For Mozart there never was any such embarras de richesse in any combination of instruments.
Bach's method is to treat each clause of his text as a separate movement, alternating choruses with groups of arias; a method which was independently adopted by Mozart in those larger masses in which he transcends the Neapolitan type, such as the great unfinished Mass in,C minor.
This was in many cases true, and it is equally true that Mozart and Haydn often had no scruple in following the customs of very bad composers.
Similar principles apply in infinite detail to the treatment of wind instruments, and we must never lose sight of them in speculating as to the reasons why the genius of Beethoven was able to carry instrumentation into worlds of which Haydn and Mozart never dreamt, or why, having gone so far, it left anything unexplored.
Mozart imports from church music 3 trombones for special passages in his operas.
The big drum, cymbals and triangle, was used by Haydn in his Military Symphony, and Mozart in his Entfilhrung, for reasons of "local colour"; it appears as an extreme means of climax in the finale of Beethoven's 9th symphony.
Wagner's earlier works have too long been treated as if they represented the pure and healthy childhood of his later ideal; as if Lohengrin stood to Parsifal as Haydn, Mozart and early Beethoven stand to Beethoven's last quartets.
Genuinely dramatic music, even if it seem as purely musical as Mozart's, must always be approached through its drama; and Wagner's masterpieces demand that we shall use this approach; but, as with Mozart, we must not stop on the threshold.
With Mozart there is no temptation to do so.
In 1769 Mozart heard it and wrote it down, and in 1771 a copy was procured and published in England by Dr Burney.
In the history of art Vienna owes to its musicians, among whom are counted Haydn, Mozart, Beethoven and Schubert.
The most celebrated Requiem Masses are those of Palestrina, Mozart and Cherubini.
But the most important fact of biography during these thirty years was his friendship with Mozart, whose acquaintance he made at Vienna in the winter of 1781-1782.
He was the intimate friend of Mozart, who had a high opinion of his genius, and the teacher of C. M.
De Stendhal), Vies de Haydn, de Mozart et de Metastase (Paris, 1854); Karajan, Joseph Haydn in London (1861); C. F.
About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.
In the Mozart-Platz is a statue of Mozart by Schwanthaler erected in 1842.
It was the birthplace of Mozart and of the painter Hans Makart (1840-1884).
The house in which Mozart was born has been transformed into a museum, which contains many interesting relics.
Already Mozart divides his violas into two parts quite as often as he makes them play with the basses.
He was a man of singularly handsome presence, not without mental qualities of a high order; he was devoted to the arts - Beethoven and Mozart enjoyed his patronage and his private orchestra had a European reputation.
Now Wagner's excellent teacher Weinlig did certainly, as Wagner himself testifies, teach him more of good music than Beethoven, Haydn and Mozart could have seen in their youth; for he showed him Beethoven.
There can have been little personal intercourse between them, for Haydn was rarely in the capital, and Mozart seems never to have visited Eisenstadt; but the cordiality of their relations and the mutual influence which they exercised upon one another are of the highest moment in the history of 18th-century music. " It was from Haydn that I first learned to write a quartet," said Mozart; it was from Mozart that Haydn learned the richer style and the fuller mastery of orchestral effect by which his later symphonies are distinguished.
The fruit of their efforts came to maturity in the Masses of Mozart and Haydn.