y; not of the strongest intellectual power,
judged by modern standards, but, as shown by his marvellous dramatic
insight, by no means the debonair light-weight he is often
represented. Yet whenever music was under consideration he was a
changed being; he became instantly serious, and would suffer no
disrespect to himself or to his art. During the last sad years of his
career in Vienna, when he was in actual want for the bare necessities
of life, a publisher once said to him, "Write in a more popular style,
or I will not print a note of your music or give you a kreutzer."
"Then, my good sir," replied Mozart, "I have only to resign myself and
die of hunger."

[Footnote 120: Amadeus (the beloved of God).]

[Footnote 121: We may appropriately state that in regard to ancestry
and environment all four of the so-called Viennese masters, Haydn,
Mozart, Beethoven and Schubert are distinct refutations of the claims
so persistently made by German scholars that everything good in music
we owe to the Teutons. Haydn was largely Croatian; Mozart was strongly
influenced by non-Teutonic folk-music (Tyrolese melodies frequently
peep out in his works); Schubert's forebears came from Moravia and
Silesia; and Beethoven was partly Dutch. If there be any _single_ race
to which the world owes the art of music it is the Italians, for they
invented most of the instruments and hinted at all the vocal and
instrumental forms. We may be grateful to the Germans for their
persevering appropriation of what others had begun; only let them not
claim _all_ the credit.]

In Mozart's works, in distinction from the unconscious, naive
folk-song type of Haydn, we find highly wrought instrumental melodies;
although such was his inborn spontaneity of expression that we are
never aware of the labor expended. His works are quite as clear as
those of Haydn, but they show a more conscious individuality of style.
They are not so artless, and the phraseology is more elastic--less cut
and dried. There is a higher imaginative vitality; trite, mechanical
repetitions are in general avoided, climaxes are led up to in a more
subtle manner, and a great gain is made in real organic development.
For Mozart, as a master of polyphonic treatment, is second only to
Bach. The most striking single feature in his work is the ceaseless
flow of expressive melody, notably those wondrous tunes found in his
operas, such as "Voi che sapete," "Batti, batti" and numerous others.
He had t