File:The century illustrated monthly magazine (1882) (14779265851).jpg

Identifier: centuryillustratv43n2newy (find matches)
Title: The century illustrated monthly magazine
Year: 1882 (1880s)
Authors:
Subjects: American literature
Publisher: New York : Century Co.
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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g wind wakens intomelody. There is no more trace of his nation-ality than of his personality in most of hiscreations. He seems to have risen into abroader world, and it was this very breadth anduniversality that left him so alone in the greatcenter of musical art. In his idyllic simplicityand the free, careless, sensuous spirit of thesouth, that runs like a thread of sunlight throughso much of his music, he resembles Haydn;but he has greater breadth and spontaneity. Heis finer, too, more delicate, more penetrating,and more passionate. If he did not reach thelonely grandeur of Beethoven, if his sensitivespirit did not find its inspiration in the eter-nal solitudes of a Titanic imagination, he hada warmer human sympathy, and the sunnyhealthfulness, the plastic beauty, the divinecharm of the Greek ideals. His compositionshave the symmetry, the lightness, the grace,the perfection of the Hellenic temples. Hissouthern impetuosity is never violent, his de- 2l6 MOZART—AFTER A HUNDRED YEARS.
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PORTRAIT OF MOZART.(PAINTED BY LORENZ VOGEL, 1887. PHOTOGRAPHED BY FRANZ HAUFSTAENGL.) lineations of passion are never exaggerated. Music, he says, ought never to wound theear. Even in situations the most heartrendingit should always please; in a word, music shouldalways remain music. But he adds to the light-hearted insouciance and the unerring taste ofthe Greek something born of modern life — avoice from the great heart of a humanity thathas become conscious of itself. He toucheshere the vein that Beethoven carried to its su-preme point. It is impossible in a brief essay that does notclaim to be critical to consider the numerousand varied forms of composition left by thismost prolific and versatile of masters. A singleglance at the catalogue in which the seven hun-dred and seventy-nine of his known works areregistered fills one with amazement at the gi-gantic results of his short life. In instrumentalmusic he created no new forms, but he breathed fresh spirit into the old ones. Pr

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