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 Beethoven. The unauthentic portions, supplied by Süssmayer, are so well designed that even their comparative slightness of material hardly militates against the suggestion that he may have had some inkling of Mozart’s intentions. In particular, the return of the first number at the words Lux aeterna, which enables Süssmayer to end with ten pages of authentic Mozart, is splendidly placed (though Mozart is reported to have contemplated an independent final number); while the latter part of the Lacrimosa, though not in Mozart’s handwriting, must surely have been dictated by him. The instrumentation of the incomplete numbers is based for the most part on highly authentic evidence, though there are doubtful points; but that of the supplied numbers, especially the Benedictus, is far below the intellectual level of their design. In this, his last work, as in many wonderful polyphonic experiments immediately before it, Mozart showed unmistakable signs of the growth of a new style, which would undoubtedly have had an influence even more powerful on the history of music as being embodied in works surpassing his ripest known achievements as these surpass the marvellous productions of his childhood. Nevertheless, what he has given us is unique, and the intelligent love of Mozart’s work is a liberal education in the meaning of art.

Mozart’s extant works (as catalogued by Köchel in 626 items, beginning with minuets written at the age of four and ending with the Requiem) comprise 20 masses (including the Requiem and the great unfinished Mass in C minor); 8 sets of vesperae and litanies; 40 smaller Latin pieces of church music; 6 cantatas and oratorio works, of which the greatest, Davidde penitente, is adapted from the C minor Mass; 17 “organ sonatas” (i.e. little movements for organ and an organ-loft band, for use in church); 23 operas (including fragments and operettas); 66 arias and other pieces for insertion into operas or for concert use; 41 songs with pianoforte accompaniment; 23 canons (mostly rounds); 17 pianoforte sonatas; 5 fantasias and a Handelian suite (unfinished); 22 smaller pianoforte pieces; 36 cadenzas to his own pianoforte concertos; 11 works for pianoforte à quatre mains; 45 sonatas, including fragments and variations, for pianoforte and violin; 8 pianoforte trios; 2 pianoforte quartets and 1 quintet for pianoforte and wind; 2 duets for violin and viola; 2 string trios; 29 string quartets; 2 quartets for flute and strings; 1 quartet for oboe and strings; 9 string quintets, of which 1 is for the singular combination of 1 violin, 2 violas, violoncello and horn, and another is the famous clarinet quintet; 49 symphonies; 33 cassations, serenades and divertimenti, many for the oddest orchestral or solo combinations; 27 smaller orchestral and other pieces, also often for strange combinations of surprising beauty; 29 sets of orchestral dances; 6 violin concertos (the 6th is either quite spurious or extremely corrupt) and 4 single violin movements; 2 double concertos (one for 2 violins, the other for violin and viola); 10 concertos and concert pieces for various wind instruments (flute, horn, bassoon, clarinet, flute and harp); 27 pianoforte concertos (including one for 2 and one for 3 pianofortes) and a concert rondo. Then there is an enormous number of fragments, many of them peculiarly promising, as if Mozart was full of ideas that were in advance of even his mastery of form; there is, for example, a magnificent and comparatively early opening tutti for a double concerto for pianoforte and violin, and a very large string quartet movement in A (probably a finale), which breaks off at an exciting moment at the beginning of its development.

No composer’s reputation has suffered more from forgeries and false attributions than Mozart’s and the tale begun during the lifetime of his widow is not yet ended at the present day. The concertante for 4 wind instruments which recently went triumphantly round the orchestral societies of Europe as a long-lost work written during Mozart’s visit to Paris (though it is not for the same instruments) is not so bad as the notorious forged masses, but it is, to any one acquainted with Mozart’s style at any period of his career, almost as obviously spurious. Mozart often wrote without thought, but never, even when he was six years old, without mastery; and there is much genuine work that is as dull as this concertante, but none that is obviously constructed by a fool. A panegyric of the concertante has been inserted in the latest (posthumous) editions of Jahn’s biography, which it is very difficult to believe would have met with that great scholar’s approval.

On the other hand, twelve recently discovered divertimenti for 2 clarinets and bassoon are delightful little works which, with all their slightness, only Mozart, and Mozart in full maturity, could have written. A seventh violin concerto appeared in November 1907, and, though inferior to the earlier ones, is undoubtedly genuine, every detail and quality of its organization being exactly in keeping with Mozart’s progress in 1777, its alleged date.

Many genuine works are known in spurious forms; thus the motet Splendente te Deus is an unauthorized arrangement of a chorus from König Thamos, and most of the flute-music mentioned in the

article Flute in Grove’s Dictionary (new ed.) consists of spurious arrangements, while several important genuine works are ignored.

MOZDOK, a town of Russia, in Caucasia, and in the province of Terek, on the left bank of the river Terek, 605 ft. above sea-level, in 43° 41′ N. and 44° 39′ E., 50 m. N. of Vladikavkaz. The population, 8760 in 1863, numbered 14,583 in 1897, and consisted of Kabardians, Chechens, Ossetes, Georgians and Armenians. Built in 1763 by the prince of Kabardia, Mozdok soon became an important point in the Russian advance towards the Caucasus, and was fortified. In 1840 it was attacked by the Circassian patriot Shamyl and 5000 mountaineers. The melons and water-melons of Mozdok are widely famed; and vine-growing and silkworm breeding prosper. MOZLEY, JAMES BOWLING (1813–1878), English theologian, was born at Gainsborough, Lincolnshire, on the 15th of September 1813, and was educated at Oriel College, Oxford. He was elected to a fellowship at Magdalen in 1840. He took an active part in the Oxford movement, but could no more follow Newman into the Roman communion “than fly.” He was joint editor of the Christian Remembrancer, but withdrew from the position because of his substantial agreement with the famous Gorham decision. He was one of the earliest supporters of the Guardian. In 1856 he became vicar of Shoreham, in 1869 canon of Worcester, and in 1871 regius professor of divinity at Oxford. He died at Shoreham on the 4th of January 1878.

MOZLEY, THOMAS (1806–1893), English divine and writer, was born at Gainsborough in 1806, the son of a bookseller and publisher in that town. From Charterhouse school he proceeded to Oriel College, Oxford, where he became the pupil, and subsequently the intimate friend, of John Henry Newman. In 1831 he was ordained, and became, in 1836, rector of Cholderton, Wiltshire. He was, from its beginning, a strong supporter of the Tractarian movement, and after contributing for some time to the British Critic, the chief organ of the movement, succeeded Newman as editor in 1841. In 1843 he was on the point of joining the Roman Catholic Church. Newman, however, strongly advised him to take two years to reflect, and long before that period had elapsed Mozley had determined to remain an Anglican. In 1844 he began to write leading articles for The Times, and continued to do so regularly for many years. In 1847 he resigned his country living and settled in London, but in 1868 accepted the living of Plymtree, Devonshire. From 1876–1880 he was rural dean of Ottery St Mary’s, Devon. He resigned his living in 1880, and removed to Cheltenham, where he died on the 17th of June 1893.

MPONGWE, a settled Bantu people of the Gabun, West Africa, constantly confused with the Mpangwe or (q.v.). The Mpongwe, who call themselves Ayogo or “the Wise,” have a rich collection of national songs, myths and traditions, and the tribal elders know the “Hidden Words,” a kind of secret language of unknown origin. Their language, a Bantu dialect, has been the means of communication between the tribes of the interior and the Europeans. The family organization is intricate and very similar to the Roman patria potestas; wives, children and slaves being all subservient to the father, who alone is really free. They practise the poison ordeal, and reverence vague and malignant spirits who require propitiation by offerings and ceremonies. The ghosts of the dead are especially feared. MTSENSK (popularly Amchensk), a town of Russia, in the government of Orel, on the navigable Zusha River, 17 m. from its confluence with the Oka, and on the Moscow & Kursk railway, 32 m. N.E. of the city of Orel. Pop. (1900), 9390. It is