LEOPOLD MOZART AND HIS VIOLIN TREATISE
In this article, I would like to discuss one of the most important texts devoted to the interpretation and teaching of the violin, Versuch einer gründlichen Violinschule (1756). It literally means Search for a Complete Violin School, but is usually translated into English as Violin School by Leopold Mozart (1719-1787). I consider this a fundamental book for understanding the principles of violin technique that prevailed in the Baroque and Classical periods, as well as the aesthetic postulates that began to be imposed after the Baroque period.
The important role Leopold played in the life, both personal and professional, of his son Wolfgang Amadeus Mozart (1756-1791) is well known. Less well known, perhaps, is the importance of his father’s pedagogical work, recorded in this treatise, in his musical and aesthetic education, since this treatise was the most accessible source of information available to Wolfgang, especially in his early years.
The method for violin is a didactic work that covers all the most important aspects of violin technique at the end of the Baroque and the beginning of the Classical period. It had a great impact at the time, particularly because it combines features of both the German and Italian violin traditions, a rare feature in this type of text. In general, his reading is pleasant, and although he sometimes expresses himself in a critical and severe tone, his analyses and explanations are clear and precise; finally, the fine sense of humor with which he writes often stands out.
In terms of content, the author explains that this book was written to ‘open a path for young music lovers that will lead them to good taste in the art of sound’.
Basic concepts
Character
‘A beginner should always play firmly, with all his strength, energetically and sonorously, never weakly and timidly’.
One aspect of this treatise that I particularly appreciate is that Leopold talks not only about violin technique, but also about ‘character’, about the music itself, but above all about the performer. He insists on the obligation of the teacher to take into account the ‘natural character’ of the student, because, according to him, students will always tend to choose fast or slow pieces according to their own ‘spirit’. What he means is that if quiet students are offered only slow pieces, they will develop an ‘apathetic’ interpretive character, and if passionate students are allowed to choose only fast pieces, their habit of speeding up without expressing themselves correctly ‘will remain with them throughout his life’. In all cases, Leopold makes recommendations that have undoubtedly helped many violinists of the time to overcome these and other deficiencies.
Technique
The Sound
‘Only with time and patience will the harshness of the sound disappear and a clean sound be achieved, even if it is loud’.
Leopold Mozart insists on the obligation to achieve what he calls ‘unity of sound’. In my opinion, this idea introduces a new component into classical music, since Baroque technique advocated that the violinist should seek a greater richness of timbre in the use of open strings. What he suggests instead is ‘a more coherent and ‘singable’ execution,’ and this means, whenever possible, using the same string more often. That is, if the use of open strings was a constant in the Baroque period, in the Classical period the fourth finger begins to be used more often in order to reduce the movements involved in changing strings (especially in slurs and triplets). Leopold also suggests avoiding the use of open strings when playing trills.
Position changes and ligatures
According to Leopold Mozart, there are three reasons that can justify changing the position of the left hand when playing the violin: necessity, comfort and delicacy.
➤ When the violinist needs to reach high notes, it is obviously necessary to change the position of the left hand.
➤ Comfort requires a change of position in the left hand in passages where the notes are far apart.
➤ When we speak of delicacy, the change of position refers to when there are notes in the score that are close together and can be played on the same string. In this sense, I would like to add that although Leopold introduced such novel techniques as those mentioned in the previous point, he also remained faithful to many rules inherited from the Baroque world. For example, in the context of a slur, in his treatise, he makes it obligatory to attack the first note with more force than the others, as in the Baroque era. In this way, he explains, not only is the uniformity of sound, already mentioned in the previous section, achieved, but also a more coherent and cantabile performance.
Ornamentation
The trill
‘The trill should not be played too fast, otherwise it would be incomprehensible, shrill or, as it is often called, a goat trill.’
Another inherited technique advocated by Leopold Mozart concerns trills. As in the middle and late Baroque, the general rule for playing trills requires the performer to begin with the highest note on which the ornament is indicated. In fact, this tradition is maintained throughout the Classical period, with only one change: a final resolution can be added.
For Leopold, the trill is divided into four categories: slow, medium, fast and accelerated. The slow one, he explains, is used in sad and/or slow pieces. The fast trill, on the other hand, is more of a trill used in ‘lively pieces, full of spirit and movement’. Finally, he adds that the accelerated trill is used mainly in cadences to give them a decisive character. In the latter case, Leopold suggests embellishing the accelerated trill with piano and forte, ‘because that is the most beautiful way to interpret it’.
Fig. 1: Types of trill.
The Vibrato
‘The tremolo [vibrato] is a natural ornament that can be played not only by instrumentalists but also by ingenious singers on long notes.’
Another rule that Leopold Mozart upholds in his treatise concerns the use of vibrato. This rule, which was prevalent in both the Baroque and Classical periods, explicitly required that vibrato be used in a timely manner and with a clear expressive purpose, such as to create tension at certain musical moments. In fact, he speaks of slow, rising and fast vibrato: ‘Thus final notes or held notes may be embellished with vibrato’. In this way, Leopold upholds the Baroque rule of using vibrato as an ornament: ‘Since vibrato does not remain fixed on a note, but sounds undulating, it would be a mistake to play every note with vibrato.’ This, as we know, contradicts the current playing tradition, according to which the use of continuous vibrato is not only not a mistake, but aesthetically satisfying. I should add, however, that there were violinists in the Baroque and Classical periods who vibrated continuously, with the major difference that the practice was considered in bad taste: ‘There are some players who vibrate continuously on every note, as if they were suffering from chronic tremors.’
He also mentions the use of vibrato in the context of a cadenza. Specifically, he refers to the moment at the beginning of a cadenza, ‘the kind that is improvised in a personal way at the end of a solo’. In these cases, he warns that it is customary to hold a note, which can be the tonic or the dominant, and that an increasing vibrato should be applied to this held note. He adds that this note should be attacked softly and then increased to half its duration, ‘so that the major accent coincides with the beginning of the fastest vibrato’, and finally end softly.
The mordent
As Leopold explains, the mordent is an ornament that should be played ‘discreetly and quickly’ over the main note. In fact, he repeatedly insists on the importance of speed in a good interpretation of the mordent: ‘the faster the better.’ However, this speed should not be exaggerated to the point of incomprehensibility. Even in the fastest interpretation, the notes should be expressed clearly and carefully. On the other hand, he lists three types of mordent:
➤ From the main note (upper or lower).
➤ From the adjacent notes (upper and lower).
➤ That formed by three notes, when the main note is between the two adjacent ones.
Fig. 2: The three types of mordent.
The Tirata
An ornament that was very common in the Baroque, and even in Classicism, is the tirata. Of course, Leopold mentions and explains it in his treatise as follows: the tirata is ‘a succession of ascending or descending notes, moving by common degrees, used arbitrarily between two notes separated from each other. There can be slow and fast tiratas, depending on the tempo or the distance between these notes’.
Fig. 3: The Tirata.
Dotted notes
For Leopold, it was fundamental that the passages containing dotted notes be interpreted in a lively way, an idea that is part of his quest for interpretations with character. The way to achieve this, he explains, is to ‘attack and raise the bow‘. At the same time, he advises to lengthen the dot, rather than shorten it, in order to avoid an uncontrolled and undesirable acceleration. This kind of practice (i.e. the lengthening of the dotted note) was widespread in the Baroque period and was considered good taste, to the extent that it was not uncommon to find performers who played notes with dotted notes as double dots.
Frequently Asked Questions
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Leopold Mozart was a distinguished musician and composer, known as the father of Wolfgang Mozart. His violin treatise, titled Treatise on the Fundamental Principles of Violin Playing, was published in 1756 and is considered a major work. It contains much that is of considerable interest and value to musicians, including notes on performance, special rhythmic figures and aspects of violin technique.
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It was published at Augsburg in 1756.
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Leopold Mozart’s violin treatise is considered his greatest contribution to music. It was the major work of its time on the violin, discussing various aspects of violin technique, performance in general and offering illuminating biographical details of Leopold both as a man and as a musician.
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As an accomplished musician himself, Leopold knew the importance of good violinist skills and the development of musical talent. He taught young Wolfgang, who went on to become one of the world’s most famous composers, the fundamentals of music and violin playing, based on the knowledge gained from his own practice and experience.
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The treatise covers various aspects of violin playing, including notes on performance, special rhythmic figures and aspects of violin technique. It provides insights into the period on the violin and shares much that is of considerable interest and value to musicians, making it an essential read for those looking to understand the foundations of violin playing.
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Editha Knocker was a musicologist who helped to revive interest in Leopold Mozart’s violin treatise. She translated the treatise into English and provided a comprehensive introduction, allowing modern audiences to appreciate the valuable content and understand the important historical context of the work.
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The treatise has had a lasting impact on the understanding and development of violin playing, influencing countless musicians over the centuries. Its insights into performance, technique and musical development have contributed to shaping the world of violin playing and music education as we know it today.
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Yes, it is. It provides foundational knowledge of violin playing, exploring techniques, performance and the musical development of its time. Its insights can still be valuable in shaping the practice and understanding of modern violinists.
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The English translation of Leopold Mozart’s violin treatise by Editha Knocker can be found in various bookstores and online platforms. Numerous libraries and music institutions may also have the treatise in their collections, making it accessible for musicians and scholars alike.
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The treatise provided a comprehensive guide to violin playing, offering valuable insights into various aspects of violin technique and performance. It helped standardize teaching methods and gave teachers a solid foundation to work from, impacting the way violin was taught in the centuries following its publication.
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““To open to young music lovers a path that will lead them to good taste in the art of sound.””
