Star.
London, England, 1829-08-20 00:00:00

LIFE OF MOZART.

From The Foreign Quarterly Review.
At length ample justice is done to the memory of Mozart.—
Independently of the high gratification which his admirers must
defier from bring made acquainted with the habits and pecu-
liarities of , the man. the criticisms and opinions upon the art,
contained in the familiar letters of this great master, constitute a
legacy to the mu.ical world which is quite invaluable. They not
only set at test many disputed questions of cute, hut e.tablish
the correctness of some opinions, which a diffidence in their own
judgment atone has prevented others front avowing. When Merest'
Is arbiter. there can helm appeal from the decision. The revelations
of the Biography before us throw a new light upon the subject of
Mozart's invention, of his rank with respect to other composers,
and of the real services which he rendered to music; and
truly, in the contemplation of the sublime attributes of his
genius, and the imagination and feeling which he displayed
from childhood to matit.ood, there is enough to gratify his
warmest admirer., and to elevate and ennoble humanity. Of
his six and•thirty sinfonias for the full orchestra, it appears that
Ilse half-dozen masterly compositions with which we are tantiliar
in England were written considerably before Haydn's journey to
this country to complete his engagement with Salomon; so that
Mozart had reached perfection ia the sintonia style, and won the
race, long before the man who had made the first strides in it,
and who had the start of hint in years and experience. Respect-
ing the Operas of Mozart we bad also fallen into an error, which.
it must he confessed, when their extreme excellence is con-
sidered, was a natural one, viz. that they had cost him at
the rate of a year's labour each to polish and refine. Quite
the contrary was the fact; " Idomeneo" occupied him but nix
weeks, " La Clemenza di Tito" hut eighteen days ; these, be It
remembered, are works which defy the most scrutinizing and
rigorous examination, exhibit melodies which never tire, and un-
equalled management of the orchestra. For the production of
these models of the dramatic style, Mozart required no longer time
than a common place Italian composer takes for the concoction of
his ephemeral novelties ; and it is not unreasonable to conclude,
that bad his dramatic genius beds properly appreciated and en-
couraged, instead of being opposed, we might have enjoyed at least
five-and-twenty operas front his pen. When we bring into one view
all the qualifications of Mozart as a composer and practical musician,
the result is astounding. The same man, under the age of thirty-
six, is at the head of dramatic sinfonias and pianoforte music—is
eminent in the church style—and equally at his ease in every va•
riety, front the concerto to the country dance or baby song; he
puts forth about eight hundred compositions, including masses,
motetts, operas, and fragments of various kinds; at the same
time supporting himself by teaching and giving public perfor.
mantes, at which be executes concertos on the pianoforte, the
violin, or the organ, or plays extempore. But when we learn that
the infant MOZART, at four years of age, began to compose, and by
an Instinct perception of beauty made correct basses to melodies ;
and also, that he became a great performer on two instruments,
without the usual labour of practice, we cease to be surprised at the
mechanical dexterity of his fingers in active life. when composition
and other pursuits had engrossed the time usually employed ill re:.
serving the power of execution."