Album insights
Mozart's work in the field of song composition spanned almost his entire short life. From the song "An die Freude," composed in 1768 at the age of twelve, to "Das Kinderspiel," written in January of 1791, his final year, Mozart's focus on these pieces was often overlooked by commentators. These songs reveal a more intimate and domestic side of the composer, showcasing deep and powerful emotions, humor, simple piety, and profound tenderness, elements rarely seen in his more public works. For instance, in the song "Die Alte," written in Vienna on May 18, 1787, Mozart instructed that it should be sung with a nasally tone—a technique reminiscent of Despina's charlatan parody in "Così fan tutte" three years later.
Some of these miniatures overlap with Mozart's larger works in opera and sacred music, reflecting a tone of decent piety prevalent in Catholic Austria. For example, "An die Freude," written in early December 1768 in Vienna, resembles the Benedictus in the "Waisenhausmesse" in C minor (K139), which the twelve-year-old composer performed at the inauguration of a new orphanage chapel before the imperial court in Vienna on the 7th of that month.
Mozart's early exploration of theatrical influence can be seen in the Italian Canzonetta "Ridente la calma," K152, written in the summer of 1775 in Salzburg. Demonstrating soothing resignation, this piece anticipates airy moments in "Idomeneo" and "Così fan tutte."
Despite their perceived insignificance, some of these songs exhibit remarkable complexity in composition, structure, harmony, and emotion. "Das Lied der Trennung," among several others written in May 1787, blends comical boredom with the melancholy story of a wounded heart across eighteen verses, transitioning from strophic to through-composed format. Despite its satirical nature, the piece evokes the anguish of characters in Mozart's operas like Ilia in "Idomeneo" and Pamina in "Die Zauberflöte," concluding similar to the slow movement of the Piano Concerto in A major, K488.
These songs, including "Als Luise die Briefe" composed shortly after, not only share musical similarities but also explore a reminiscent narrative thread. With humorously ironic and pompous tones, these compositions often revolve around women named Luise, playfully echoing Mozart's interactions and relationships, including the comedic mirroring of grand opera conventions.
Another thematic grouping emerges with the songs written in January 1791, featuring Mozart's final authentic compositions. Both "Sehnsucht nach dem Frühlinge" and "Im Frühlingsanfang" yearn for spring, particularly the month of May. While the former suggests a folk-like quality borrowing from Telemann's cantata "Die Jahreszeiten," the latter, "Das Kinderspiel," portrays an innocent atmosphere of childhood games in natural surroundings, exuding a lively waltz rhythm in the key of A major, a favorite of Mozart's.
Simple pleasures also characterize other songs by Mozart, such as "Des kleinen Friedrichs Geburtstag" and "Die kleine Spinnerin," penned for young readers. Notably, "Das Veilchen" exemplifies Mozart's unpretentious sentimentality with a tale of a crushed violet, drawing a parallel to Hans Christian Andersen's "Das Gänseblümchen."
Furthermore, Mozart's songs bear Freemasonic ties, with pieces like "Auf die feierliche Johannisloge" reflecting themes of brotherhood. While most of Mozart's songs are in German, exceptions like the French ariettes evoke influences from his time in Paris. Pieces with mandolin accompaniment, attributed to Mozart's encounters in southern Germany, demonstrate variations in musical partnerships—ranging from simple bass lines to intricate collaborations.
Christopher Morley © 1998 Translation: Anke Vogelhuber