possible that the success of the 
 
14 
 
 MOZART 
 
 composer's latest opera gave him reason to hope for better times, or that 
 he found his bachelor life too lonely and insupportable ; but, be this as it 
 may, Ms prospects of happiness would brook no delay, and the consent 
 of his father having, after some reluctance, been obtained, the marriage 
 took place in August 1782. 
 
 Unfortunately, the happiness of the young couple was not destined 
 to be \^'ithout alloy. It is true that the affection they had for each other, 
 
 and for the children that were born to 
 them, was a devoted and unceasing one, 
 but Constanze had no idea how to manage 
 a household, and Mozart himself was 
 neither economical nor in any way a man 
 of business ; and the income he earned, 
 chiefly from playing at concerts, though 
 perhaps sufficient for a careful house- 
 keeper, was totally inadequate in the 
 hands of such bad managers as they were. 
 The consequence was that, from this time 
 forward, poor Mozart was always in diffi- 
 culties, and his life was one continual 
 struggle to keep the wolf from the door, 
 even to the point of often having to crave 
 assistance from his friends. His letters on 
 this subject are quite pitiable to read. 
 
 On one occasion he writes to one of 
 his rich masonic brothers, Herr Puchberg 
 (who, be it said to his credit, never refused 
 his appeal for help), as follows :— 
 ' If you have sufficient regard and friendship for me to succour 
 me by the loan of one or two thousand gulden for a couple of years, at 
 the usual rate of interest, you would extricate me from a mass of troubles. 
 ... If you do me this friendly service, having then some money to go 
 on with, I can . . . work with a mind more free from care and with 
 a lighter heart, and thus earn more. ... If it should so happen that 
 you find it inconvenient to part with so large a sum, I beg you at all 
 events to lend me a couple of hundred gulden, because my landlord 
 . . . was so pressing that I was obliged to pay him on the spot 
 
 MOZART 's WIFE (cONSTANZE WEBEb). 
 
 A painting on ivory, in the Mozarteum, 
 
 Salzhtrg-. 
 
MOZART 15 
 
 (in order to avoid anything unpleasant), which has caused me great 
 embarrassment.' 
 
 Later on he again appeals to the same friend, in a still more distressing 
 voice : — 
 
 ' If you can or will extricate me from a momentary difficulty, pray 
 do so for the love of God ! Whatever you can spare will be welcome. 
 Pray forget, if possible, my troublesome importunities, and forgive them.' 
 
 And again : — 
 
 ' You know my situation — in short ... I shall be obhged to get 
 money from usurers ... I am at this moment in such a state of 
 destitution that I must entreat you, my dear friend, for Heaven's sake 
 to supply me with what you can spare.' 
 
 Thus, between work and almost daily struggles and hardships, did 
 Mozart pass the remaining years of his life. How he managed to compose 
 at all under the circumstances is a mystery, but his genius seemed to 
 flourish in adversity, and most of his finest works emanated from this 
 period of constant storm and stress. With it all, it cannot be said that 
 his great gifts were unappreciated : his works were successful, though 
 not remunerative ; he was much in request as a pianist, and, in spite of 
 the intrigues often at work against him, he had many friends and ad- 
 mirers in the aristocratic and musical circles of Vienna. Among these 
 no one was louder in his praise than Haydn. The famous musician said 
 of him to his father : ' I declare to you before God, and as a man of 
 honour, that your son is the greatest composer that I know ; he has taste, 
 and beyond that the most consummate knowledge of the art of com- 
 position.' And at another time he writes : ' O Mozart ! If I could 
 instil into the soul of every lover of music the admiration I have for his 
 matchless works, all countries would seek to be possessed of so great a 
 treasure.' 
 
 These were generous words from a colleague, and one who himself 
 was so distinguished. The friendship between the two great musicians 
 lasted for several years, and in fact until Haydn left Vienna for London, 
 only a short while before Mozart's death. Between 1782 and 1786 INIozart 
 wrote many works, among these being some of his best piano concertos, 
 several quartets, and the musical comedy Der Schauspieldirektor ; but 
 his next really great success came with the production of the Marriage 
 of Figaro in the latter year. This opera, one of his acknowledged master- 
 
16 
 
 MOZART 
 
 pieces, was performed many times, and so enthusiastic was its reception, 
 and so persistent the audiences in their demand for the repetition of all 
 their favourite numbers, that the Emperor was at last obliged to take it 
 upon himself to forbid any encores. This triumph was renewed at Prague, 
 where the opera was given shortly afterwards : the whole city went mad 
 over it ; the one topic of conversation, we are told, was Figaro ; nothing 
 was played, sung, or wliistled but — Figaro ; nobody went to any opera 
 but — Figaro, Its success obtained for the composer a commission to 
 write another opera for Prague, with the result that his greatest dramatic 
 work, Don Giovanni, first saw the light in that city in the autumn of 
 
 MOZART S FAVOURITE CONCERT PIANO AND SPINET. NOW AT 
 THE MOZABTEUM, SALZBURG. 
 
 the following year — October 1787. Most of the music was composed 
 in the garden of his friend Duschek, in the vicinity of the Bohemian 
 capital, to the rolling accompaniment of skittles, and it is related that 
 Mozart would from time to time take a hand in the game when his turn 
 came, resuming his work again quite undisturbed by the interruptions. 
 The overture to the opera was not begun until the night before the first 
 performance, but with the aid of copious supplies of punch, and stories 
 told him by his wife to keep him awake, he succeeded in finishing it in 
 the early morning, in time to have the parts copied, and it was played 
 at sight the same evening. 
 
 The year 1788 was marked by the composition, among other works, 
 of his three finest symphonies, in E flat, G minor, and C major (the 
 ' Jupiter '), all of which were written within the short space of six weeks ! 
 
MOZART 17 
 
 These were followed by three other operas — Cosi fan tutte, performed in 
 Vienna early in 1790 ; La Clemenza di Tito, composed for the coronation 
 of Leopold II. at Prague in September 1791 ; and Die Zauherfl'dte, which 
 he had begun earlier in the year, and which was completed and produced 
 in Vienna within three weeks after the performance of Tito, 
 
 But all these artistic successes contributed little towards the rehef 
 oi Mozart's pecuniary embarrassments, and it is strange, in the face 
 of his reputation and acknowledged genius, that nothing was done to 
 alleviate his straitened circumstances. Certainly, the Emperor had 
 appointed him chamber-composer, with a mere pittance of £80 a year, 
 but even his admiration for the composer was not proof against Court 
 intrigues, and a better and more lucrative po3t was never forthcoming. 
 When, at the eleventh hour, a guarantee fund was got up for him by 
 some of the Hungarian nobility, and commissions for compositions 
 offered him by music publishers — which together would have ensured 
 his comparative comfort in the future — he already lay stricken down by 
 his last illness. Fortune had smiled on him too late, and he was beyond 
 all need of earthly wants. 
 
 In the meanwhile, however, he worked on, always sanguine, always 
 buoyed up with the hope that some turn for the better in his affairs 
 would come to him. It was with this idea that he left Vienna on two 
 occasions, first for a visit to Dresden, Leipzig, and Berlin, and afterwards 
 to Frankfurt and Munich ; but though he was well received everywhere, 
 and his performances at the different Courts brought him a little money, 
 it was but a drop in the ocean of his ever-increasing liabilities : nothing 
 of a substantial or permanent character came of these visits, and he 
 returned home weary and disappointed. All this constant struggling and 
 hard work was bound to have an effect on Mozart's already over-taxed 
 constitution, and a circumstance which occurred at the time, if it did not 
 actually hasten his end, added largely to his growing depression of spirits, 
 and rendered him less able to fight against the fatal malady which soon 
 afterwards attacked him. 
 
 The story is a well-known one, but I cannot omit it from this account 
 of the great musician's life. 
 
 One day, while at work, a stranger called upon him, and asked 
 him to compose a Requiem. The price was fixed, but the whole trans- 
 action was to be conducted with the utmost secrecy, and he was 
 
18 
 
 MOZART 
 
 informed that he must on no account try to discover the name of the 
 person who had ordered the composition. Mozart set to work and 
 composed several numbers, but very soon the mysterious nature of the 
 request began to prey upon his mind, and the morbid idea came to him 
 that he was writing the Requiem for himself. This idea acted upon his 
 already enfeebled health, and his wife was obliged to take the score 
 away from him. A temporary improvement ensued, but he could not 
 shake himself free from his gloomy forebodings, and the resumption of 
 work brought back with it all the unfavourable symptoms from which he 
 was suffering. At last he could write no more, and took to his bed, from 
 which he never rose again. How his thoughts were to the end centred 
 
 HOUSE IN VIENNA IN WHICH MOZART LIVED. 
 
 on his unfinished work, how the score was given to him, and his last 
 hours soothed by the sound of the loved melodies he had created, has 
 already been told in the opening pages of this little article. 
 
 He died on 5th December 1791, at the early age of thirty-five, and 
 was buried the next day. The sad fate that pursued him through life 
 did not even relent over his grave, and that last respect and honour 
 which his genius demanded were ruthlessly denied him. Never were 
 the mortal remains of a great man laid to rest under such pitiable con- 
 ditions. Mozart's illness had rendered him almost destitute, and there 
 was not even money enough in the house to settle the doctor's bill, much 
 less to pay for a proper and decent funeral. It was three in the afternoon, 
 it is stated, when the coffin was deposited in one of the chapels of 
 St. Stephen's. Salieri, Siissmayer, and two or three other musicians were 
 
MOZART ^^ 
 
 the only persons present besides the officiating priest and the bearers 
 of the coffin. It was a terribly inclement day ; rain and sleet came do\vn 
 fast ; and the little band of mourners stood shivering in the blast with 
 their umbrellas up, round the hearse, as it left the door of the church. 
 It was then far on in the cold December afternoon, and the evening was 
 fast closing in before the solitary hearse had passed the Stubenthor, and 
 reached the distant graveyard of St. Marx. 
 
 By tliis time the weather had proved too much for the mourners ; 
 they had dropped off one by one, and Mozart's body was left in solitude 
 to find its last resting-place. Then ensued a gruesome conversation 
 between those in charge of the cemetery and the driver of the hearse : 
 ' Any coaches or mourners coming ? ' was the question. The driver 
 merely shrugged his shoulders. ' Who have you got there, then ? ' 
 ' A bandmaster.' ' A musician ? they 're a poor lot ; then we 've no 
 more money to look for to-day.' The coffin was then dismounted and 
 placed on the top of a grave already occupied by two other paupers. 
 WTien the mdow's first grief had sufficiently subsided to enable her to 
 go to the bm'ial-ground to look for the grave, there was a new sexton who 
 knew nothing, and the exact place where the great composer rests could 
 not be identified, and it remains unknown to the present day. But, 
 after all, what does it matter ? No stone marks the hallowed spot ; but 
 the monument he built for himself with his works is far greater than any 
 that man could devise, and the most splendid mausoleum ever erected 
 could not add to, or take away from, the glorious light which his genius 
 has spread over the musical world of all time. 
 
 The number of works which Mozart composed during his short life 
 is so large as to be almost incredible. It comprises twenty-three operas ; 
 twenty masses, including the * Requiem ' ; two short oratorios ; four can- 
 tatas ; forty-nine symphonies ; thirty-three serenades, and divertimenti 
 for various instruments ; six concertos for violin, one for two violins, 
 and one for violin and viola ; twenty-seven pianoforte concertos, includ- 
 ing one for two and another for three pianos ; nine quintets ; twenty- 
 seven quartets for strings, two for flute and strings, and one for oboe and 
 strings ; one quintet for piano and wind instruments ; two quartets and 
 seven trios for piano and strings, and one for piano, clarinet and viola ; 
 forty-three sonatas for piano and violin ; seventeen sonatas for piano 
 
20 
 
 MOZART 
 
 solo; seventeen sonatas for organ; sixty-six concert arias, etc., with 
 orchestral accompaniment; forty songs. Besides these, numberless 
 other shorter works, such as motets, offertories, dances, separate sym- 
 phonic movements, minuets, marches, etc. 
 
 He excelled in nearly every branch of his art, and there was scarcely 
 anything he touched that he did not adorn with new beauties. As an 
 instance of precocious and intuitive genius, Mozart stands almost alone 
 among the great composers. The lessons he received from his father 
 during the first years of his childhood were about all the instruction 
 
 THE GRACES. 
 
 FRESCO FROM VIENNA OPERA HOUSE. 
 FIGARO. MAGIC FLUTE. DON GIOVANNI. 
 
 he ever had, and though perhaps his real powers did not assert themselves 
 at quite so early an age as did Mendelssohn's, for example, his musical 
 perception and command of form were from the first quite extraordinary, 
 and his juvenile compositions were weak only as regards their ideas and 
 the lack of that individuality which came to him with maturity. 
 
 He was a great contrapuntist and a thorough master of orches- 
 tration, though in this latter respect he never tried to produce effect 
 merely for effect's sake, but used the instruments of the orchestra, as far 
 as its then limited resources permitted, as the natural and unforced 
 expression of his ideas. 
 
 His flow of melody was one of his greatest charms — melody that 
 was not only beautiful and expressive in itself, but always appropriate 
 
MOZART 21 
 
 to the sentiment it wished to convey — melody that was vocal even on 
 other instruments besides the voice — melody that derived its beauty 
 from the poetry and romance of the south, with the deeper significance 
 and refinement that belong to the north. 
 
 Mozart's great versatility, as I have said, enabled him to shine in 
 almost every form of composition, but it was undoubtedly as an operatic 
 composer that his genius rose to its noblest height. The operas. The 
 Marriage of Figaro and Don Giovanni, are true inspirations from begin- 
 ning to end ; and the never-ceasing brightness and animation of the 
 former, the dramatic power of the latter, and the high musicianship and 
 melodiousness of both, combine to make these works what they are — 
 immortal masterpieces which, in their own way, have never been equalled, 
 much less surpassed. 
 
 It is worthy of mention, for those who may not be aware of the fact, 
 that the overture to Figaro is without doubt the finest example of the 
 multum in parvo in music which exists. The entire work takes only three 
 or four minutes to perform, but it is as complete in itself, as perfect in 
 form, and, in its wonderful vivacity, as truly representative of its subject, 
 as any work of four times its length could be : it is, indeed, a gem without 
 parallel in musical art. 
 
 Next to the operas come the last three symphonies. It is not 
 easy to say which of these is the finest. The taste of the listener 
 may incline towards the melodic charm of the E flat, or the delightful 
 spirit and animation of the G minor, or the strength and wonder- 
 fully hidden contrapuntal skill of the ' Jupiter ' ; but whichever he may 
 select, he will find in it not, it is true, modem effects of brass and per- 
 cussion, but beauties of a higher and nobler order, which only the brain 
 of a great master could have conceived. Space does not permit of my 
 entering into a description of Mozart's many other works, such as his 
 masses, quartets, piano and \dolin concertos, etc. In most of these the 
 grace of melody, scholarly workmanship, and other high qualities of his 
 genius are everywhere apparent. But, it must be added, there are some 
 of his compositions which do not reach this high level ; still, the weakness 
 they sometimes betray is only such in comparison wdth his greater 
 achievements, for even in these works there is a spontaneity, an almost 
 innocent flow of ideas that make them always a delight to listen to, and 
 which exercise a fascination peculiarly his own. 
 
22 
 
 MOZART 
 
 IMozart's facility and wonderful rapidity in composing have already 
 been mentioned, but the way in wliich he often composed was equally 
 remarkable. We know what were his pleasant surroundings while he 
 was "svTiting most of Don Giovanni ; but there are many other instances 
 on record of this unusual power of independent absorption. He could 
 
 MANUSCRIPT OK COMPOSITION BY MOZART MADH IN HIS EIGHTH YEAR. NOW IN THE BRITISH MUSEUM. 
 
 vnite in the midst of any amount of talk and laughter ; he required no 
 pianoforte when composing, but, according to his wife, would take music 
 paper, and, sitting down, would often say to her : ' Now, my dear, have 
 the goodness to talk to me and tell me all the news ' — a proceeding which 
 never seemed to interrupt him in his work. It is also related that he 
 composed his opera, Lucio Silla, with a violinist playing overhead, and 
 an oboe player beneath, and a pianoforte teacher next door, all hard at 
 work the whole day long ; certainly not a very pleasant mixture of sounds 
 
MOZART 23 
 
 for a composer, one would think, but they did not seem to distract him 
 in any way ; on the contrary, they gave him pleasure, for, as he himself 
 remarked, ' they were delightful for composing, as they gave him ideas ! ' 
 
 His mind was evidently impervious to all outside influences, and 
 nothing had the power to disturb the continuity of the thoughts which 
 were brimming over, waiting only to be put on paper. 
 
 As a pianist, Mozart held a liigh position ; indeed, as we know, his 
 public and private performances in that capacity were the chief source 
 from which he earned his livelihood. The wonderful executive talent he 
 displayed in his prodigy days did not desert him afterwards, as so often 
 is the case, but expanded as he grew up, acquiring eventually its full 
 powers with the experience and maturity of his later years. 
 
 He was also an able performer on the violin and organ, which in- 
 struments he learnt with the same ease and quickness that distinguished 
 everything else he undertook. 
 
 His ear and memory were quite remarkable ; in proof of which the 
 oft-repeated story of his having written down, while in Rome, the whole 
 of Allegri's Miserere, after a single hearing, with scarcely a mistake, is 
 a striking instance. 
 
 He loved all the arts and possessed a taste for most of them, especially 
 for drawing ; and his knowledge of other languages besides his own is 
 shown in the Italian letters he wrote home while still quite a boy, and 
 in a few French ones addressed later to his wife. 
 
 Mozart added to his scanty income, whenever he could, by giving 
 lessons ; but he was not a good master, being too unmethodical and 
 irregular to make his instruction profitable to his pupils. Still, people 
 came to him, attracted as often as not by his name and the desire just 
 to be able to say that they had had lessons from him. His dislike to the 
 somewhat prosaic labours of the music-master was only natural, but all 
 the same, whenever he found any one with genuine talent or earnestness, 
 he taught willingly enough. Among those of his pupils who after^vards 
 attained distinction were Hummel, Thomas Attwood, and Michael Kelly. 
 The latter was on terms of intimate friendship with his great master, 
 and was entrusted by him with the part of Basilio in the Marriage of 
 Figaro on the first production of that opera in Vienna. Kelly was a 
 composer (a rather mediocre one) as well as a singer, and later in his 
 career combined the trade of vnne merchant with his profession as a 
 
24 
 
 MOZART 
 
 musician. It was this circumstance, together with the suspicious 
 rumours in circulation that his compositions were not always as original 
 as they might be, which suggested to the witty Sheridan that he (Kelly) 
 should place the inscription over his shop door — ' Michael Kelly, Com- 
 poser of Wines and Importer of Music' 
 
 Mozart was a great admirer of Handel's music, and his highest 
 ambition, his wife states, was to compose an oratorio in the style of the 
 ' Messiah.' Indeed, he fully intended to set to work on one after he had 
 finished the ' Requiem,' but his untimely death put an end to his aspirations, 
 
 NO. 934 RAUBENSTEINGASSB, VIENNA, WHERE MOZART DIED. 
 NOW DESTROYED. 
 
 and, it may be, deprived the world of another proof of his genius in the 
 one direction in which his great powers had never been manifested. 
 
 This was Mozart the artist. With regard to his attributes as a 
 man. Nature was almost as beneficent towards him as she was with his 
 musical gifts. He was not what one would call handsome, but his face was 
 a pleasant one. He was short, with small hands and feet ; his eyes 
 were very expressive, if sometimes rather languid, and he had a profusion 
 of fine hair of which he was very proud. His disposition was very lov- 
 able ; frank and open-hearted as a child ; full of fun (when not depressed 
 by his many troubles and worries) ; witty and droll in his remarks, and 
 without the least affectation or conceit — ^in short, a delightful companion. 
 
MOZART 25 
 
 The picture his wife draws of him is very interesting. She says : * He was 
 generally cheerful and in good humoui' ; rarely melancholy, though 
 sometimes pensive. His speaking voice was gentle, unless when directing 
 music, wiien he became loud and energetic — ^would even stamp with his 
 feet, and might be heard at a considerable distance. He was an angel,' 
 she adds, ' and is one in Heaven now.' 
 
 His chief amusements were bowls, billiards and dancing ; of the 
 latter he was very fond, and showed quite a talent for masquerading in 
 character at the masked balls in Salzbm-g and Vienna, in which enter- 
 tainments he took especial delight. 
 
 For all these happy traits in Mozart's character the judicious training 
 of his early years was in no sUght measure responsible. He was never a 
 spoilt child, nor, on the other hand, was he ever severely censured, his 
 extreme docility rendering this unnecessary ; and his natural liveliness 
 and youthful spirits were as much encouraged as were his eagerness and 
 earnestness over his studies. The great love he had for those around 
 him, particularly for his father, made the sense of obedience instilled 
 into him doubly easy ; and this love and obedience remained with him 
 in their full strength when he grew into manhood. Brought up in an 
 atmosphere of purity and simple faith, his principles were pure and 
 simple, and his religious sentiments sincere and unaffected. The presenti- 
 ment of an early death was often in his mind, but the thought gave him 
 no fear, as he clearly shows in some words he writes to his father. ' As 
 death,' he says, ' strictly speaking, is the true end and aim of our lives, 
 I have for the last two years made myself so well acquainted with this 
 true, best friend of mankind, that his image no longer terrifies, but 
 calms and consoles me. ... I never lie down to rest without thinking 
 that, young as I am, before the dawn of another day I may be no more ; 
 and yet nobody who knows me would call me morose or discontented. 
 For this blessing I thank my Creator every day, and wish with all my 
 heart that I could share it with all my fellow-men.' 
 
 But although he took life seriously at moments like this and at 
 other times of depression, his inherent light-heartedness was never long 
 in returning to him. No one can read his letters without being struck 
 by the flow of high spirits and innocent fun contained in many of them : 
 during his early travels, especially, he is just like a schoolboy away for 
 a holiday, full of everything he sees and does, and, with the exuberance 
 
26 MOZART 
 
 of youth, writing about it all in the oddest way he can think of, sure, and 
 vain, of the amusement he knows it will cause those at home. Who, for 
 instance, could fail to be amused by the following letter, written in his 
 seventeenth year to his sister, at the time of the production of his opera 
 Lucio Silla at Milan : ' I hope, dear sister, that you are well, dear sister. 
 
 MONUMENT TO MOZART IN VIENNA CEMETERY. 
 
 When this letter reaches you, dear sister, my opera will be in scena, dear 
 sister. Think of me, dear sister, and try, dear sister, to imagine with all 
 your might that my dear sister sees and hears it also. . . . My dear 
 
 sister, to-moiTOW we dine with Herr von M ; and do you know 
 
 why? Guess! Because he invited us. The rehearsal to-morrow is 
 to be in the theatre. The impresario has entreated me not to say a word 
 of this to a soul, as all kinds of people would come crowding in, and that 
 
MOZART 27 
 
 we don't wish. So, my child, I beg, my child, that you won't say one 
 syllable to any one on the subject, or too many people would come crowd- 
 ing in, my child. Approposito, do you know the history that occurred 
 here ? Well, I will relate it to you. We were going home straight from 
 Count F.'s, and when we came into our street we opened the door, and 
 what do you think happened ? We went in. Good-bye, my pet. — Your 
 unworthy brother (frater), Wolfgang.' 
 
 ^Vhile on the subject of Mozart's letters, I should like to quote one 
 or two excerpts from those he penned to his Avife during his enforced 
 separations from her. They are, of course, in a different strain to the 
 above, but they are happy examples of his still boyish and innocent 
 manner of expressing himself, and show besides, unmistakably and 
 almost pathetically, the great affection he had for her — an affection 
 which was maintained, true and devoted, until the very last. 
 
 From Dresden, seven years after their marriage, he writes as follows : — 
 ' Would that I had a letter from you ! If I were to tell you all my folUes 
 about your dear portrait, it would make you laugh. For instance, when 
 I take it out of its case, I say to it, God bless you, my Stanzerl ! . . . and 
 when I put it away again, I let it slip gently into its hiding-place, saying, 
 Now, now, now ! but with an appropriate emphasis on this significant 
 word ; and at the last one I say quickly. Good-night, darling mouse, 
 sleep soundly ! I know I have written something very fooHsh (for the 
 world, at all events), but not in the least foolish for us, who love each 
 other so fondly. This is the sixth day that I have been absent from you, 
 and, by heavens ! it seems to me a year. . . . Adieu, my only love ! . . . 
 and love me as I shall ever love you.' 
 
 Again, a year later, he says : — 
 
 ' I am as happy as a child at the thoughts of returning to you. 
 If people could see into my heart, I should almost feel ashamed — all 
 there is cold, cold as ice. Were you with me, I should possibly take 
 more pleasure in the kindness of those I meet here, but all seems to 
 me so empty. . . . \^^lile writing the last page, many a tear has fallen 
 on it. But now let us be merry. Look ! swarms of kisses are flying 
 about — quick ! catch some ! I have caught three, and delicious they 
 are. ... Be careful of yom- health, and do not go into the toA\Ti on 
 foot. Write to me how you like your new quarters. Adieu ! I send 
 you a million kisses.' 
 
28 MOZART 
 
 And now, what more is there to add ? Many great composers have 
 arisen since Mozart's time, but all their gifts and world-wide renown 
 have not succeeded in taking from him the glory that appertains to his 
 genius, nor in lessening the beauty and charm of his music, in the parti- 
 cular sphere which he made his own ; and though taste and style have 
 undergone many changes, and much of the art of past generations has 
 become old-fashioned, his music remains as fresh as ever ; and even the 
 most modern of thinkers admit him mllingly and admiringly into the 
 charmed circle of their favourites. 
 
 ' That life is long which answers life's great end.* 
 
 This may in truth be said of Mozart. His years on earth were few, 
 full of struggles and cares, and with hardly any compensations, but his 
 life's ' great end ' was, indeed, truly answered in the work he accom- 
 plished and the treasures he bequeathed to posterity. His fame is 
 immortal, and his place assured for all time among those heaVen-born 
 geniuses who have been sent to beautify the world and ennoble the lives 
 and hearts of mankind. 
 
 Frederic H. Cowen. 
 
 -^W 
 
 f^ 
 
 i^OWS ft BmVOONC i:'KlMiBK» LTO. \lVlI.i.S)iUlUI JUNCTtOM, N.W. iU. 
 
THE CONCERT EDITION of 
 
 STANDARD AND TRADITIONAL 
 
 BRITISH SONGS 
 
 REVISED WITH 
 
 New Accompaniments by G. H. Clutsam. 
 
 THESE wonderful old Songs, with their magic appeal and priceless fount of melody, are the choicest gems in the natiorial 
 heritage of art. Their fragrant beauty has been enhanced by the scholarly accompaniments written by 
 Mr. G. H. Clutsam. These accompaniments are modern in spirit, and varied according to the character oP the 
 words, and yet are written with due reverence for the traditions surrounding each song. 
 
 Beautiful engraving, beautiful printing on superfine paper, make this edition one to be prized and cherished. Invaluable 
 for teaching, an aid to interpretation, and a treasury unmatched in the annals of music publishing. 
 
 In Two Keys — HIGH and LOW Voices — 2/- each net, 
 
 SECOND SERIES 
 
 Kelvin Grove 
 
 The Harp that once 
 
 Home, Sweet Home 
 
 Green grow the Rashes, O ! 
 
 The pretty girl milking her cow 
 
 Brien the brave 
 
 The three ravens 
 
 Oft in the stilly night 
 
 Mary Morison 
 
 The Bonny Brier Bush 
 
 Land o' the Leal 
 
 Shule Agra 
 
 John Anderson, my Joe 
 
 Mary of Argyle 
 
 Afton Water 
 
 Kathleen O'More 
 
 Turn ye to me 
 
 Bay of Biscay 
 
 Believe me, if all those endearing young charms 
 
 The Young May Moon 
 
 The Auld House 
 
 The Cruiskeen LaWn 
 
 Blue Bonnets 
 
 The Vicar of Bray 
 
 Fine old English Gentleman 
 
 A FEW OPINIONS. 
 
 
 FIRST SERIES 
 
 
 1. 
 
 The Banks of Allan Water 
 
 26. 
 
 2. 
 
 Sally in our Alley 
 
 27. 
 
 3. 
 
 The Bonnie Banks of Loch Lomond 
 
 28. 
 
 4. 
 
 The BailifTs Daughter of Islington 
 
 29. 
 
 5. 
 
 Ye Banks and Braes 
 
 30. 
 
 6. 
 
 Drink to me only with thine eyes 
 
 31. 
 
 7. 
 
 Caller Herrin' 
 
 32. 
 
 8. 
 
 Robin Adair 
 
 33. 
 
 9. 
 
 Jock o' Hazeldean 
 
 34. 
 
 10. 
 
 Gomin' thro' the Rye 
 
 35. 
 
 n. 
 
 Come, lasses and lads 
 
 36. 
 
 12. 
 
 The Lass of Richmond Hill 
 
 37. 
 
 13. 
 
 Barbara Allen 
 
 38. 
 
 14. 
 
 The Minstrel Boy 
 
 39. 
 
 15. 
 
 Oh, the Oak and the Ash 
 
 40. 
 
 16. 
 
 Silent, Oh Moyle 
 
 41. 
 
 17. 
 
 Within a Mile of Edinboro' Town 
 
 42. 
 
 18. 
 
 Tom Bowling 
 
 43. 
 
 19. 
 
 Down among the Dead Men 
 
 44. 
 
 20. 
 
 Here's to the Maiden of Bashful Fifteen 
 
 45. 
 
 21. 
 
 The Meeting of the Waters- 
 
 46. 
 
 22. 
 
 Charlie is my Darling 
 
 47. 
 
 23. 
 
 The Leather Bottel 
 
 48. 
 
 24. 
 
 Annie Laurie 
 
 49. 
 
 25. 
 
 Here's a Health unto His Majesty 
 
 50. 
 
 SIR HENRY J. WOOD.— "They are really ox- 
 cellent, and >vepe sadly needed. I shall certainly 
 teach them to my pupils " 
 
 THE SPECTA TOR. — " In concert rooms we frequently 
 suffer from the clumsy chordal accompaniments which some 
 pianists fit to old songs, and Mr. Clutsam's settings will be 
 welcomed as satisfying a long-felt want. 
 
 His accompaniments are simple and musicianly, and 
 although written specially for the concert room, they will 
 present no difificulties to %a ordipary pianist." 
 
 THE MUSICAL TIMES.— "The charm of these old 
 songs is maintained intact by Mr. Clutsam's discriminative 
 welding of tune and accompaniment. He has done this 
 witli great economy of means, and has avoided monotony 
 by skilfully varying his setting of difl'erent verses, and yet 
 preserving tiieir simplicity." 
 
 MUSICAL OP/N/OiV.—" Taken as a whole, the collec 
 tion forms a golden treasury of song such as the competent 
 vocalist cannot afford to ignore. It is seldom that we find 
 instruction and pleasure so agreeably blended." 
 
 MURDOCH, MURDOCH 81 Co., London, W.l. 
 
THE MAYFAIR CLASSICS 
 
 t. 
 
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 8. 
 
 4. 
 
 5. 
 
 6. 
 
 7. 
 
 8. 
 
 9. 
 10. 
 tl. 
 12. 
 13. 
 14. 
 15. 
 18. 
 17. 
 18. 
 19. 
 20. 
 21. 
 22.. 
 23. 
 24. 
 25. 
 26. 
 27. 
 
 51. 
 62. 
 63. 
 
 54. 
 
 55. 
 
 60. 
 61. 
 82. 
 
 PIANOFORTE PIECES. 
 
 Annotated and fingered by 
 F. CORDER. F.R.A.M. 
 
 ARENSKY Basso Ostinato. Op. 6. No. 5. 
 
 Etude, Op. 41, No. 2. 
 BACH, P. E. Solfegietto 
 BEETHOVEN. Andante in F 
 
 „ Two Sonatinas (F & C) 
 
 BENDEUF. Spinning Wheel 
 CHOPIN, F. Valse in D flat. Op. 64, No. I 
 
 Nocturne in E flat. Op. 9, No 2. 
 „ Berceuse in D flat, Op. 57. 
 
 Etude in G flat. Op. 10, No. 5. 
 DAQUIN. Le Coucou 
 CADE. N. W. Ring-Dance 
 HENSELT, A. Si Oiseau j'etais 
 
 „ Song of l_ove 
 
 JENSEN. A. The Mill 
 „ Berceuse 
 
 „ Elfin Dance & Barcarolle 
 
 KJERULF, H. Lullaby. Op. 4, No. 8. 
 LIS2T, F. Love-dream in A flat 
 „ La Campanella 
 
 „ Consolation in D flat 
 
 „ Etude de Concert in D flat, No. 3 
 
 „ Devotion (Schumann) 
 
 „ Evening Star (Wagner) 
 
 MAYER, C. La Grace 
 MENDELSSOHN. Spring Song 
 
 „ Andante ^ Rondo ) 
 
 Capriccioso, Op. 1 4. j 
 
 LISZT. Rose Softly Blooming (Spohr) 
 
 BEETHOVEN. Adagio (Sonate Pathetique) 
 
 MENDELSSOHN. Duetto (Songs without 
 
 words No. 18) 
 „ Scherzo in E minor. 
 
 Op. 16. No. 2. 
 Prelude in E minor. 
 
 Op. 35, No. 1. 
 SCHUMANN. Nocturne in F, Op. 23, No. 4. 
 Soaring (Aufschwung) 
 ^ Novelette in E, Op. 21. No. 7 
 
 28. 
 
 29. 
 
 Annotated and fingered by 
 FELIX SWINSTEAD. F.K^JH. 
 
 PARADIES. Toccata 
 
 RACHMANINOFF. S. Prelude in C^ minor. 
 
 Op. 3. No. 2. 
 
 30. RAFF. J La Filcuse, Op. 157. No. 2. 
 
 31. „ Polka de la Reine. Op. 95. 
 
 32. „ Fabliau. Op. 75, No 2. 
 
 33. RUBINSTEIN. A. Romance in E flat. 
 
 Op. 44. No. 1. 
 
 34. ., Melody in F. Op. 3, No. 1. 
 
 35. „ Romance in F, Op. 26, No. I. 
 
 36. „ Valse Caprice 
 
 37. SCARLATTI fTausig). Pastorale 
 
 38. „ Capriccio 
 
 39. SCHUBERT. F. Impromptu in G, 
 
 Op. 90, No. 3. 
 40: „ Impromptu in A flat. 
 
 Op. 90, No. 4. 
 
 41. „ Impromptu in A flat. 
 
 Op. 142, No. 2. 
 
 42. „ Impromptu in B flat. 
 
 Op. 142. No. 3. 
 
 43. SCHUMANN, R. Whims, Op. 12, No. 4. 
 
 44. „ " Dreaming," and " Why ?" 
 
 Op. 15, No. 7. Op. 12. No. 3. 
 
 45. TSCHAIKOWSKY, P. Barcarolle. Op. 37, No. 6. 
 
 46. „ Chant Sans Paroles, 
 
 Op. 2, No. 3. 
 47 „ Chanson Triste, 
 
 Op. 40. No. 2. 
 
 48. WEBER, C. M. Invitation & la Valse, Op. 65. 
 
 49. „ Moto Perpetuo. Op. 34. 
 
 50. „ Polacca BriUante. Op. 72. 
 
 56. RUBINSTEIN. 3rd Barcarolle in G minor 
 
 57. „ Staccato Study m C, 
 
 Op. 23, No. 2. 
 
 58. SCHUBERT. Minuet (in B minor) from 
 
 Sonata Op. 78. 
 
 59. „ Moment Musical, Op. 94, No. 3. 
 
 63, TSCHAIKOWSKY. EnTraineau, Op.37. No.1 1. 
 
 64. „ Romance in F minor. Op. 5. 
 
 Price 21- each net cash. 
 
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THE WORKS OF ARNOLD BAX 
 
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 Mediterranean 
 
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 Mater, Ora Filium— Carol for Unaccompanied Double Choir 
 
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 Of a Rose I Sing— Carol for Choir, Harp, Cello, and Contra-bass... 
 
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 To the Name above every Name Jesus 
 
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 First Sonata for Violin and Piano in E 
 
 Second Sonata in D for Violin and Piano 
 
 Quintet for Piano and Strings in G min 
 
 String Quartet in G Score 
 
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 Quintet for Strings and Harp ... ... 
 
 Phantasy for Viola and Piano 
 
 Interlude for String Quintet ... 
 
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 Toccata ... 
 
 Lullaby 
 
 A Hill-Tune 
 
 Mediterranean 
 
 Burlesque 
 
 Country-Tune 
 
 First Sonata in Fj| minor 
 
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 SONGS WITH PIANO. 
 
 Aspiration (/?. Dehmel) : 
 
 Parting (^.) ... 
 
 Green Grow the Rashes O! (Burns) (Two Keys) 
 
 Youth [Clifford Bax) 
 
 The Market Girl [Thos. Hardy) 
 
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 Across the Door ... ... ... ... ... ... ... 2/- 
 
 Beg-Innish ... ... ... ... ... ... ... ... 2/- 
 
 Three Irish Songs Complete 
 
 Cradle Song... ... ... ... ... ... ... ... 2/- 
 
 Rann of Exile ... ... ... ... ... ... ... 2/- 
 
 Rann of Wandering ... ... ... ... ... ... 2/- 
 
 ARRANGEMENTS OF OLD SONGS. 
 
 Traditional Songs of France Complete 
 
 Sarabande ... ... ... ... ... ... ... ... 2/- 
 
 Langueo d' Amour ... ... ... ... ... ... ... 2/- 
 
 Me suis Mise en Danse ... ... ... ... ... ... 2/- 
 
 Femmes, battez vos Marys 2/- 
 
 La Targo 2/- 
 
 Chant d'lsabeau {Canadian) ... 
 
 25/- net 
 40/- „ 
 25/. „ 
 40/- „ 
 21/- „ 
 30/- „ 
 .2/- „ 
 in the press 
 
 2/6 net 
 
 1/- „ 
 2/6 „ 
 
 1/- „ 
 
 21- „ 
 
 1/- „ 
 
 1/- „ 
 ,21- „ 
 in the press 
 
 10/- net 
 
 7/6 
 21/- 
 
 5/- 
 
 8/- 
 12/. 
 10/. 
 in the press 
 
 21- net 
 
 21- „ 
 
 21- „ 
 
 21- „ 
 
 21- .. 
 
 21- „ 
 
 6/. „ 
 
 6/- „ 
 
 21- net 
 
 21' „ 
 21- „ 
 21- „ 
 21- „ 
 6/. net 
 
 net 
 
 4/. net 
 
 6/- net 
 
 net 
 
 2/- net 
 
 MURDOCH, MURDOCH & CO., LONDON. 
 
 67. 
 
14 DAY USE 
 
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