and viola; 1 Concerto for bassoon; 1 ditto for flute and harp; 2 ditto for flute; 1 Andante for ditto; 4 Concertos for horn; 1 ditto for clarinet.
Chamber-music.
Series 13. 7 Quintets for 2 violins, 2 violas, and cello; 1 ditto for 1 violin, 2 violas, horn, and cello (or 2 cellos instead of horn); 1 ditto for clarinet, 2 violins, viola, and cello.
Series 14. 26 Quartets for 2 violins, viola, and cello; 1 short Nachtmusik for 2 violins, viola, cello, and double-bass; Adagio and Fugue for 2 violins, viola, and cello; 1 Quartet for oboe, violin, viola, and cello.
Series 15. 2 Duets for violin and viola; 1 Duet for 2 violins; 1 Divertimento for violin, viola, and cello.
P.F. Music
Series 16. 25 Concertos for P.F. and orchestra; 1 ditto for 2 P.Fs.; 1 ditto for 3 P.Fs.; 1 Concert-rondo for 1 P.F.
Series 17. 1 Quintet for P.F., oboe, clarinet, horn, and bassoon; 2 Quartets for P.F., violin, viola, and cello; 7 Trios for P.F., violin, and cello; 1 ditto for P.F., clarinet, and viola.
Series 18. 42 Sonatas for P.F. and violin; Allegro for ditto; 12 variations for ditto; 6 variations for ditto.
Series 19. 5 P.F. Sonatas for 4 hands; Andante with 5 variations for ditto; Fugue for 2 P.Fs.; Sonata for ditto.
Series 20. 17 Sonatas for P.F.; Fantasia and Fugue; 3 Fantasias for ditto.
Series 21. 15 Collections of variations for P.F.
Series 22. 18 short pieces for P.F. (Minuets, 3 Rondos, Suite, Fugue, 2 Allegros; Allegro and Andante; Andantino; Adagio; short Gigue; 35 Cadenzas for P.F. concertos).
Series 23. 17 Sonatas for organ with accompaniment (chiefly 2 violins and bass).
Scries 24. Supplement. Contains all the unfinished and doubtful works, additional accompaniments, and transcriptions. Among others: The 'Requiem'; 'L'Oca del Cairo,' opera buffa; 'Lo Sposo deluso,' opera buffa; Handel's 'Acis and Galatea,' 'Messiah,' 'Alexander's Feast,' and 'Ode on St. Cecilia's Day' additional accompaniments; 5 Fugues from J. S. Bach's 'Wohltemperirte Clavier' (arranged for 2 violins, viola, and bass); 3 Sonatas of Johann Bach's (arranged as a concerto for P. F., 2 violins, and bass); etc.
MOZART, Constanze, Wolfgang's wife (née Weber), born at Zell, in Lower Austria, had a pretty, well-trained voice, and played the piano in a pleasing manner. Mozart dedicated to her, always in affectionate terms, many of his compositions, but, characteristically, finished none of them. She was a good and loving wife, accommodated herself in every thing to her husband's disposition, and restrained him from many heedless actions. He was sincerely attached to her, and she, in return, lavished upon him every care and attention. After Mozart's death she and her two children had a hard struggle for existence, but her necessities were in some measure relieved by the success of concerts which she gave in Vienna, Prague, Berlin, and other cities. In Berlin, the King granted her the use of the Opera-house, and the services of his own band, for a concert, at which she sang. In 1799 she sold all her husband's remaining MSS. to André for 1000 ducats (£500). In 1809 she married George N. Nissen, an official in the Danish diplomatic service, whose acquaintance she had made in Vienna in 1797. Henceforth her life was peaceful and uneventful. On Nissen's retirement from office in 1820 they went to live in Salzburg, where he collected the materials for his 'Mozart-Biographie.' He died in 1826, and Constanze on March 6, 1842, a few hours after the arrival of the model of Mozart's statue.
Of the two sons of Wolfgang and Constanze Mozart, the elder, Karl, first took to commerce, practising music as a pastime, and afterwards became an employé of the Austrian government at Milan, where he died in 1859 [App. p.720 "1858"]. Mendelssohn met him there in 1831, and delighted him by playing the Overtures to Don Giovanni and the Zauberflöte. The younger,
Wolfgang Amadeus, born July 26, 1791, in Vienna, studied the piano and composition with Neukomm, A. Streicher, Albrechtsberger, and Salieri. He made his first appearance in public, being led forward by his mother, at a concert given on April 8, 1805, at the theatre 'an der Wien,' when he played a concerto of his father's, and variations on the minuet in Don Juan. The latter, and a cantata in honour of Haydn's 73rd birthday, were his own compositions. In 1808 he became music-master to the family of Count Joseph von Bawarowsky, in Gallicia. He made repeated professional tours, and in 1814 became Musikdirector at Lemberg, where he founded the Cäcilienverein, in 1826. As a pianist and composer he was held in esteem—his name alone was sufficient to preclude his rising to eminence. He died July 30, 1844, at Carlsbad in Bohemia.
MOZARTEUM OF SALZBURG, THE, an educational institute for musicians, which also gives annual concerts. With it is connected the Dom Musikverein, which undertakes the music for the cathedral services. Dr. Otto Bach has been the director since 1868. In 1869 an 'International Mozart Stiftung' or Fund was created, with the double object, as yet unrealised, of assisting poor musicians, and founding an 'International Conservatorium.'
MOZARTSTIFTUNG, THE, at Frankfort, was founded in 1838, to assist poor but talented musicians in their studies. Scholarships are retained as a rule for four years.
MUDIE, Thomas Molleson, was born at Chelsea on St. Andrew's Day (so, in reference to his Scottish descent, he was wont to style the date), 1809. He died, unmarried, in London July 24, 1876, and is interred in Highgate cemetery. He is said to have shown musical aptitude in infancy, and the saying is corroborated by his success in the first examination of candidates for admission into the Royal Academy of Music, Feb. 10, 1823, when, from thirty-two competitors, ten were elected. At the foundation of this institution the Utopian idea was entertained of giving free education to its pupils and defraying the cost from funds raised by subscription; hence the large number of candidates; and hence also the severity of the test by which their musical aptitude was proved, for eleven musicians, each an artist of highest note at the time, sat in judgment on the young aspirants and probed their powers to the utmost. Mudie was a pupil of Dr. Crotch for composition, of Cipriani Potter for the pianoforte—who also gave him useful advice as to his writings—and of Willman for the clarinet. He studied this last in compliance with the rule that male students must take part in the orchestral practices, and thus obtain the priceless benefit, to a musician, of this experience; he obtained much proficiency on the instrument, and had a remarkably beautiful tone, but he ceased its use when he discontinued his studentship. In the Academy he gained prizes for pianoforte-playing and for composition, and was regarded as one of the brightest among the highly talented few who first received the advantages of the institution on which they now reflect the honour of their names. His song
