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chapter 32

Mozart’s Influence on Nineteenth-Century

Composers
Edward Klorman

The mystique surrounding Mozart’s music as essential material for an

emerging composer to grapple with arose immediately after his death.
A confluence of factors established Mozart’s widespread and enduring
influence. These include his historical position on the cusp of a period of
intense interest in canon formation, which established many of his mature
compositions as ‘masterworks’ for perennial performance and study.1
A second factor is the variety of instrumental, operatic and sacred genres
in which Mozart excelled. Moreover, generations of composers (especially
those with piano backgrounds) could count Mozart among the earliest
music they encountered in their formative instrumental training. And
lastly, there is Mozart’s uncommonly colourful biography and the efforts
of his influential early biographers (notably Nissen and Jahn) to shape his
image in a particular mould and to cultivate sustained interest in his life.
The present chapter surveys some nineteenth-century composers for
whom Mozart’s music and persona were important sources of inspiration.

Beethoven and ‘Mozart’s Spirit’

In 1792, on the eve of Beethoven’s departure for Vienna, Count Waldstein
issued the following farewell greeting: ‘The Genius of Mozart is still in
mourning and weeping the death of her pupil . . . [But] you shall receive
Mozart’s spirit from Haydn’s hands’. These oft-quoted words served less to
foretell Beethoven’s future reception as heir to Mozart’s greatness as to help
create that very narrative of inheritance.2 Waldstein was not the first to

1
An early expression of this attitude is in Niemetschek’s biography of Mozart (Leben des
K. K. Kapellmeisters Wolfgang Gottlieb Mozart, Prague, 1798, pp. 46–7), which compares the pleasure
and value of repeated listening to Mozart’s works to that of rereading Greek and Roman writings.
2
Tia DeNora, Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803
(Berkeley: University of California Press, 1995), pp. 83–9.

273
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intimate Beethoven’s place as Mozart’s successor. About a decade earlier,
Beethoven’s teacher Christian Gottlieb Neefe described his eleven-year-old
student as a Wunderkind of such extraordinary promise that he ‘would surely
become a second Wolfgang Amadeus Mozart were he to continue as he had
begun’.3
During his Bonn period, Beethoven turned to Mozart’s Sonata for piano
and violin in G major K. 379 as a model for two of his earliest chamber
works: the Piano Quartet in E♭ Major, WoO 36, no. 1 (1785) and the
variations from his Trio in G major for piano, flute, and bassoon, WoO 37
(1786).4 (See Examples 32.1a and 32.1b for K. 379 and WoO 36 no. 1.)
Evidence of Beethoven’s ‘anxiety of influence’ during this period is found
on a sketch leaf probably written in Bonn in 1790 (now included in the
‘Kafka’ Miscellany) on which Beethoven wrote a six-bar musical idea plus
the following comment: ‘This entire passage has been stolen from the
Mozart Symphony in C minor, where the Andante in 6/8 from the . . . ’.
Beethoven’s words break off mid-sentence and are followed by a four-bar
version of the same material, with sharper registral extremes, that Beethoven
labelled as his own (‘Beethoven ipse’). Beethoven’s comments are puzzling
since this passage does not closely resemble any Mozart symphony. Perhaps
the sketch seemed to Beethoven to be too close to Mozart’s style in general
or to some passage he was struggling to remember.5
Evidently Beethoven’s task of absorbing aspects of Mozart’s style, while
simultaneously developing his own voice, proved challenging. When asked in

32.1a Mozart, Sonata for piano and violin in G, K. 379/i, bars 1–4 (piano part only).

3
Cramers Magazin der Musik (3 March 1783). Cited in Thayer’s Life of Beethoven, rev. and ed.
Elliot Forbes (Princeton: Princeton University Press, 1967), vol. 1, p. 69.
4
Richard Kramer, Unfinished Music (Oxford and New York: Oxford University Press, 2008), p. 250.
5
Lewis Lockwood, ‘Beethoven before 1800: The Mozart Legacy,’ Beethoven Forum, 3 (1994), p. 40.
A similar case is found among the sketches for Beethoven’s ‘Eroica’ Symphony. Beethoven drafted
a rough version of the first movement’s main theme that resembles the rondo from Mozart’s Piano
Concerto in B♭ major K. 595, only transposed to E♭ major and notated in augmented rhythmic
values. See Lockwood, ‘The Mozart Legacy’, p. 41.
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Mozart’s Influence on Nineteenth-Century Composers 275

32.1b Beethoven, Piano Quartet in E♭ major WoO 36, No. 1, Adagio assai, bars 1–4
(piano part only).

1798 how often he attended Mozart’s operas, Beethoven reportedly replied

dismissively: ‘I do not know them and do not care to hear the music of others
lest I forfeit some of my originality.’6 This remark is absurd, since Beethoven
had performed in three Mozart operas as a member of the court theatre
orchestra in Bonn.7 Moreover, Beethoven’s first decade in Vienna saw the
composition of four variation sets on themes from Mozart operas: ‘Se vuol
ballare’ WoO 40 (1792), ‘Là ci darem la mano’ WoO 28 (1796), ‘Ein Mädchen
oder Weibchen’, Op. 66 (1798), and ‘Bei Männern, welche Liebe fühlen’
WoO 46 (1801). Nor were such borrowings from Mozart’s operas limited to
Beethoven’s early period, since he incorporated a parody of ‘Notte e giorno
faticar’ as no. 22 of the ‘Diabelli’ Variations. Although Beethoven expressed
misgivings about Don Giovanni’s immoral subject matter, he also wrote that
the opera’s ‘good reception . . . gives me as much pleasure as if it were my own
work’.8 He repeatedly requested a copy of its score from Breitkopf & Härtel,
along with those of other Mozart operas and the Requiem.
As Beethoven began work on his Opus 18 quartets in 1799–1800, he
undertook the project of copying out (in whole or in part) study scores of
two Mozart quartets, K. 387 in G and K. 464 in A. The impact of this study
is most evident in Beethoven’s Quartet in A, Op. 18, No. 5, which shares
many characteristics with K. 464, including its key of A major, dance-like
first movement, third-movement Andante variations in D major and alla
breve finale. K. 387 served more generally as a study in the masterful
interweaving of contrapuntal (fugal) and free styles that Beethoven sought
to achieve throughout his quartet oeuvre. Beethoven made study copies of
Mozart passages even decades later. Among the sketches of the Credo fugue

6
This anecdote was recorded in Johann Wenzel Tomaschek’s autobiography (1845). Cited in Thayer’s
Life of Beethoven, vol. 1, p. 208.
7
Christopher Reynolds, ‘Florestan Reading Fidelio’, Beethoven Forum, 4 (1995), p. 136.
8
Letter to Breitkopf & Härtel, 23 August 1811.
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for his Missa solemnis (composed 1819–20), he wrote out and analysed the
Kyrie fugue from Mozart’s Requiem.9

Rossini and Verdi, or, i Tedeschini

Whilst the influence of Italian opera on Mozart’s music is well known,
Mozart’s influence on his Italian successors is less frequently noted.10
In 1804, Rossini’s family moved to Bologna, a city that a teenage-prodigy
Mozart had swept through decades earlier. As a student, Rossini devoured
scores by Haydn and Mozart with such fervour as to earn the moniker ‘il
Tedeschino’ (‘the little German’) from his teacher, Padre Mattei.11
His study of ‘serious’ German music was a lifelong affair. When he met
Wagner in 1860, some decades after retiring from composition, Rossini
discussed his ongoing study of Bach and Mozart scores. Late in life, he kept
a bust of Mozart in his bedroom and described Mozart as ‘the admiration
of my youth, the desperation of my mature years, the consolation of my old
age’.12 Two extraordinary anecdotes are related by Louis and Pauline
Viardot: when asked at a gathering which of Rossini’s own operas was
his favourite, Rossini thought briefly and replied, bizarrely, Don Giovanni;
and when the Viardots – who owned the autograph of that opera and kept
it in an ornate, shrine-like box – invited Rossini to view and touch the
manuscript, he is said to have ‘genuflect[ed] in front of the relic’, declaring
piously that Mozart ‘is the greatest, the master of all, [since] only he had as
much science as genius and as much genius as science’.13
Rossini’s first years composing operas coincided with productions of
Mozart’s operas at the Teatro del Fondo (Naples) and especially at La
Scala (Milan). It was during these years that Rossini developed his ‘code’
of operatic conventions, drawing not only from his Neapolitan predecessors
Giovanni Paisiello and Domenico Cimarosa but also from Mozart,
a composer he saw as transcending the Italian–German divide. Whereas

9
Further details and a list of all Mozart passages copied by Beethoven appear in Bathia Churgin,
‘Beethoven and Mozart’s Requiem: A New Connection’, Journal of Musicology, 5 (1987), pp. 457–77.
10
But see Friedrich Lippmann, ‘Mozart und die italienischen Komponisten des 19. Jahrhunderts’,
Mozart-Jahrbuch 1980–83, pp. 104–13.
11
A. Azevedo, G. Rossini: Sa vie et ses oeuvres (Paris: Le Ménestrel, 1864), p. 43. A contemporaneous
account of Rossini’s views (including of Mozart’s music) is relayed in Ferdinand Hiller, ‘Plaudereien
mit Rossini’, in Aus dem Tonleben unserer Zeit (Leipzig: Hermann Mendelssohn, 1868), vol. 2,
pp. 1–84.
12
Philip Gossett, ‘Rossini, Gioachino’, in New Grove Online.
13
Mark Everist, ‘Enshrining Mozart: Don Giovanni and the Viardot Circle’, 19th Century Music, 25
(2001–2), pp. 177–8.
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Mozart’s Influence on Nineteenth-Century Composers 277

32.2a Rossini, Moïse et Pharaon, Act 2 finale, bars 73–88.

Mozart occasionally creates a special harmonic effect with sudden, chro-

matic-mediant shifts (as in the modulation from F major to A♭ major in ‘Voi
che sapete’), such modulations became Rossini’s signature harmonic move.14

14
On Rossini’s chromatic-mediant relations, see William Rothstein, ‘Common-Tone Tonality in
Italian Romantic Opera: An Introduction’, Music Theory Online, 14/1 (March 2008) http://www
.mtosmt.org/issues/mto.08.14.1/mto.08.14.1.rothstein.html.
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32.2b Mozart, Act 2 finale from Don Giovanni, bars 487–98 (Commendatore
part only).

Specific instances of Rossini passages modelled on Mozart can be

interesting fodder for speculation. Friedrich Lippmann points to the
Act 2 finale of Moïse et Pharaon, in which Sinaide’s aria is interrupted
by a mysterious choir or voice delivering a message from the mother of
the gods, with music that resembles the statue scene from Don Giovanni.
(See Examples 32.2a and 32.2b.) The libretti alone suggest some links
between the supernatural mother/father figures delivering solemn mes-
sages. Shared musical features include the urgent, intoning declamation,
the deliberate, chromatic vocal ascent (cf. Example 32.2b) and the orches-
tral accompaniment with dotted rhythms and use of three trombones.15
These resemblances may arise from the ombra topic common to both
passages, but Rossini’s deep reverence for Don Giovanni lends credence to
this famous scene as his model.
Verdi’s most Mozartian moments likewise involve Don Giovanni.
The opening scene of Rigoletto – a ball involving two dance ensembles
and a boastful, lecherous Duke – recalls Don Giovanni’s Act 1 finale.16
Links between Verdi’s final opera, Falstaff, and Wagner’s Die
Meistersinger are frequently noted, but echoes of Don Giovanni permeate
it as well: the rakish, aristocratic protagonist of insatiable appetite, with
his long-suffering servants; the mock-eighteenth-century minuet in the
wedding scene (cf. the onstage music in both finales of Don Giovanni);
and the final ensemble number that achieves dramatic closure in comic
terms.17

15
Lippmann, ‘Mozart und die italienischen Komponisten des 19. Jahrhunderts’, pp. 111–12.
16
Pierluigi Petrobelli, ‘Don Giovanni in Italia: La fortuna dell’opera ed il suo influsso’, Analecta
musicologica, 18 (1978), p. 41.
17
Emanuele Senici, ‘Verdi’s Falstaff at Italy’s Fin de siècle’, Musical Quarterly, 85 (2001), pp. 274–310.
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Mozart’s Influence on Nineteenth-Century Composers 279

Romantic Pianism: Chopin and Liszt
‘Where [Beethoven] is obscure and seems lacking in unity . . . the reason is
that he turns his back on eternal principles; Mozart never.’ Such was
Chopin’s view, as recounted by the artist Eugène Delacroix.18 If Chopin
found in Bach’s music an encyclopaedia of the artisanal techniques of
counterpoint and fugue that he so valorized, Mozart’s music may have
represented these same ‘eternal principles’ transmuted into a more mod-
ern, fundamentally melodic-vocal style.
Yet just as Chopin managed to allude to Bach without overtly imitating
his style (as in his 24 Preludes, Op. 48), what he drew from Mozart was
likewise highly transformed. His most explicit homage to Mozart is surely
the variations on ‘Là ci darem la mano’, Op. 2, which Chopin composed at
the age of seventeen.19 More subtle is the influence on Chopin’s two
completed piano concerti (Opp. 11 and 21), which fuse the Mozartian
model with the ‘brilliant’ concerto style of Hummel, Field and Weber.20
As a piano teacher, Chopin had his piano students study Bach’s preludes
and fugues but (for whatever reason) he taught Mozart’s music rarely if
ever.21 Chopin himself performed a Mozart trio in his final public appear-
ance at the Salle Pleyel, which otherwise consisted mainly of his own
compositions,22 and he regarded opportunities to play Mozart piano
duets with Camille Pleyel as particularly revelatory experiences, perhaps
partly on account of Pleyel’s connection through his father to Haydn and
Mozart’s circle.23
Liszt’s Mozart-related works include the Fantasy on Themes from
Figaro and Don Giovanni, S. 697,24 Réminiscences de Don Juan, S. 656,
and various transcriptions such as the Confutatis and Lacrymosa from
Mozart’s Requiem, S. 550. His rival Sigismond Thalberg likewise

18
Hubert Wellington (ed.), The Journal of Eugène Delacroix, trans. Lucy Norton (London: Phaidon
Press, 1951), p. 195.
19
By the time Chopin composed the ‘Mozart’ Variations in 1827, he had already been compared to
Mozart for a full decade since his first published composition had appeared at the age of seven.
The ‘Mozart’ Variations elicited a famously effusive review by Schumann.
20
Kornel Michałowski and Jim Samson. ‘Chopin, Fryderyk Francieszek’ in Grove Music Online.
21
Among Chopin’s students, only Karol Mikuli claimed to have studied Mozart in his lessons. See
Jean-Jacques Eigeldinger, Chopin: Pianist and Teacher – as Seen by His Pupils, trans. Naomi Shohet
with Krysia Osostowicz and Roy Howat, ed. Howat (Cambridge: Cambridge University Press,
1986), p. 136 n. 142.
22
On this Salle Pleyel performance (16 February 1848), see Alfred Cortot, In Search of Chopin, trans.
Cyril and Rena Clarke (London and New York: Peter Nevill Ltd., 1951), p. 131.
23
Eigeldinger, Chopin: Pianist and Teacher, p. 136 n. 142.
24
S. 697 remained an unfinished manuscript at the time of Liszt’s death. An abridged version known
as the ‘Figaro’ Fantasy was published by Busoni in 1912.
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composed virtuoso music based on Mozart’s operas and Requiem, but
unique to Liszt was a profound, life-long self-identification with Mozart.25
Liszt was already well acquainted with Mozart’s keyboard music before he
came to Vienna in 1822. This fourteen-month period of tutelage under
Czerny and Salieri brought him in close contact with musicians connected
(to varying degrees) to Mozart’s milieu, and the ensuing world tour
organized by Liszt’s father all but retraced the Mozart family’s route
from sixty years earlier. Improvisations based on or transcriptions of
Mozart’s operas and Requiem figured prominently in Liszt’s performances
throughout the 1820s–1840s but actual Mozart solo-keyboard composi-
tions did not. This probably reflects Liszt’s view that such pieces were
suited only for private performance26 but also his penchant to engage with
and transform other composers’ works rather than execute them as written.
Mozart’s centennial year (1856) heightened Liszt’s apparent identifica-
tion with him. Liszt published an essay on the occasion that – in a perhaps
unwitting self-portrait – depicted Mozart as a visionary-but-suffering
genius whose life was foreshortened by a public that dismissed his innova-
tive music as unplayable or incomprehensible.27 Around the same time, he
sought to promote Mozart’s music by leading an initiative to publish
a complete edition; although Liszt was unsuccessful, Breitkopf & Härtel
undertook the same project two decades later.
The most pronounced instance of Liszt identifying as Mozart pertains to
his Evocation à la Chapelle Sixtine S. 461, which was conceived in relation to
a famous episode from Mozart’s life: the transcription from memory of
Allegri’s ‘Miserere’ after hearing it in the Sistine Chapel. In 1862, Liszt was
compelled to visit the Sistine Chapel, observing in a letter that ‘it seemed to
me . . . as if I saw [Mozart], and as if he looked back at me with gentle
encouragement.’28 From this inspiration, Liszt composed the Evocation,
which combines Allegri’s ‘Miserere’ with Mozart’s ‘Ave verum corpus’,
thus drawing Liszt into dialogue with his genius precursor.

Tchaikovsky’s Christlike Mozart

Liszt’s Evocation clearly had resonance, since Tchaikovsky drew on it for
the third movement (entitled ‘Preghiera’, meaning ‘prayer’) of his Suite

25
William Wright, ‘Liszt and the Mozart Connection’, Studia Musicologica, 48 (2007), pp. 299–318.
26
Charles Rosen, Piano Notes: The Hidden World of the Pianist (London: Penguin, 2002), p. 179.
27
Blätter für Musik, Theater und Kunst 7 (21 January 1856), p. 26. Cited in Wright, ‘Liszt and the
Mozart Connection’, pp. 316–17.
28
Wright, ‘Liszt and the Mozart Connection’, p. 318.
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Mozart’s Influence on Nineteenth-Century Composers 281

No. 4 (‘Mozartiana’), Op. 61. The suite – whose other three movements are
orchestrations based on Mozart piano pieces29 – was composed in 1887 to
mark the centenary of Don Giovanni. That anniversary held a personal
meaning for Tchaikovsky, since it was his revelatory first encounter with
Don Giovanni as a teenager that inspired him to pursue composition.
Moreover, like Rossini before him, Tchaikovsky also had a quasi-
religious experience while paying respects to the Don Giovanni autograph
at Viardot’s ‘shrine’ in 1886.30 A series of diary entries from that year
describe Mozart as the ‘musical Christ’, as divine musical beauty in
human form and inspiring love (as contrasted with Beethoven, who
inspired awe). ‘The more one learns Mozart’, wrote Tchaikovsky in the
margins of his copy of Jahn’s Mozart biography, ‘the more one loves him!
Ideal of Artist and Man!!!’31
Tchaikovsky’s most telling discussion of Mozart’s music comes from an
1878 letter to his patron Nadezhda von Meck, who was a Mozart sceptic:
I don’t just like Mozart – I idolise him! . . . Just as in his life he was to the
very end a carefree child, so his music lacks the deep personal sadness which
is felt so powerfully and mightily in Beethoven. Yet this did not prevent him
from creating an impersonally tragic character, the most powerful, the most
amazing human type ever portrayed in music . . . Donna Anna in Don
Giovanni.32
Tchaikovsky’s letter proceeded to praise Mozart’s chamber music for its
charm, textural purity and part-writing, singling out the Adagio of
Mozart’s Quintet in G Minor K. 516 for its beautiful expression of ‘the
feeling of resigned and hopeless grief’. He described Mozart’s jolly tem-
perament, pure soul and ease as a composer who (supposedly) never
required drafts: ‘The purity of his soul was untarnished . . . [and] all this
can be heard in his music, which is by its very nature conciliating,
enlightening, and tender’. He recommended that she read Jahn’s biogra-
phy, which was no doubt the source of Tchaikovsky’s own (mis)concep-
tions about Mozart as a person.33 These remarks articulate a number of

29
The sources of the four movements are as follows: (1) Little Gigue in G Major K. 574, (2) Minuet in
D Major K. 355, (3) Liszt’s Evocation (only the part based on Mozart’s ‘Ave verum corpus’), and (4)
Variations on ‘Unser dummer Pöbel meint’ K. 455.
30
Tchaikovsky described the manuscript with the Russian word ‘svyatïnya’, which denotes holy
objects and relics. Mark Everist, ‘Enshrining Mozart’, pp. 176–7.
31
Cited in Marina Ritzarev, Tchaikovsky’s Pathétique and Russian Culture (London and New York:
Routledge, 2014), pp. 19–20.
32
Letter to Nadezhda von Meck, 16 March 1878. Cited in David Schroeder, Experiencing Tchaikovsky:
A Listener’s Companion (London: Rowan & Littlefield, 2015), pp. 40–1.
33
Schroeder, Experiencing Tchaikovsky, pp. 40–1.
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qualities Tchaikovsky admired both in Mozart’s music and in his imagined
personal character. On the one hand, he highlights certain moments of
profound emotive expression, thus linking Mozart’s music to
Tchaikovsky’s own aesthetics, but he also points to a certain breeziness
and absence of suffering in Mozart’s life (and therefore his music) that
contrasted sharply with Tchaikovsky’s own personal experience.

Conclusion
It is notable that Don Giovanni and the Requiem are the two Mozart works
that most captured the imagination of his nineteenth-century successors.
The former was compelling for its expressive intensity, the latter for its
connection to Mozart’s ‘mysterious’ early death (as depicted dramatically
in Rimsky-Korsakov’s Mozart and Salieri, after Pushkin).34 These compo-
sers evidently constructed a Mozart to suit their particular aesthetic and
creative purposes.
To nineteenth-century composers who identified as romantic artists,
Mozart the ‘craftsman-composer’ may have represented a simpler time.
Brahms articulated this tension between these conceptions of composition
in a letter to his publisher:
[C]omposing cannot be turned out like spinning or sewing. Some respected
colleagues (Bach, Mozart, Schubert) have spoilt the world terribly. But if we
can’t imitate them in the beauty of their writing, we should certainly beware
of seeking to match the speed of their writing . . . Many factors combine to
make writing harder for us (my contemporaries), and especially for me.35
Perhaps it was this version of Mozart – for whom composing seemed to
remain easy even when life presented obstacles – to which the next gen-
erations of composers turned for inspiration.

34
Mozart’s Requiem was performed at the funerals of many composers, among them Beethoven,
Berlioz, Chopin, Dussek, Haydn, Paisiello, Rossini, and Weber. For more on nineteenth-century
reception of Mozart’s Requiem, see Simon P. Keefe, Mozart’s Requiem: Reception, Work, Completion
(Cambridge: Cambridge University Press, 2012), chapters 1–3.
35
Letter to Fritz Simrock, February 1870. Cited in Imogen Fellinger, ‘Brahms’s View of Mozart’, in
Robert Pascall (ed.), Brahms: Biographical, Documentary, and Analytical Studies (Cambridge:
Cambridge University Press, 1983), p. 56.