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diff --git a/43413-8.txt b/43413-8.txt deleted file mode 100644 index acd5bc9..0000000 --- a/43413-8.txt +++ /dev/null @@ -1,18930 +0,0 @@ -The Project Gutenberg EBook of Life Of Mozart, Vol. 3 (of 3), by Otto Jahn - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Life Of Mozart, Vol. 3 (of 3) - -Author: Otto Jahn - -Commentator: George Grove - -Translator: Pauline D. Townsend - -Release Date: August 7, 2013 [EBook #43413] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK LIFE OF MOZART, VOL. 3 (OF 3) *** - - - - -Produced by David Widger - - - - - - - -LIFE OF MOZART - -By Otto Jahn - -Translated From the German by Pauline D. Townsend. - -With A Preface By - -George Grove, Esq., D.C.L. - -In Three Volumes Vol. III. - -London Novello, Ewer & Co. - -FAC-SIMILES - -Fac-similé No. 1 is of Mozart's letter to Bullinger from Paris, after -the death of his mother (see Vol. II., p. 53). - -Fac-simile No. 2 is of the original MS. of "Das Veil-chen," now in the -possession of Mr. Speyer, of Herne Hill (see Vol. II., p. 373). - -Fac-similes Nos. 3 and 4 are sketches illustrative of Mozart's method of -composing. Sketch I. is described in Vol. II., p. 425. Sketch II. is of -part of Denis's Ode, the words of which are given below; it is noticed -in Vol. II., pp. 370, 424: - - O Calpe! dir donnerts am Fusse, - Doch blickt dein tausendjähriger - Gipfel Ruhig auf Welten umher. - Siehe dort wölkt es sich auf - Ueber die westlichen Wogen her, - Wölket sich breiter und ahnender auf,-- - Es flattert, O Calpe! Segelgewolk! - Flügel der Hülfe! Wie prachtig - Wallet die Fahne Brittaniens - Deiner getreuen Verheisserin! - Calpe! Sie walltl Aber die Nacht sinkt, - Sie deckt mit ihren schwàrzesten, - Unholdesten Rabenfittigen Gebirge, - Flàchen, Meer und Bucht Und Klippen, wo der bleiche - Tod Des Schiffers, Kiele spaltend, sitzt. - Hinan! - - - - -CHAPTER XXXIV. MOZART'S INSTRUMENTAL MUSIC. - -NEXT to pianoforte music for amateur musical entertainments, the quartet -for stringed instruments was the favourite form of chamber music. The -performers were occasionally highly cultivated amateurs, but more -often professional musicians, thus giving scope for more pretentious -compositions. The comparatively small expense involved enabled others -besides noblemen, even those of the citizen class who were so inclined, -to include quartet-playing among their regular entertainments.[1] Jos. -Haydn was, as is well known, the musician who gave to the quartet its -characteristic form and development.[2] Other composers had written -works for four stringed instruments, but the string quartet in its -well-defined and henceforth stationary constitution was his creation, -the result of his life-work. It is seldom that an artist has been -so successful in discovering the fittest outcome for his individual -productiveness; the quartet was Haydn's natural expression of his -musical nature. The freshness and life, the cheerful joviality, which -are the main characteristics of his compositions, gained ready and -universal acceptance for them. Connoisseurs and critics, it is true, -were at first suspicious, and even contemptuous, of this new kind of -music; and it was only gradually that they became aware that depth and -earnestness of feeling, as well as knowledge and skill, existed together -with humour in Haydn's quartets. He went on his way, however, untroubled - -{MOZART'S INSTRUMENTAL MUSIC.} - -(2) - -by the critics, and secured the favour and adherence of the public by an -unbroken series of works: whoever ventured on the same field was obliged -to serve under his banner. - -The widespread popularity of quartet music in Vienna could not fail to -impel Mozart to try his forces in this direction. His master was -also his attached friend and fellow-artist, with whom he stood in -the position, not of a scholar, but of an independent artist in noble -emulation. The first six quartets belong to the comparatively less -numerous works which Mozart wrote for his own pleasure, without any -special external impulse. They are, as he says in the dedication to -Haydn, the fruit of long and earnest application, and extended over a -space of several years. The first, in G major (387 K.), was, according -to a note on the autograph manuscript, written on December 31, 1782; -the second, in D minor (421 K.), in June, 1783, during Constanze's -confinement (Vol. II., p. 423); and the third, in E flat major (428 K.), -belongs to the same year. After a somewhat lengthy pause he returned -with new zeal to the composition of the quartets; the fourth, in B flat -major (458 K.), was written November 9, 1784; the fifth, in A major (464 -K.), on January 10; and the last, in C major (465 K.), on January 14, -1785. It was in February of this year that Leopold Mozart paid his visit -to Vienna. He knew the first three quartets, Wolfgang having sent them -to him according to custom; and he heard the others at a musical party -where Haydn was also present; the warmly expressed approbation of -the latter may have been the immediate cause of Mozart's graceful -dedication, when he published the quartets during the autumn of 1785 -(Op. ü).[3] - -The popular judgment is usually founded on comparison, and a comparison -with Haydn's quartets was even more obvious than usual on this occasion. -The Emperor Joseph, who objected to Haydn's "tricks and nonsense" (Vol. -II., - -{MOZART AND KLOPSTOCK.} - -(3) - -p. 204), requested Dittersdorf in 1786 to draw a parallel between -Haydn's and Mozart's chamber music. Dittersdorf answered by requesting -the Emperor in his turn to draw a parallel between Klopstock and -Gellert; whereupon Joseph replied that both were great poets, but that -Klopstock must be read repeatedly in order to understand his beauties, -whereas Gellert's beauties lay plainly exposed to the first glance. -Dittersdorf's analogy of Mozart with Klopstock, Haydn with Gellert -(!), was readily accepted by the Emperor, who further compared Mozart's -compositions to a snuffbox of Parisian manufacture, Haydn's to one -manufactured in London.[4] The Emperor looked at nothing deeper than the -respective degrees of taste displayed by the two musicians, and could -find no better comparison for works of art than articles of passing -fancy; whereas the composer had regard to the inner essence of the -works, and placed them on the same footing as those of the (in -his opinion) greatest poets of Germany. However odd may appear to -us--admiring as we do, above all things in Mozart, his clearness and -purity of form--Dittersdorf s comparison of him with Klopstock, it is -nevertheless instructive, as showing that his contemporaries prized his -grandeur and dignity, and the force and boldness of his expression, as -his highest and most distinguishing qualities. L. Mozart used also to -say, that his son was in music what Klopstock was in poetry;[5] no doubt -because Klopstock was to him the type of all that was deep and grand. -But the public did not regard the new phenomenon in the same light; the -quality they esteemed most highly in Haydn's quartets was their animated -cheerfulness; and his successors, Dittersdorf, Pichl, Pleyel, had -accustomed them even to lighter enjoyments. "It is a pity," says a -favourable critic, in a letter from Vienna (January, 1787), "that in his -truly artistic and beautiful compositions Mozart should carry his effort -after originality too far, to the detriment of the sentiment and heart -of his works. His new quartets, dedicated to Haydn, are much too highly -spiced to be palatable for any length - -{MOZART'S instrumental music.} - -(4) - -of time."[6] Prince Grassalcovicz, a musical connoisseur of rank in -Vienna,[7] had the quartets performed, as Mozart's widow relates,[8] and -was so enraged at finding that the discords played by the musicians were -really in the parts, that he tore them all to pieces--but Gyrowetz's -symphonies pleased him very much. From Italy also the parts were sent -back to the publisher, as being full of printer's errors, and even Sarti -undertook to prove, in a violent criticism, that some of the music in -these quartets was insupportable from its wilful offences against rule -and euphony. The chief stumbling-block is the well-known introduction of -the C major quartet--[See Page Image] - -the harshness of which irritates the expectant ear. Its grammatical -justification has been repeatedly given in learned analyses.[9] Haydn -is said to have declared, during a dispute over this passage, that if -Mozart wrote it so, he must have had his reasons for doing it[10]--a -somewhat - -{QUARTETS, 1785.} - -(5) - -ambiguous remark. Ulibicheff[11] undertook to correct the passage with -the aid of Fétis,[12] and then considered it both fine and pleasing; -and Lenz[13] declared that Mozart in "this delightful expression of the -doctrine of necessary evil, founded on the insufficiency of all finite -things" had produced a piquant, but not an incorrect passage. It is -certain, at least, that Mozart intended to write the passage as it -stands, and his meaning in so doing, let the grammatical construction -be what it will, will not be obscure to sympathetic hearers. The C -major quartet, the last of this first set, is the only one with an -introduction. The frame of mind expressed in it is a noble, manly -cheerfulness, rising in the andante to an almost supernatural -serenity--the kind of cheerfulness which, in life or in art, appears -only as the result of previous pain and strife. The sharp accents of -the first and second movements, the struggling agony of the trio to -the minuet, the wonderful depth of beauty in the subject of the finale, -startling us by its entry, first in E flat and then in A flat major, are -perhaps the most striking illustrations of this, but the introduction -stands forth as the element which gives birth to all the happy serenity -of the work. The contrast between the troubled, depressed phrase--[See -Page Images] - -has a direct effect upon the hearer; both phrases have one solution:-- - -and the shrill agitated one--[See Page Images] - -{MOZART'S INSTRUMENTAL MUSIC.} - -(6) - -The manner in which they are opposed to each other, and the devices by -which their opposition is thrown into strong relief, are of unusual, but -by no means unjustifiable, harshness. But the goal is not reached by one -bound; no sooner does serenity seem to be attained than the recurrence -of the _b_ draws the clouds together again, and peace and the power -of breathing and moving freely are only won by slow and painful -degrees.[14] - -Any difference of opinion as to this work at the present day can only -exist with regard to minor details, and it will scarcely now be asserted -by any one that "a piece may be recognised as Mozart's by its rapid -succession of daring transitions."[15] We are accustomed to take our -standard from Beethoven, and it seems to us almost incredible that -a contemporary of Mozart's, the Stuttgart Hofmusicus, Schaul (who -acknowledged, it is true, that he belonged to a time when nothing was -heard but Italian operas and musicians), should exclaim:[16]-- - -What a gulf between a Mozart and a Boccherini! The former leads us over -rugged rocks on to a waste, sparsely strewn with flowers; the latter -through smiling country, flowery meadows, and by the side of rippling -streams. - -Apart from all differences of opinion or analogies with other works, -it may safely be asserted that these quartets are the clear and perfect -expression of Mozart's nature; nothing less is to be expected from -a work upon which he put forth all his powers in order to accomplish -something that would redound to his master Haydn's honour as well as his -own. The form had already, in all its essential points, been determined -by Haydn; it is the sonata form, already described, with the addition -of the minuet--in this application a creation of Haydn's. Mozart -appropriated these main - -{MOZART'S AND HAYDN'S QUARTETS.} - -(7) - -features, without feeling it incumbent on him even to alter them. -Following a deeply rooted impulse of his nature, he renounced the light -and fanciful style in which Haydn had treated them, seized upon their -legitimate points, and gave a firmer and more delicate construction to -the whole fabric. To say of Mozart's quartets in their general features -that, in comparison with Haydn's, they are of deeper and fuller -expression, more refined beauty, and broader conception of form,[17] is -only to distinguish these as Mozart's individual characteristics, -in contrast with Haydn's inexhaustible fund of original and humorous -productive power. Any summary comparison of the two masters must result -in undue depreciation of one or the other, for nothing but a detailed -examination would do full justice to them both and explain their -admiration of each other. Two circumstances must not be left out of -account. Mozart's quartets are few in number compared with the long list -of Haydn's. Every point that is of interest in Mozart may be paralleled -in Haydn; hence it follows that certain peculiarities found in Haydn's -music are predominating elements in Mozart's. Again, Haydn was a much -older man, and is therefore usually regarded as Mozart's predecessor; -but the compositions on which his fame chiefly rests belong for the most -part to the period of Mozart's activity in Vienna, and were not without -important influence on the latter. This mutual reaction, so generously -acknowledged by both musicians, must be taken into account in forming a -judgment upon them. - -The string quartet offers the most favourable conditions for the -development of instrumental music, both as to expression and technical -construction, giving free play to the composer in every direction, -provided only that he keep within the limits imposed by the nature -of his art. Each of the four combined instruments is capable of the -greatest variety of melodic construction; they have the advantage over -the piano in their power of sustaining the vibrations of the notes, so -as to produce song-like effects; nor are they inferior - -{MOZART'S INSTRUMENTAL MUSIC.} - -(8) - -in their power of rapid movement. Their union enables them to fulfil the -demands of complete harmonies, and to compensate by increase of freedom -and fulness for the advantages which the pianoforte possesses as a solo -instrument. The quartet is therefore particularly well adapted both for -the polyphonic and the homophonie style of composition. The varieties of -tone of the instruments among each other, and of each in different -keys, further increases their capacity for expression, the nuances -of tone-colouring appearing to belong to the nature of stringed -instruments. Thus the material sound elements of the string quartet are -singularly uniform, at the same time that they allow free scope to the -individual movement of the component parts. The beginning of the andante -of the E flat major quartet (428 K.) will suffice to show how entirely -different an effect is given by a mere difference in the position of the -parts. The value which Mozart set upon the uniformity of the naturally -beautiful sound effects of stringed instruments may be inferred from -the fact that he seldom attempted interference with it as a device for -pleasing the ear. Pizzicato passages occur only three times--in the trio -of the D minor quartet (421 K.), of the C major quintet (515 K.), and -of the clarinet quintet (581 K.)--and each time as the gentlest form of -accompaniment to a tender melody. He was not prone either to emphasise -bass passages by pizzicato, and has done so only in the second adagio -of the G minor quintet (516 K.) and in the first movement of the horn -quintet (407 K.). Nor is the muting, formerly so frequent, made use of -except in the first adagio of the G minor quartet and in the larghetto -of the clarinet quintet. It need scarcely be said that an equal amount -of technical execution and musical proficiency was presupposed in each -of the performers. This is especially noticeable in the treatment of the -violoncello. It is not only put on a level with the other instruments as -to execution, but its many-sided character receives due recognition, and -it is raised from the limited sphere of a bass part into one of complete -independence. - -The favourite comparison of the quartet with a conversation between four -intellectual persons holds good in some - -{MOZART'S STRING QUARTETS.} - -(9) - -degree, if it is kept in mind that the intellectual participation and -sympathy of the interlocutors, although not necessarily languishing in -conversation, are only audibly expressed by turns, whereas the musical -embodiment of ideas must be continuous and simultaneous. The comparison -is intended to illustrate the essential point that every component part -of the quartet stands out independently, according to its character, but -so diffidently that all co-operate to produce a whole which is never at -any moment out of view; an effect so massive as to absorb altogether the -individual parts would be as much out of place as the undue emphasising -of any one part and the subordination of the others to it. The object -to be kept continually in view is the blending of the homophonie or -melodious, and the polyphonic or formal elements of composition to form -a new and living creation. Neither is neglected; but neither is allowed -to assert itself too prominently. Even when a melody is delivered by -one instrument alone, the others do not readily confine themselves to -a merely harmonic accompaniment, but preserve their independence of -movement. Infallible signs of a master-hand are visible in the free and -ingenious adaptation of the bass and the middle parts to the melodies; -and, as a rule, the characteristic disposition of the parts gives -occasion for a host of interesting harmonic details. The severer forms -of counterpoint only appear in exceptional cases, such as the last -movement of the first quartet, in G major (387 K.). The intention is -not to work out a subject in a given form, but to play freely with -it, presenting it from various interesting points of view by means -of combinations, analysis, construction, and connection with fresh -contrasting elements. But since this free play can only be accepted as -artistic by virtue of the internal coherency of its component parts, -it follows that the same laws which govern strict forms must lie at the -root of the freer construction. In the same way a conversation--even -though severe logical disputation may be studiously avoided--adheres to -the laws of logic while letting fall here a main proposition, there -a subordinate idea, and connecting apparent incongruities by means of -association of ideas. A similar freedom in the grouping and - -{MOZART'S INSTRUMENTAL MUSIC.} - -(10) - -development of the different subjects exists in the quartet, limited -only by the unity of artistic conception, and by the main principles of -rhythmic and harmonic structure, and of the forms of counterpoint. This -is most observable when an apparently unimportant phrase is taken up, -and by its interesting development formed into an essential element -of the whole, as in the first movement of the third quartet, in B flat -major (458 K.), where a figure--[See Page Image] - -at the close of a lengthy subject is first repeated by the instruments -separately, with a mocking sort of air, and afterwards retained and -treated as the germ of numerous freely developed images. - -In publishing these six quartets together Mozart certainly did not -intend them to be regarded in all their parts as one whole; his object -was to bring to view the many-sidedness of expression and technical -treatment of which this species of music was capable. The first quartet, -in G major (387 K.), and the fourth, in E flat major (428 K.), have -a certain relationship in their earnest and sustained tone; but how -different is the expression of energetic decision in the first from that -of contemplative reserve in the fourth; a difference most noticeable -in the andantes of the two quartets. Again, in the third and fifth -quartets, in B flat (458 K.) and A major (464 K.), the likeness in -their general character is individualised by the difference in treatment -throughout. The second quartet, in D minor (421 K.), and the sixth, in -C major (465 K.), stand alone; the former by its affecting expression of -melancholy, the latter by its revelation of that higher peace to which a -noble mind attains through strife and suffering. - -An equal wealth of characterisation and technical elaboration meets us -in a comparison of the separate movements. The ground-plan of the first -movement is the usual one, and the centre of gravity is always the -working-out at the beginning of the second part, which is therefore -distinguished by its length as a principal portion of the movement. The -working-out of each quartet is peculiar to itself. In the two - -{SIX QUARTETS, 1785.} - -(11) - -first the principal subject is made the groundwork, and combined with -the subordinate subject closing the first part, but quite differently -worked-out. In the G major quartet the first subject is spun out into -a florid figure, which is turned hither and thither, broken off by the -entry of the second subject, again resumed, only to be again broken off -in order, by an easy play on the closing bar--[See Page Images] - -to lead back again to the theme. In the D minor quartet, on the other -hand, only the first characteristic division--[See Page Images] - -of the broad theme is worked out as a motif; the next division somewhat -modified--[See Page Images] - -is imitated and adorned by the final figure:--[See Page Images] - -The first part of the third quartet, in B flat major, has not the usual -sharply accented second subject; the second part makes up for this in -a measure by at once introducing a new and perfectly formed melody, -followed by an easy play with a connecting passage-- - -this is invaded by the analogous motif of the first part--[See Page -Images] - -which brings about the return to the first part. The peculiar structure -of the movement occasions the repetition of the second part, whereupon -a third part introduces the chief subject anew, and leads to the -conclusion in an independent - -{MOZART'S INSTRUMENTAL MUSIC.} - -(12) - -way. In the E flat major quartet the interest depends upon the harmonic -treatment of an expressive triplet passage connected with the principal -subject. The first subject of the fifth quartet, in A major, is -indicated from the very beginning as a suitable one for imitative -treatment, and very freely developed in the working-out section. In the -last quartet in C major also, the treatment of the principal subject is -indicated at once, but the importance of the modest theme is only -made apparent by the harmonic and contrapuntal art of its working-out, -leading to the expressive climax of the coda and the conclusion. - -The slow movements of the quartets are the mature fruit of deep feeling -and masterly skill. With fine discrimination the consolatory andante -of the melancholy D minor quartet is made easy, but so managed as -to express the character of ardent longing, both in the ascending -passage--[See Page Image] - -and in the tendency to fall into the minor key. The andante of the -fourth quartet, in E flat major, forms a complete contrast to this. -Its incessant harmonic movement only allows of pregnant suggestions of -melodies, and is expressive of a self-concentrated mood, rousing itself -with difficulty from mental abstraction. But the crown of them all in -delicacy of form and depth of expression is the andante of the last -quartet, in C major; it belongs to those wonderful manifestations of -genius which are only of the earth in so far as they take effect -upon human minds; which soar aloft into a region of blessedness where -suffering and passion are transfigured. - -The minuets are characteristic of Mozart's tendencies as opposed -to Haydn's. The inexhaustible humour, the delight in startling and -whimsical fancy, which form the essence of Haydn's minuets, occur only -here and there in Mozart's. - -{SIX QUARTETS, 1785.} - -(13) - -They are cast in a nobler mould, their distinguishing characteristics -being grace and delicacy, and they are equally capable of expressing -merry drollery and strong, even painful, emotion. Haydn's minuets are -the product of a laughter-loving national life, Mozart's give the tone -of good society. Especially well-defined in character are the minuets -of the D minor and C major quartets--the former bold and defiant, the -latter fresh and vigorous. Delicate detail in the disposition of the -parts is common to almost all of them, keeping the interest tense -and high, and there are some striking peculiarities of rhythmical -construction. Among such we may notice the juxtaposition of groups of -eight and ten bars, so that two bars are either played prematurely, as -in the minuet of the first quartet, or inserted, as in the trio of the -B flat major quartet.[18] The ten-bar group in the minuet of the D minor -quartet is more complicated, because more intimately blended, and still -more so is the rhythm of the minuet in the fourth quartet, where -the detached unequal groups are curiously interlaced.[19] Very -characteristic is also the sharp contrast between minuet and trio--as, -for instance, the almost harshly passionate minor trios of the first -and last quartets, and the still more striking major trio of the D minor -quartet, light and glittering, like a smile in the midst of tears. - -The finales have more meaning and emphasis than has hitherto been the -case in Mozart's instrumental compositions. Three of them are in -rondo form (those of the B flat, E flat, and C major quartet), quick, -easy-flowing movements, rich in graceful motifs and interesting features -in the working-out. The merriment in them is tempered by 1 a deeper vein -of humour, and we are sometimes startled by a display of pathos, as -in the finale of the C major quartet. The more cheerful passages are -distinctly German in tone; and echoes of the "Zauberflote" may be heard -in many of the melodies and turns of expression. - -{MOZART'S INSTRUMENTAL MUSIC.} - -(14) - -The last movement of the G major quartet is written in strict form, and -highly interesting by reason of the elegance of its counterpoint; the -finale of the A major quartet is freer and easier, but nevertheless -polyphonic in treatment.[20] The D minor quartet concludes with -variations, the original and long-drawn theme having the rhythmical and -sharply accented harmonic form of the siciliana. It is in imitation of -a national song, and is sometimes like a slow gigue, sometimes like a -pastorale. The rhythm of the 6-8 time is somewhat peculiar, in that -the first of three quavers is dotted throughout; the tone is soft and -tender. There is a very similar siciliana in Gluck's ballet "Don -Juan" (No. 2), showing how marked the typical character is.[21] The -variations, which are as charming from their grace and delicacy of -form as from their singular mixture of melancholy and mirth, bring this -wonderful quartet to a close in a very original manner. - -The middle movement of the A major quartet is also in variations--more -earnest and careful on the whole--the precursor of the variations -in Haydn's "Kaiser" and Beethoven's A major quartets. These quartet -variations far surpass the pianoforte variations in character and -workmanship; they consist not merely of a graceful play of passages, but -of a characteristic development of new motifs springing from the theme. - -The success of the quartets, on which Mozart put forth all his best -powers, was scarcely sufficient to encourage him to make further -attempts in the same direction; not until August, 1786, do we find him -again occupied with a quartet (D major, 499 K.), in which may be traced -an attempt to - -{LATER QUARTETS, 1786-1790.} - -(15) - -meet the taste of the public without sacrificing the dignity of the -quartet style. It is not inferior to the others in any essential point. -The technical work is careful and interesting, the design broad--in many -respects freer than formerly--the tone cheerful and forcible throughout, -with the sentimental element in the background, as compared with the -first quartets. The last movement approaches nearest to Haydn's -humorous turn of thought, following his manner also in the contrapuntal -elaboration of a lightly suggested motif into a running stream of -merry humour. Nevertheless, this quartet remained without any immediate -successor; it would appear that it met with no very general approval -on its first appearance. "A short serenade, consisting of an allegro, -romance, minuet and trio, and finale" in G major, composed August 10, -1787 (525 K.), does not belong to quartet music proper. The direction -for violoncello, contrabasso, points to a fuller setting, which is -confirmed by the whole arrangement, especially in the treatment of the -middle parts. It is an easy, precisely worked-out occasional piece. - -During his stay in Berlin and Potsdam in the spring of 1789 Mozart was -repeatedly summoned to the private concerts of Frederick William II. of -Prussia, in which the monarch himself took part as a violoncellist. -He was a clever and enthusiastic pupil of Graziani and Duport, and he -commissioned Mozart to write quartets for him, as he had previously -commissioned Haydn[22] and Boccherini,[23] rewarding them with princely -liberality. In June of this year Mozart completed the first of three -quartets, composed for and dedicated to the King of Prussia, in D major -(575 K.); the second, in B flat major (589 K.), and the third, in F -major (590 K.), were composed in May and June, 1790. From letters to -Puchberg, we know - -{MOZART'S INSTRUMENTAL MUSIC.} - -(16) - -that this was a time of bitter care and poverty, which made it a painful -effort to work at the quartets, but there is even less trace of effort -in them than in the earlier ones. The instrument appropriated to his -royal patron is brought to the front, and made into a solo instrument, -giving out the melodies in its higher notes. This obliges the viola -frequently to take the bass part, altering the whole tone-colouring of -the piece, and the instruments are altogether set higher than usual, the -more so as the first violin constantly alternates with the violoncello. -By this means the tone of the whole becomes more brilliant and brighter, -but atones for this in an occasional loss of vigour and force. In other -respects also, out of deference no doubt to the King's taste, there is -more stress laid upon elegance and clearness than upon depth and warmth -of tone. Mozart was too much of an artist to allow any solo part in -a quartet to predominate unduly over the others; the first violin and -violoncello leave the other two instruments their independent power of -expression, but the motifs and working-out portions are less important, -and here and there they run into a fanciful play of passages. It is -singular that in the quartets in D and F major the last movements are -the most important. When once the composer has thrown himself into the -elaboration of his trifling motifs he grows warm, and, setting to work -in good earnest, the solo instrument is made to fall into rank and -file; the artist appears, and has no more thought of his presentation at -court. The middle movements are very fine as to form and effect, but are -without any great depth of feeling. The charming allegro of the second -quartet, in F major, is easy and graceful in tone, and interesting from -the elegance of its elaboration. In short, these quartets completely -maintain Mozart's reputation for inventive powers, sense of proportion, -and mastery of form, but they lack that absolute devotion to the highest -ideal of art characteristic of the earlier ones. - -Mozart's partiality for quartet-writing may be inferred from the many -sketches which remain (68-75, Anh., K.), some of them of considerable -length, such as that fragment of a lively movement in A major (68, 72, -Anh., K.) consisting of 169 bars. - -{TRIO IN E FLAT, 1788.} - -(17) - -Duets and trios for stringed instruments were naturally held in less -esteem than string quartets. Mozart composed in Vienna (September 27, -1788), for some unspecified occasion, a trio for violin, viola, and -violoncello, in £ flat major (563 K.), which consists of six movements, -after the manner of a divertimento--allegro, adagio, minuet, andante -with variations, minuet, rondo. The omission of the one instrument -increases the difficulty of composing a piece full in sound and -characteristic in movement, more than could have been imagined; the -invention and skill of the composer are taxed to the utmost. It is -evident that this only gave the work an additional charm to Mozart. Each -of the six movements is broadly designed and carried out with equal care -and devotion, making this trio unquestionably one of Mozart's finest -works. No one performer is preferred before the other, but each, if -he does his duty, may distinguish himself in his own province. With -wonderful discrimination, too, every technical device is employed which -can give an impulse to any happy original idea. How beautifully, -for instance, is the simple violoncello passage which ushers in the -adagio--[See Page Images] - -transformed into the emphatic one for the violin-- - -coined in due time, with climacteric effect, by the viola and -violoncello. The violin-jumps in the same adagio-- - -are effective only in their proper position; and all the resources at -command are made subservient to the art which is to produce the living -work. - -{MOZART'S INSTRUMENTAL MUSIC.} - -(18) - -The variations demand special attention. The theme is suggestive of a -national melody, and its effect is heightened by the different treatment -of each part when repeated, which also gives fulness and variety to the -variations. Each of these is artistically worked out in detail and of -distinctly individual character; the last is especially remarkable, in -which the viola, to a very lively figure, carries out the theme in its -simplest enunciation as a true Cantus firmus. The whole impression is -one of freshness and beauty of conception, elevated and enlivened by -the difficulties which offered themselves. Nothing more charming can -be imagined than the first trio of the second minuet; its tender purity -charms us like that of a flower gleaming through the grass. - -Haydn seems to have made no use of the increased resources offered -by the quintet, although other musicians--Boccherini, for -instance--cultivated this branch. It would appear to have been for some -particular occasions that Mozart composed four great string quintets, -in which he followed the track laid out in the first quartets. Two were -composed in the spring of 1787, after his return from Prague--[24] - -C major, composed April 19, 1787 (515 K.). - -G major, composed May 16, 1787 (516 K.).-- - -the other two-- - -D major, composed December, 1790 (593 K.). - -E flat major, composed April 12, 1791 (614 K.).-- - -at short intervals, "at the earnest solicitation of a musical friend," -as the publisher's announcement declares.[25] - -Mozart doubles the viola[26]--not like Boccherini in his 155 quintets, -the violoncello[27]--whereby little alteration in tone, colour, or -structure is effected. The doubling of the violoncello gives it a -predominance which its very charm of tone - -{THE QUINTET.} - -(19) - -renders all the more dangerous: whereas the strengthening of the less -strongly accentuated middle parts by the addition of a viola gives -freer scope for a lengthy composition. The additional instrument gives -increase of freedom in the formation of melodies and their harmonic -development, but it also lays on the composer the obligation of -providing independent occupation for the enlarged parts. A chief -consideration is the grouping of the parts in their numerous possible -combinations. The first viola corresponds to the first violin as leader -of melodies, while the second viola leaves the violoncello greater -freedom of action; these parts share the melodies in twos or threes, -either alternately or in imitative interweaving; the division of a -motif as question and answer among different instruments is especially -facilitated thereby. Again, two divisions may be placed in effective -contrast, the violins being supported by a viola, or the violas by the -violoncello. But the device first used by Haydn in his quartets, of -giving two parts in octaves, is perhaps the most effective in the -quintets, a threefold augmentation being even employed in the trio of -the E flat major quintet (614 K.). Finally, it is easier to strengthen -the violoncello by the viola here than it is in the quartet. It is not -that all these resources are out of reach for the quartet, but that they -find freer and fuller scope in the quintet. The effect of the quintet is -not massive; it rests on the characteristic movement of the individual -parts, and demands greater freedom in order that this movement of -manifold and differing forces may be well ordered and instinct with -living power. The increased forces require greater space for their -activity, if only on account of the increased mass of sound. If the -middle parts are to move freely without pressing on each other, the -outer parts must be farther apart, and this has a decided influence on -the melodies and the sound effects, the general impression becoming more -forcible and brilliant. The dimensions must also be increased in other -directions. A theme, to be divided among five parts, and a working-out -which is to give each of them fair play, must be planned from the first. -The original motif of the first Allegro of the C major quintet (515 -K.)--[See Page Image] - -{MOZART'S INSTRUMENTAL MUSIC.} - -(20) - -involves of necessity the continuation of the idea enunciated; and only -after a third repetition with modifications is it allowed to proceed -to a conclusion. It has thus become too far developed to allow of a -repetition of the whole theme; it starts again in C minor, is further -developed by harmonic inflections; and after a short by-play on a -tributary, it is again taken up and leads on to the second theme; we -have thus a complete organic development of the first motif. The second -theme is then of course carried out, and finally we have the broadly -designed motif which brings the part to a conclusion in a gradually -increasing _crescendo_ for all the parts; the whole movement thus gains -considerably in dimensions. - -The motif of the first movement of the E flat major quintet (614 -K.)--[See Page Image] - -is precisely rendered. But it is the germ whence the whole movement -is to spring; all beyond itself is suggested by this motif, and is -important only in relation thereto. The unfettered cheerfulness which -runs through the whole of the movement is expressed in these few bars, -given by the violas like a call to the merry chase. The opening of the -C major quintet prepares us in an equally decided manner for what is to -follow. The decision and thoughtfulness which form the ground-tone of -the whole movement, in spite of its lively agitation, are calmly and -clearly expressed in the first few bars. - -The G minor quintet begins very differently, with a complete melody of -eight bars, repeated in a different key. Few - -{MOZART'S G MINOR QUINTET.} - -(21) - -instrumental compositions express a mood of passionate excitement with -such energy as this G minor quintet. We feel our pity stirred in the -first movement by a pain which moans, sighs, weeps; is conscious in its -ravings only of itself, refuses to take note of anything but itself, and -finds its only consolation in unreasoning outbreaks of emotion, until -it ends exhausted by the struggle. But the struggle begins anew in -the minuet, and now there is mingled with it a feeling of defiant -resentment, showing that there is some healthy force still remaining; -in the second part a memory of happy times involuntarily breaks in, -but is overcome by the present pain; then the trio bursts forth -irresistibly, as if by a higher power, proclaiming the blessed certainty -that happiness is still to be attained. One of those apparently obvious -touches, requiring nevertheless the piercing glance of true genius, -occurs when, after closing the minuet in the most sorrowful minor -accents--[See Page Image] - -Mozart introduces the trio with the same inflection in the major-- - -and proceeds to carry it out in such a manner that only a whispered -longing may be detected underlying the gently dying sounds of peace. -This turn of expression decides the further course of the development. -The next movement, "Adagio ma non troppo, con sordini," gives us an -insight into a mind deeply wounded, tormented with self-questionings; -earnest reflection, doubt, resolve, outbreaks of smothered pain -alternate with each other, until a yearning - -{MOZART'S INSTRUMENTAL MUSIC.} - -(22) - -cry for comfort arises, tempered by the confident hope of an answer -to its appeal; and so the movement ends in the calm of a joyful peace -instead of, as the first, in the silence of exhaustion. The conquered -pain breaks out again in the introduction to the last movement, but its -sting is broken--it dies away to make room for another feeling. The new -émotion is not merely resignation, but joy--the passionate consciousness -of bliss, just as inspired, just as restlessly excited as the previous -pain. But the exultant dithyramb has not the same engrossing interest -for the hearers; man is readier to sympathise with the sorrows of others -than with their joys, although he would rather bear his sorrow alone -than his joy. This complete change of mood may well excite a suspicion -of fickleness, but it is not the less true that the anguish of the first -movement, and the exultation of the last, belong to one and the same -nature, and are rendered with absolute truth of artistic expression. - -We turn involuntarily from the artist to the man after such a -psychological revelation as this, and find traces of Mozart's nature -unmistakably impressed on his work. But we may seek in vain for any -suggestion of the work in his actual daily life. At the time when he -wrote this quintet his circumstances were favourable, he had only lately -returned from Prague covered with honour and substantial rewards, and he -was enjoying an intercourse with the Jacquin family which must have been -altogether pleasurable to him. It is true that he lost his father soon -after (May 26), but a recollection of the letter which he addressed to -him with the possibility of his death in view (Vol. II., p. 323), Mozart -being at the time engaged on the C major quintet, will prevent our -imagining that the mood of the G minor quintet was clouded by the -thought of his father's approaching decease. The springs of artistic -production flow too deep to be awakened by any of the accidents of -life. The artist, indeed, can only give what is in him and what he, has -himself experienced; but Goethe's saying holds good of the musician as -well as of the poet or painter; he reveals nothing that he has not felt, -but nothing _as_ he felt it. - -The main characteristics of the other quintets are calmer - -{MOZART'S QUINTETS.} - -(23) - -and more cheerful, but they are not altogether wanting in energetic -expression of passion. The sharper characterisation made necessary by -the division of the music among a greater number of instruments was only -possible by means of the agitation and restless movement of the parts, -even when the tone of the whole was quiet and contained. We find -therefore various sharp or even harsh details giving zest to the -whole--such, for instance, as the use of the minor ninth and the -comparatively frequent successions of ninths in a circle of fifths; -and the quintets have apparently been a mine of wealth to later -composers, who have made exaggerated use of these dangerous stimulants. -Greater freedom of motion stands in close connection with the better -defined characterisation of the quintets. Polyphony is their vital -element; the forms of counterpoint became more appropriate as the number -of parts increased. The finales to the Quintets in D and E flat Major -(573, 614, K.) showed that Mozart was able to make use of the very -strictest forms upon occasion. Both movements begin in innocent -light-heartedness, but severe musical combinations are developed out -of the airy play of fancy; ideas which have only been, as it were, -suggested are taken up and worked out, severe forms alternate with laxer -ones--one leads to the other naturally and fluently, and sometimes they -are both made use of at the same time. The disposition of the parts is -free, without any preconceived or definitive form, and its many delicate -details of taste and originality give an individual charm to each -separate part. The homophonie style of composition is not altogether -disregarded for the polyphonic, but it is never made the determining -element. Even a melody such as the second subject of the first movement -of the G minor quintet, complete in itself as any melody can be, is -made use of as a motif for polyphonic development. The freest and most -elastic treatment of form is that of the last movements. The other -movements are fully developed, and sometimes carried out at great -length, but the main features are always distinct and well preserved; -the outline of the finales is less firm, and capable of a lighter and -more varied treatment. - -{MOZART'S INSTRUMENTAL MUSIC.} - -(24) - -Another branch of concerted music high in favour in Mozart's day was the -so-called "Harmoniemusik," written exclusively for wind instruments, and -for performance at table or as serenades. Families of rank frequently -retained the services of a band for "Harmoniemusik" instead of a -complete orchestra.[28] The Emperor Joseph selected eight distinguished -virtuosi[29] for the Imperial "Harmonie," who played during meals, -especially when these took place in the imperial pleasure-gardens. The -performances included operatic arrangements as well as pieces composed -expressly for this object.[30] Reichardt dwells on the enjoyment -afforded him in 1783 by the Harmoniemusik of the Emperor and the -Archduke Maximilian. "Tone, delivery, everything was pure and -harmonious; some movements by Mozart were lovely; but unluckily nothing -of Haydn's was performed."[31] First-class taverns supported their own -"Harmonie" bands, in order that the guests might not be deprived of this -favourite accompaniment to their meals.[32] - -Besides the great serenades, intended for public performance, the old -custom was still practised of writing "Standchen,"[33] for performance -under the window of the person who was to be thus celebrated; and the -general desire that such pieces should be new and original provided -composers with almost constant employment on them.[34] Wind instruments -were most in vogue for this "night-music." The instruments were usually -limited to six--two clarinets, two horns, and two bassoons, strengthened - -{SERENADES FOR WIND INSTRUMENTS.} - -(25) - -sometimes by two oboes. Such eight-part harmonies sufficed both the Emperor -and the Elector of Cologne as table-music and for serenades; and at a -court festival at Berlin in 1791 the music during the banquet was -thus appointed.[35] The "Standchen," in "Cosi fan Tutte" (21), and the -table-music, in the second finale of "Don Giovanni," are imitations of -reality. - -Mozart did not neglect the opportunities thus afforded him of making -himself known during his residence in Vienna. He writes to his father -(November 3, 1781):-- - -I must apologise for not writing by the last post; it fell just on my -birthday (October 31), and the early part of the day was given to -my devotions. Afterwards, when I should have written, a shower of -congratulations came and prevented me. At twelve o'clock I drove to the -Leopoldstadt, to the Baroness Waldstädten, where I spent the day. At -eleven o'clock at night I was greeted by a serenade for two clarinets, -two horns, and two bassoons, of my own composition. I had composed it -on St. Theresa's day (October 15) for the sister of Frau von Hickl (the -portrait-painter's wife), and it was then performed for the first time. -The six gentlemen who execute such pieces are poor fellows, but they -play very well together, especially the first clarinet and the two -horns. The chief reason I wrote it was to let Herr von Strack (who -goes there daily) hear something of mine, and on this account I made -it rather serious. It was very much admired. It was played in three -different places on St. Theresa's night. When people had had enough of -it in one place they went to another, and got paid over again. - -This "rather serious" composition is the Serenade in E flat major (375 -K.), which Mozart increased by the addition of two oboes, no doubt in -June, 1782, when he also wrote the Serenade in C minor for eight wind -instruments (388 K., s.). He had at that time more than one occasion for -works of this kind. The attention both of the Emperor and the Archduke -Maximilian was directed towards him (Vol. II., p. 197); and since -Reichardt heard compositions by Mozart at court in 1783, his attempt to -gain Strack's good offices must have been successful. In the year -1782 Prince Liechtenstein was in treaty with Mozart concerning the -arrangement of a Harmoniemusik (Vol. II., p. 206), and he - -{MOZART'S INSTRUMENTAL MUSIC.} - -(26) - -had undertaken with Martin the conduct of the Augarten concerts, which -involved the production of four great public serenades (Vol. II., p. -283). - -Both the serenades already mentioned are striking compositions, far -above the ordinary level of their kind, and may be considered, both -as to style and treatment, the precursors of modern chamber music. The -first movement of the Serenade in E flat major had originally two parts, -which Mozart afterwards condensed into one, giving it greater precision -by the omission of lengthy repetitions. The addition of the oboes gives -it greater fulness and variety; but it is easy to detect that they are -additions to a finished work. The whole piece is of genuine serenade -character. After a brilliant introductory phrase, a plaintive melody -makes its unexpected appearance, dying away in a sort of sigh, but -only to reassert itself with greater fervour. The amorous tone of the -"Entführung" may be distinctly traced in the adagio, and through all its -mazy intertwining of parts we seem to catch the tender dialogue of two -lovers. The closing rondo is full of fresh, healthy joy; the suggestion -of a national air in no way interferes with the interesting harmonic -and contrapuntal working-out.[36] The Serenade in C minor is far from -leaving the same impression of cheerful homage. The seriousness of its -tone is not that of sorrow or melancholy, but, especially in the -first movement, of strong resolution. The second theme is especially -indicative of this, its expressive melody being further noteworthy by -reason of its rhythmical structure. It consists of two six-bar phrases, -of which the first is formed of two sections of three bars each:--[See -Page Image] - -After the repetition of this, the second phrase follows, formed from the -same melodic elements, but in three sections of two bars each--[See Page -Image] - -{SERENADE IN C MINOR.} - -(27) - -and also repeated. On its first occurrence it forms a fine contrast to -the passionate commencement, and lays the foundation for the lively -and forcible conclusion of the first part, while in the second part -its transposition into the minor prepares the way for the gloomy and -agitated conclusion of the movement. The calmer mood of the andante -preserves the serious character of the whole, without too great softness -or languor of expression. - -Mozart has perpetrated a contrapuntal joke in the minuet. The oboes and -bassoons lead a two-part canon in octave, while the clarinets and horns -are used as tutti parts. In the four-part trio the oboes and bassoons -again carry out a two-part canon (_al rovescio_) in which the answering -part exactly renders the rhythm and intervals, the latter, however, -inverted:--[See Page Image] - -Tricks of this kind should always come as this does, without apparent -thought or effort, as if they were thrown together by a happy chance, -the difficulties of form serving only to give a special flavour to the -euphonious effect. The last movement, variations, passes gradually from -a disquieted anxious mood into a calmer one, and closes by a recurrence -to the subject in the major, with freshness and force. - -{MOZART'S INSTRUMENTAL MUSIC.} - -(28) - -This serenade is best known in the form of a quintet for stringed -instruments, to which Mozart adapted it apparently before 1784 (506 -K.). Nothing essential is altered--only the middle parts, accompaniment -passages, &c., are somewhat modified. Some of the passages and -movements, however, especially the andante and finale, have lost -considerably by the altered tone-colouring. - -Various divertimenti for wind instruments, which have been published -under Mozart's name, have neither external nor internal signs of -authenticity.[37] An Adagio in B flat major for two clarinets and three -basset-horns (411 K.), concerning which little is known, stands alone -of its kind.[38] The combination of instruments points here as elsewhere -(Vol. II., pp. 361, 410) to some special, perhaps masonic occasion, -the more so as a detached and independent adagio could only have been -written with a definite object in view. The juxtaposition of instruments -so nearly related, with their full, soft, and, in their deeper notes, -sepulchral tones, produces an impression of solemnity, which is in -accordance with the general facter of peace after conflict expressed -by the adagio. - -Mozart's works for wind instruments are distinguished by delicacy of -treatment apart from virtuoso-like effects. Considering them, however, -in the light of studies for the treatment of wind instruments as -essential elements of the full orchestra, they afford no mean conception -of the performances of instrumentalists from whom so much mastery of -technical difficulties, delicacy of detail, and expressive delivery -might be expected. Instrumental music had risen to great importance in -Vienna at that time. A great number of available, and even distinguished -musicians had settled there. Besides the two admirably appointed -imperial orchestras, and the private bands attached to families of rank, -there were various societies of musicians ready to form large or small -orchestras when required; and public and private concerts were, as we -have seen, of very frequent occurrence. - -{THE VIENNA ORCHESTRA.} - -(29) - -The appointment was, as a rule, weak, when judged by the standard of the -present day. The opera orchestra contained one of each wind instrument, -six of each violin, with four violas, three violoncelli, and three -basses.[39] On particular occasions the orchestra was strengthened (Vol. -II., p. 173), but most of the orchestral compositions betray by their -treatment that they were not intended for large orchestras. The purity -and equality of tone and the animated delivery of the Vienna orchestra -is extolled by a contemporary, who seems to have been no connoisseur, -but to have faithfully rendered the public opinion of the day.[40] -Of greater weight is the praise of Nicolai, a careful observer, who -compared the performances of the Vienna orchestra with those of other -bands.[41] He asserted, when he heard the Munich orchestra soon after, -that it had far surpassed his highly wrought expectations of Mannheim, -and that he had been perfectly astonished at the commencement of an -allegro.[42] It was not a matter of small importance, therefore, that -Mozart should have learnt all that could be learnt from the orchestras -of Mannheim, Munich, and Paris, and then found in Vienna the forces at -command wherewith to perfect this branch of his art. In this respect he -had a great advantage over Haydn, who had only the Esterhazy band at his -disposal, and never heard great instrumental performances except during -his short stays in Vienna. - -Mozart had much to do with raising the Vienna orchestra, particularly -in the wind instruments, to its highest pitch of perfection. Among -contemporary composers, who strove to turn to the best account the -advantages of a fuller instrumentation, - -Haydn undoubtedly claims the first rank. It is his incontestable merit -to have opened the way in his symphonies to the free expression of -artistic individuality in instrumental music, to have defined its forms, -and developed - -{MOZART'S INSTRUMENTAL MUSIC.} - -(30) - -them with the many-sidedness of genius; he did not, how-I ever, bequeath -to Mozart, but rather received from him the well-appointed, fully -organised, and finely proportioned orchestra of our day. In his old age -Haydn once complained to Kalkbrenner that death should call man away -before he has accomplished his life-long desires: "I have only learnt -the proper use of wind instruments in my old age, and now I must pass -away without turning my knowledge to account."[43] - -The first of the seven Vienna symphonies is in D major (part 5, 384 K. -(likely 385 K. DW)), and was composed by Mozart, at his father's wish, -for a Salzburg fête in the summer of 1782. He wrote it under the -pressure of numerous engagements in less than a fortnight, sending the -movements as they were ready to his father (Vol. II., p. 211). No wonder -that when he saw it again he was "quite surprised," not "remembering a -word of it." For performance in Vienna (March 3, 1783) he reduced it to -the usual four movements by the omission of the march and of one of the -minuets, and strengthened the wind instruments very effectively in the -first and last movement by flutes and clarinets. - -A lively, festive style was called for by the occasion, and in the -treatment of the different movements the influence of the old serenade -form is still visible. The first allegro has only one main subject, with -which it begins; this subject enters with a bold leap--[See Page Image] - -and keeps its place to the end with a life and energy enhanced by harsh -dissonances of wonderful freshness and vigour. The whole movement is -a continuous treatment of this subject, no other independent motif -occurring at all. The first part is therefore not repeated, the -working-out section is short, and the whole movement differs -considerably from the usual form of a first symphony movement. The -andante is in the simplest lyric form, pretty and refined, but nothing -more; the minuet is fresh and brilliant (Vol. I., p. 219). - -{THE D MAJOR SYMPHONY.} - -(31) - -The tolerably long drawn-out concluding rondo is lively and brilliant, -and far from insignificant, though not equal to the first movement in -force and fire. - -A second symphony was written by Mozart in great haste on his journey -through Linz in November, 1783; it was apparently that in C major (part -6, 425 K.), which with another short symphony in G major (part 6, 444 -K.), bears clear traces of Haydn's influence, direct and indirect. -(Note: By M. Haydn--the Introduction only by Mozart. DW) - -Several years lie between these symphonies and the next in D major (part -1, 504 K.). This was written for the winter concerts on December 6, -1786, and met with extraordinary approbation, especially in Prague, -where Mozart performed it in January, 1787[44]The first glance at the -symphony shows an altered treatment of the orchestra; it is now -fully organised, and both in combination and detail shows individual -independence. The instrumentation is very clear and brilliant--here and -there perhaps a little sharp--but this tone is purposely selected as the -suitable one. Traces of Haydn's influence may be found in the prefixing -of a solemn introduction to the first allegro, as well as in separate -features of the andante; such, for instance, as the epigrammatic close; -but in all essential points we have nothing but Mozart. The adagio is -an appropriate preface for the allegro, which expresses in its whole -character a lively but earnest struggle. In this allegro the form of -a great symphony movement lies open before us. The chief subject is -completely expressed at the beginning--[See Page Image] - -{MOZART'S INSTRUMENTAL MUSIC.} - -(32) - -and recurs after a half-close on the dominant with a characteristic -figure--[See Page Image] - -thus allowing of the independent development of section B. Then, after a -complete close on the dominant, there enters the very characteristic and -originally treated second subject; the close of the part is introduced -by the figure, D, so that a member of the chief subject, A, is again -touched upon. The working-out in the second part is founded on the third -section of the chief subject, C. These two bars, which there formed only -an intermediate passage, are here treated imitatively as an independent -motif; first B, then D, are added as counter-subjects, all three are -worked-out together, tributary subjects reappear from the first part, -until the chief subject, A, enters on the dominant in D minor, leading -the way for the other motifs, which press in simultaneously, and glide -upon a long organ point gradually back to the first subject, with -which the modified repetition of the first part begins. In this lengthy -working-out every part of the main idea is fully developed. The simple -enunciations of the first part appear, after the elaboration of -their different elements like utterances of a higher power, bringing -conviction and satisfaction to all who hear. The springlike charm of the -andante, with all its tender grace, never degenerates into effeminacy; -its peculiar character is given by the short, interrupted subject--[See -Page Image] - -which is given in unison or imitation by the treble part and the bass, -and runs through the whole, different harmonic turns giving it a tone, -sometimes of mockery, sometimes of thoughtful reserve. The last movement -(for this symphony has no minuet) displays the greatest agitation and -vivacity - -{SYMPHONIES, 1788.} - -(33) - -without any license; in this it accords with the restraint which -characterises the other movements. It illustrates the moderation of -most of Mozart's great works, which, as Ambros ("Granzen der Musik und -Poesie," p. 56) remarks, "is not a proof of inability to soar into a -higher sphere, but a noble and majestic proportioning of all his forces, -that so they may hold each other in equilibrium." The essence of the -work, to borrow the aesthetic expression of the ancients, is ethic -rather than pathetic; character, decision, stability find expression -there rather than passion or fleeting excitement. - -A year and a half passed before Mozart again turned his attention to -the composition of symphonies; then, in the summer of 1788, within two -months, he composed the three symphonies in E flat major (June 26), G -minor (July 25), and C major (August 10)--the compositions which -most readily occur to us when Mozart's orchestral works come under -discussion. The production of such widely differing and important works -within so short a space of time affords another proof that the mind of -an artist works and creates undisturbed by the changing impressions of -daily life, and that the threads are spun in secret which are to form -the weft and woof of a work of art. The symphonies display Mozart's -perfected power of making the orchestra, by means of free movement -and songlike delivery, into the organ of his artistic mood. As Richard -Wagner says:-- - -The longing sigh of the great human voice, drawn to him by the loving -power of his genius, breathes from his instruments. He leads the -irresistible stream of richest harmony into the heart of his melody, as -though with anxious care he sought to give it, by way of compensation -for its delivery by mere instruments, the depth of feeling and ardour -which lies at the source of the human voice as the expression of the -unfathomable depths of the heart.[45] - -{MOZART'S INSTRUMENTAL MUSIC.} - -(34) - -This result can only be attained by the most delicate appreciation of -the various capacities of each individual instrument. The very diversity -of tone-colouring which characterises these symphonies shows the -masterly hand with which Mozart chooses and blends his tones, so that -every detail shall come to full effect. It would not be easy to find -places in which the sound-effect does not correspond with the intention; -as he imagined it and willed it, so it sounds, and the same certainty, -the same moderation, is apparent in every part of the artistic -construction. - -The Symphony in E flat major (543 K., part 3) is a veritable triumph of -euphony. Mozart has employed clarinets here, and their union with the -horns and bassoons produces that full, mellow tone which is so important -an element in the modern orchestra; the addition of flutes gives -it clearness and light, and trumpets endow it with brilliancy and -freshness. It will suffice to remind the reader of the beautiful passage -in the andante, where the wind instruments enter in imitation, or of -the charming trio to the minuet, to make manifest the importance of the -choice of tone-colouring in giving characteristic expression. We find -the expression of perfect happiness in the exuberant charm of euphony, -the brilliancy of maturest beauty in which these symphonies are, as it -were, steeped, leaving such an impression as that made on the eye by the -dazzling colours of a glorious summer day. How seldom is this unalloyed -happiness and joy in living granted to mankind, how seldom does art -succeed in reproducing it entire and pure, as it is in this symphony! -The feeling of pride in the consciousness of power shines through the -magnificent introduction, while the allegro expresses purest pleasure, -now in frolicsome joy, now in active excitement, and now in noble and -dignified composure. Some shadows appear, it is true, in the andante, -but they only serve to throw into stronger relief the mild serenity of a - -{G MINOR SYMPHONY, 1788.} - -(35) - -mind that communes with itself and rejoices in the peace which fills it. -This is the true source of the cheerful transport which rules the last -movement, rejoicing in its own strength and in the joy of being. The -last movement in especial is full of a mocking joviality more frequent -with Haydn than Mozart, but it does not lose its hold on the more -refined and elevated tone of the preceding movements. This movement -receives its peculiar stamp from its startling harmonic and rhythmical -surprises. Thus it has an extremely comic effect when the wind -instruments try to continue the subject begun by the violins, but -because these pursue their way unheeding, are thrown out as it were, and -break off in the middle. This mocking tone is kept up to the -conclusion, which appears to Nägeli ("Vorlesungen," p. 158) "so noisily -inconclusive" (_so stillos unschliessend_), "such a bang, that the -unsuspecting hearer does not know what has happened to him."[46] - -The G minor symphony affords a complete contrast to all this (550 K., -part 2). Sorrow and complaining take the place of joy and gladness. The -pianoforte quartet (composed August, 1785) and the Quintet (composed May -16, 1787) in G minor are allied in tone, but their sorrow passes in the -end to gladness or calm, whereas here it rises in a continuous climax -to a wild merriment, as if seeking to stifle care. The agitated first -movement begins with a low plaintiveness, which is scarcely interrupted -by the calmer mood of the second subject;[47] the working-out of the -second part intensifies the gentle murmur--[See Page Image] - -{MOZART'S INSTRUMENTAL MUSIC.} - -(36) - -into a piercing cry of anguish; but, strive and struggle as it may, the -strength of the resistance sinks again into the murmur with which the -movement closes. The andante, on the contrary, is consolatory in tone; -not reposing on the consciousness of an inner peace, but striving after -it with an earnest composure which even attempts to be cheerful.[48] -The minuet introduces a new turn of expression. A resolute resistance is -opposed to the foe, but in vain, and again the effort sinks to a -moan. Even the tender comfort of the trio, softer and sweeter than the -andante, fails to bring lasting peace; again the combat is renewed, and -again it dies away, complaining. The last movement brings no peace, only -a wild merriment that seeks to drown sorrow, and goes on its course -in restless excitement. This is the most passionate of all Mozart's -symphonies; but even in this he has not forgotten that "music, when -expressing horrors, must still be music" (Vol. II., p. 239).[49] -Goethe's words concerning the Laocoon are applicable here ("Werke" -XXIV., p. 233): "We may boldly assert that this work exhausts its -subject, and fulfils every condition of art. It teaches us that though -the artist's feeling for beauty may be stirred by calm and simple -subjects, it is only displayed in its highest grandeur and dignity when -it proves its power of depicting varieties of character, and of throwing -moderation and control into its representations of outbreaks of human -passion." And in the same sense in which Goethe ventured to call the -Laocoon graceful, none can deny the grace of this symphony, in spite of -much harshness and - -{C MAJOR SYMPHONY.} - -(37) - -keenness of expression.[50] The nature of the case demands the -employment of quite other means to those of the E flat major symphony. -The outlines are more sharply defined and contrasted, without the -abundant filling-in of detail which are of such excellent effect in -the earlier work, the result being a greater clearness, combined with -a certain amount of severity and harshness. The instrumentation agrees -with it; it is kept within confined limits, and has a sharp, abrupt -character. The addition of clarinets for a later performance gave the -tone-colouring greater intensity and fulness. Mozart has taken an extra -sheet of paper, and has rearranged the original oboe parts, giving -characteristic passages to the clarinets, others to the oboes alone, and -frequently combining the two. No clarinets were added to the minuet. -Again, of a totally distinct character is the last symphony, in C -major (551 K., part 4), in more than one respect the greatest and best, -although neither so full of passion as the G minor symphony, nor so -full of charm as the E flat major.[51] Most striking is the dignity and -solemnity of the whole work, manifested in the brilliant pomp in the -first movement, with its evident delight in splendid sound-effects.: - -It has no passionate excitement, but its tender grace is heightened by -a serenity which shines forth most unmistakably in the subject already -alluded to (Vol. II., p. 455, cf. p. 334), which occurs unexpectedly -at the close of the first part. The andante reveals the very depths of -feeling, with traces in its calm beauty of the passionate agitation and -strife from which it proceeds; the impression it leaves is one of moral -strength, - -{MOZART'S INSTRUMENTAL MUSIC.} - -(38) - -perfected to a noble gentleness. The minuet recalls to mind the cheerful -subject of the first movement. There is an elastic spring in its motion, -sustained with a delicacy and refinement which transports the hearer -into a purer element, where he seems to exist without effort, like the -Homeric gods. The finale is that masterpiece of marvellous contrapuntal -art, which leaves even upon the uninitiated the impression of a -magnificent princely pageant, to prepare the mind for which has been the -office of the previous movements. We recognise in the principal subject -which opens the movement--[See Page Images] - -the motif of which Mozart made frequent use even in his youth (Vol. I., -p. 259); here he seems anxious to bid it a final farewell. He takes it -again as a fugue subject, and again inverted:-- - -Then other motifs join in. One, in pregnant rhythm-- - -asserting itself with sharp accents in all sorts of different ways, and -connected with a third motif as a concluding section:-- - -All these subjects are interwoven or worked out with other subordinate -ideas, both as independent elements for - -{SYMPHONIES.} - -(39) - -contrapuntal elaboration, and in two, three, or fourfold combinations, -bringing to pass harmonic inflections of great force and boldness, -sometimes even of biting harshness. There is scarcely a phrase, however -insignificant, which does not make good its independent existence.[52] -A searching analysis is out of the question in this place; such an -analysis would serve, however, to increase our admiration of the genius -which makes of strictest form the vehicle for a flow of fiery eloquence, -and spreads abroad glory and beauty without stint.[53] - -The perfection of the art of counterpoint is not the distinguishing -characteristic of this symphony alone, but of them all. The enthralling -interest of the development of each movement in its necessary connection -and continuity consists chiefly in the free and liberal use of the -manifold resources of counterpoint. The ease and certainty of this mode -of expression makes it seem fittest for what the composer has to say. -Freedom of treatment penetrates every component part of the whole, -producing the independent, natural motion of each. The then novel art -of employing the wind instruments in separate and combined effects was -especially admired by Mozart's contemporaries. His treatment of the -stringed instruments showed a progress not less advanced, as, for -instance, in the free treatment of the basses, as characteristic as it -was melodious. The highest quality of the symphonies, however, is their -harmony of tone-colour, the healthy combination of orchestral sound, -which is not to be replaced by any separate effects, however charming. -In this combination consists the art of making the orchestra as a living -organism express the artistic idea which gives the creative impulse to -the work, and controls the forces which are always ready to be set in -motion. An unerring conception of the capacities for development - -{MOZART'S INSTRUMENTAL MUSIC.} - -(40) - -contained in each subject, of the relations of contrasting and -conflicting elements, of the proportions of the parts composing the -different movements,[54] and of the proportions of the movements to -the whole work; finally, of the proper division and blending of the -tone-colours--such are the essential conditions for the production of a -work of art which is to be effective in all its parts. - -Few persons will wish to dispute the fact that Mozart's great symphonies -display the happiest union of invention and knowledge, of feeling and -taste. We have endeavoured also to show in brief outline that they are -the characteristic expression of a mind tuned to artistic production, -whence their entire organisation of necessity proceeds. But language, -incapable of rendering the impressions made by the formative arts, is -still more impotent in seeking to reproduce the substance of a musical -work.[55] Points that can be readily apprehended are emphasised -disproportionately; and the subjectivity of the speaker or writer -intrudes itself upon the consideration of the music. It has been -lately questioned, for instance, whether Mozart's compositions were the -absolute and necessary results of certain definite frames of mind, and -a comparison has been made between him and Beethoven upon this point. -If it is intended by this to draw attention to Beethoven's art, as -proceeding from his _spiritual_ being (Geist), in contrast to that of -earlier composers--of Mozart especially--which came from the _mind_ -(Seele),[56] an important point is indicated. But if this distinction is -made exhaustive, or essentially qualitative, the right point of view -is thereby disturbed. There can be no doubt that Beethoven has struck -chords in the human mind which none before him had touched--that - -{THE RIGHT MEANING OF THE SYMPHONIES.} - -(41) - -he employs the means at his command with a power and energy of -expression unheard before; that by him--the true son of his time--the -strife of passions and the struggle for individual freedom are more -powerfully and unhesitatingly expressed than by any of his predecessors. -But human nature remains the same, and the genuine impulses of artistic -creation proceed from universal and unalterable laws; the artist does -but impress his individual stamp upon the composing elements of his -work; and if, under certain circumstances, this should fail to be -comprehended, it does not therefore follow that the work has no -meaning.[57] For neither can the form and the substance of a veritable -work of art be divided or substituted the one for the other, nor can -such a work take effect as a whole when it is not accepted and grasped -in all its parts.[58] It is this wholeness, this oneness, which brings -the mind of the artist most clearly before us. Let it be remembered -that Mozart's contemporaries dis-; covered an exaggerated expression of -emotion and an incomprehensible depth of characterisation in those very -compositions in which our age recognises dignified moderation, pure -harmony, perfect beauty, and a graceful treatment of form sometimes even -to the loss of intrinsic force; and it will be acknowledged that much -which was supposed to depend on the construction of the work lies really -in the changing point of view of the hearers. Those only who come to the -consideration of the work with a clear and unbiased mind, taking their -standard from the universal and unchangeable laws of art--those only who -are capable of grasping the individuality of an artistic nature, will -not go astray either in their appreciation or their criticism. - - - - -FOOTNOTES OF CHAPTER XXXIV. - - -[Footnote 1: The Greiners had quartet parties every Tuesday during Advent and -Lent (Car. Pichler, Denkw., I., p. 127. Jahrb. d. Tonk., 1796, p. 71).] - -[Footnote 2: Luigi Boccherini (1740-1805), who was almost a contemporary, -followed his own bent in numerous quartets, quintets, and trios, -uninfluenced by the works of others, and not himself exerting any -lasting influence (Piquot, Notice sur la Vie et les Ouvrages de L. -Boccherini. Paris, 1851).] - -[Footnote 3: The advertisement (Wien. Ztg., 1785, No. 75, p. 2191) ran: "Mozart's -works require no praise, and to quote any would be superfluous; we can -only assure the public that we are offering them a masterpiece. This -is confirmed by the fact that the quartets are dedicated to his friend -Joseph Haydn, Kapellmeister to Prince Estcrhazy, who honoured them with -all the approbation which one man of genius can bestow upon another."] - -[Footnote 4: Dittersdorf, Selbstbiogr., p. 238.] - -[Footnote 5: Nissen, Nachtrag, p. 62.] - -[Footnote 6: Cramer, Magazin der Musik, II., p. 1273.] - -[Footnote 7: Gyrowetz, Selbstbiogr., p. xx. Jahrb. d. Tonkunst, 1796, p. 77.] - -[Footnote 8: A. M. Z., I., p. 855.] - -[Footnote 9: Fétis attacked this introduction in the Revue Musicale, V., p. 601, -and maintained his opinion against Pernes (Ibid., VI., pp. 25, 32). An -equally lively onslaught upon Fétis was made in a detailed analysis by -C. A. Leduc (A. M. Z., XXXII., p. 117), and renewed (A. M. Z., XXXIII., -pp. 81, 101) after an answer by Fétis (Rev. Mus., VIII., p. 821), and -also by C. M. Balthasar (A. M. ZM XXXIII., p. 493). Thereupon G. Weber -subjected the passage to a searching examination, and acknowledged -finally that the combinations of sound were unpleasing to his own ear.] - -[Footnote 10: Càcilia, XIV., p. 2.] - -[Footnote 11: Ulibicheff, II., p. 254.] - -[Footnote 12: The conjecture of Fétis that the first violin follows the second at -the second instead of the third crotchet of the second bar, by reason of -a printer's error, is disproved by Mozart's own manuscript (also by his -Thematic Catalogue).] - -[Footnote 13: Lenz, Beethoven, II., p. 78.] - -[Footnote 14: The same object is entirely fulfilled by Beethoven in the -introduction to the Symphony in B flat major, to say nothing of the -Quartet in C major. The cheerful serenity pervading the symphony, and -the occasional stronger accents of passionate feeling, are, as it were, -prefigured in the introduction, where we hear the rolling of the storm -which is to clear and freshen the atmosphere.] - -[Footnote 15: A. M.Z., III., p. 350.] - -[Footnote 16: Joh. Bapt. Schaul, Briefe über den Geschmack in der Musik, p. 8.] - -[Footnote 17: Cf. Musik. Briefe von einem Wohlbekannten, II., p. 40.] - -[Footnote 18: Two bars are added as an extension of the conclusion as in the -minuet of the Quintet in C major (515 K.).] - -[Footnote 19: There are groups of seven bars in the minuet of the later Quartet -in F major (590 K.), and of five bars in the trio.] - -[Footnote 20: This movement has been scored by Beethoven; the original is in -Artaria's possession.] - -[Footnote 21: A siciliana occurs among the variations in a sonata for pianoforte -and violin (377 K., 3), simpler and shorter than the one under -consideration, and altogether omitting the transition to the major key. -The same form is the basis of the rondo to the pianoforte Trio in G -major (496 K.), but freely carried out. The siliciana is employed, -according to old usage, for the slow middle movements of an early Sonata -in F major (280 K.), and of the pianoforte Concerto in A major (414 K.).] - -[Footnote 22: The Hadyn quartets, written in 1787 for the King of Prussia, are -well known.] - -[Footnote 23: From 1787 to 1797 Boccherini drew a considerable pension from -Frederick William II., for which he had to furnish annually some -quartets and quintets, compositions much loved and often played by the -King (Reichardt, Musik. Monatsschr., p. 17. Mus. Ztg., 1805, p. 232. -Picquot, Not. sur L. Boccherini, pp. 16, 112).] - -[Footnote 24: In March, 1788, Mozart announced (Wien. Ztg., 1788, No. 27 Anh.) -three new quintets--these two, and the one arranged in C minor--at four -ducats a copy.] - -[Footnote 25: Wien. Ztg., May 18, 1793, p. 1462.] - -[Footnote 26: So also in the unfinished sketches of a number of qointet movements -(79.84 Anh., K.).] - -[Footnote 27: Picquot, Not. sur L. Boccherini, pp. 19, 28, 123] - -[Footnote 28: Prince Grassalcovicz reduced his full band to a "Harmoniemusik" -(Jahrb. d. Tonk., 1796, p. 77).] - -[Footnote 29: Trûbensee and Wendt as oboists, the brothers Stadler as -clarinetists, Rub and Eisen hornists, Kautzner and Druben bassoonists -(Cramer, Magaz. Mus., I., p. 1400. Musik. Korresp., 1790, p. 31).] - -[Footnote 30: Mozart arranged the "Entfuhrung" for wind instruments (Vol. II., p. -210).] - -[Footnote 31: A. M. Z., XV., p. 668 (Schletterer, Reichardt, I., p. 327).] - -[Footnote 32: Mozart praised Albert's good "Harmoniemusik" to his father from -Munich (October 3, 1777). A special wind band was engaged for the table -music at the Augarten (Jahrb. d. Tonk., 1796, p. 78).] - -[Footnote 33: Nicolai speaks highly of the "Harmoniemusik," which was performed -every evening before the main guard at the court (Reise, IV., p. 558).] - -[Footnote 34: Carpani, Le Haydine, p. 81. Gyrowetz, Biogr., p. 5.] - -[Footnote 35: Musik. Korr., 1791, p. 366.] - -[Footnote 36: The serenata has two minuets, the second of which is especially -Haydnlike in character. Perhaps they were intended to be omitted in the -rearrangement, for in Mozart's autograph score they are only copied and -inserted.] - -[Footnote 37: The beginning of an eight-part allegro is among the sketches.] - -[Footnote 38: The first bars of an adagio for clarinets and three basset-horns -were written out (93 Anh., K.), and an allegro for two clarinets and -three basset-horns (95 Anh., K.) was somewhat further advanced.] - -[Footnote 39: So it is given by Meyer (L. Schröder, I., p. 357) for the year 1781 -(cf. A. M. Z., XXIV., p. 268), and the tables in the Jahrb. d. Tonkunst, -1796, p. 92, agree with his statement.] - -[Footnote 40: K. R[isbeck], Briefe ûb. Deutschld., I., p. 279.] - -[Footnote 41: Nicolai, Reise, IV., p. 542.] - -[Footnote 42: Nicolai, Reise, VI., p. 702.] - -[Footnote 43: So Kalkbrenner told me in Paris, in 1837.] - -[Footnote 44: Niemetschek, Biogr., p. 41. (Note: Misnumbered in the print -edition--DW)] - -[Footnote 45: Rich. Wagner, Kunstwerk der Zukunft, p. 85. It was just this -"Cantabilität" with which Nàgeli reproached Mozart, who according to him -"cannot be termed a correct composer of instrumental music, for he -mingled and confounded 'cantabilität' with a free instrumental play of -ideas, and his very wealth of fancy and emotional gifts led to a sort of -fermentation in the whole province of art, causing it rather to -retrograde than to advance, and exercising a very powerful influence -over it" (Vorlesungen, p. 157). It certainly appears strange in our -times to see Mozart considered as the disturbing and exciting element in -the development of art; and Nägeli was thoroughly sincere and in earnest -in his musical judgments.] - -[Footnote 46: E. T. A. Hoffmann says of this symphony (called the "swan song"): -"Love and melancholy breathe forth in purest spirit tones; we feel -ourselves drawn with inexpressible longing towards the forms which -beckon us to join them in their flight through the clouds to another -sphere." A. Apel attempted to turn the symphony into a poem, which was -to imitate in words the character of the different movements (A. M. Z., -VIII., p. 453). Cf. Ludw. Bauer's Schriften, p. 471.] - -[Footnote 47: It is characteristic that in the first and last movements the -second theme is only fully expressed when it enters for the second time -in the minor; in the major key it is far less expressive.] - -[Footnote 48: A mistake long perpetrated in the andante has been pointed out -by Schumann (N. Ztschr., XV., p. 150. Ges. Schr., IV., p. 62). In both -parts four bars (I., 29-32; II., 48-51) are repeated twice, with altered -instrumentation; this is altogether inexcusable, for it causes the same -transition from D flat major to minor (G flat major, A flat minor) to -occur twice in succession. A glance at the original score makes the -matter clear. Mozart originally wrote the four bars 33-36 (II., 52-55), -and then added the other version on a separate page, probably as -being easier; they were copied one after the other by mistake. That -he intended the demisemiquaver passage for the wind instruments may -be inferred from the arrangement with clarinets to be presently noted, -where it is given to those instruments.] - -[Footnote 49: Palmer (Evangel. Hymnologie, p. 246) finds no pain in this -symphony, only pure life and gaiety.] - -[Footnote 50: H. Hirschbach says, apparently quite seriously (N. Zeitschr. Mus., -VIII., p. 190): "There are many people who fight shy of Beethoven's -music, finding his earlier symphonies tolerable, but the later bizarre, -obscure, and so on; but Mozart's G minor symphony is acknowledged to -be a masterpiece, though here and there may be one who thinks this -so-called symphony really does not deserve the name, for it is -distinguished neither by originality nor workmanship, and is a -commonplace mild piece of music, requiring no great effort for its -production (even if we set aside the greater demands of the present -day), and it was apparently not considered as a great work by -Beethoven."] - -[Footnote 51: It has been called, I do not know when or by whom, the "Jupiter" -symphony, more, doubtless, to indicate its majesty and splendour than -with a view to any deeper symbolism.] - -[Footnote 52: Sechtcr gave a technical analysis in the appendix to Marpurg's -Kunst der Fuge (Wien: Diabelli) II., p. 161. Lobe, Compositionslehre, -III., p. 393.] - -[Footnote 53: Nägeli (Vorlesungen, p. 162) subjects this symphony to a searching -criticism, in order to prove that Mozart (to whom he allows great -originality and power of combination, extolling him as the first to form -the orchestra into a perfect organic whole) was wanting in repose, and -often shallow and confused.] - -[Footnote 54: Ad. Kullak (Das Musikalisch Schöne, p. 80) remarks that numerous -calculations undertaken by him serve to show that Hadyn and Mozart, in -the majority of their works, keep pretty close to the law of proportion -laid down by Zeising (according to which a whole divided into unequal -parts will not give the effect of symmetry unless the smaller parts bear -the same ratio to the larger as the larger to the whole), and that in -some cases they follow it exactly.] - -[Footnote 55: Mendelssohn's Briefe, II., p. 337.] - -[Footnote 56: Marx, Musik. des Neunzehnten Jahrh., p. 68.] - -[Footnote 57: Ad. Kullak, Das Musikalisch Schöne, p. 149.] - -[Footnote 58: Ambros, Gränzen der Musik und Poesie, pp. 64,123, 141.] - - -=== - - - -MOZART 35 - -BY DAVID WIDGER - - - - -CHAPTER XXXV. MOZART AS AN OPERA COMPOSER. - -THE unexampled success of the "Entführung," which brought fame to the -composer and pecuniary gain to the theatrical management, justified -Mozart in his expectation that the Emperor, having called German opera -into existence,[1] would commission him to further its prosperous -career. He was indeed offered an opera, but the libretto, ''Welches ist -die beste Nation?" was such miserable trash, that Mozart would not waste -his music on it. Umlauf composed it, but it was hissed off the stage; -and Mozart wrote to his father (December 21, 1782) that he did not know -whether the poet or the composer were most deserving of the condemnation -the work received. In fact, the impulse given to German opera seemed -only too likely to die away without lasting result. Stephanie the -younger[2] contrived by his intrigues to obtain the dismissal of Müller -as conductor of the opera, and the appointment of a committee, whose -jealousies and party feelings he turned so skilfully to account that -they were all speedily satisfied to leave the actual power in his hands. -The incessant disagreements which were the consequence, the hostility -between composers, actors, and musicians, disgusted Kienmayer and -Rosenberg, the managers of the opera, and the Emperor himself. Nor were -the repeated experiments made with the works of mediocre - -{THE OPERA IN VIENNA.} - -(43) - -composers (which so enraged Mozart that he purposed writing a critique -on them with examples) likely to find favour with the Emperor. Add to -this that his immediate musical surroundings, Salieri at the head of -them, were at least passively opposed to German opera, and it will not -be thought surprising that the Emperor Joseph angrily renounced German -opera, and followed his own taste in the reinstalment of the Italian. -Chance brought this determination to a point. A French company of -considerable merit, both in opera and the drama, was performing at the -Kamthnerthortheater, and was patronised by the Emperor.[3] He sent for -the performers to Schönbrunn in the summer of - -1782, and entertained them in the castle during their stay. They were -dissatisfied with the hospitality they there received, and one of the -actors had the ill-breeding, during a meal at which the Emperor happened -to come in, to offer him a glass of wine, with the request that he would -try it, and say whether such wretched Burgundy was good enough for them -to drink. The Emperor drank the wine, and answered that it was good -enough for him, but he had no doubt they would find better wine in -France.[4] - -On the dismissal of this company, Count Rosenberg was commissioned to -engage the best singers in Italy, male and female, for an opera buffa, -which was all that was then thought feasible; and at the end of the -carnival of 1783 the German opera company was dissolved, its best -members associating themselves with the new Italian company.[5] Under -these circumstances there was not much hope of success for German -operatic compositions; and only three new pieces were produced in 1783, -none of them with any success.[6] Mozart wrote to his father (February -5, 1783):-- - -{MOZART AS AN OPERA COMPOSER.} - -(44) - -Yesterday my opera was given for the seventeenth time with the usual -applause, and to a crowded house. Next Friday a new opera is to -be given, the music an absurdity (Galimathias) by a young pupil of -Wagenseil's - -(Joh. Mederitsch), called "Gallus cantans in abore sedens gigirigi -faciens." It will probably fail, but perhaps not so completely as -its predecessor, an old opera by Gassmann," "La Notte Critica" ("The -Disturbed Night"), which was scarcely brought to a third performance. -Before this there was Umlaufs execrable opera, which only reached a -second. It is as though, knowing that German opera is to die after -Easter, they wanted to hasten its end by their own act: and they are -Germans--confound them!--who do this. My own opinion is, that Italian -opera will not survive long, and I shall always hold to the German; I -prefer it, although it is certainly more trouble. Every nation has its -opera, why should we Germans not have ours? Is not our language as fit -for singing as the French and English? and more so than the Russian? -Well, I am writing a German opera all _for myself_. - -I have chosen as subject Goldoni's comedy "Il Servitore di Due Padroni," -and the first act is already translated--the translator being Baron -Binder! But it is to be a secret until it is finished. Now, what do you -think of that? Don't you think that I shall do myself some good by it? - -There can be little doubt that his father would have answered this -question in the affirmative, but he would have been more sceptical as to -the feasibility of the plan, and practical considerations seem to have -caused its abandonment. Two German airs, preserved in draft score, -belong by their handwriting to this period; one for a tenor (indicated -as Carl), "Müsst ich auch durch tausend Drachen" (435 K.), and the other -for a bass (Wahrmond), "Manner suchen stets zu naschen" (433 K.). No -dramatic situation is recognisable, and it cannot therefore be affirmed -that they were composed for this opera. The composition of a German -opera for which he afterwards received a commission from Mannheim -came to nothing. Klein sent him a libretto (doubtless "Rudolf von -Habsburg")[7] with the request that he would set it to music, whereupon -Mozart answered (March 21, 1785):[8]-- - -{DECLINE OF GERMAN OPERA.} - -(45) - -I ought certainly to have acknowledged before now the receipt of your -letter and the accompanying parcel; but it is not the case that I have -in the meantime received two other letters from you; if so, I should -certainly have remembered to answer your first as I now do, having -received your other two letters on the last post-day. But I should have -had no more to say to you on the subject of the opera than I now have. -My dear sir, my hands are so full of work that I have not a moment to -myself. You know by experience, even better than I, that a thing of this -sort must be read carefully and attentively several times over. Hitherto -I have not been able to read it once without interruption. All that I -can say at present is, that I should like to keep the piece a little -longer, if you will be kind enough to leave it with me. In case I should -feel disposed to set it to music, I should wish to know beforehand -whether it is intended for performance at any particular place? For such -a work ought not to be left to chance. I shall hope for an explanation -on this point from you. - -The reasons for the final rejection of this opera are unknown. -Mozart's account of the position of German opera in Vienna is very -characteristic. In 1784, it was almost extinct; only Madame Lange -selected the "Entführung" for her benefit on January 25, conducted -by Mozart himself (Wiener Zeitung, 1784, No. 7); and Adamberger gave -Gluck's "Pilgrimme von Mecca" on February 15. Besides these, Benda's -melodramas, "Ariadne" and "Medea," Jacquet's chief characters, were -performed a few times. But when in the following year the desire -for German opera revived, it was decided to reappoint the -Kamthnerthortheater, which had been freed from its connection with -the court, and to reinstate the German opera in competition with the -Italian. On this point Mozart continues:-- - -I can give you no present information as to the intended German opera, -as (with the exception of the alterations at the Karnthnerthor-theater) -everything goes on very quietly. It is to be opened at the beginning of -October. I do not prophesy a very prosperous result. It seems to me that -the plans now formed are more likely to end in the final overthrow -of the temporarily depressed German opera, than in its elevation and -support. My sister-in-law Lange alone is to be allowed to join the -German company. Cavalieri, Adamberger, Teyber, all pure Germans, of -whom our fatherland may be proud, are to stay in the Italian theatre, to -oppose and rival their own countrymen. German singers at present may be -easily counted! And even if they be as good - -{MOZART AS AN OPERA COMPOSER.} - -(46) - -as those I have named, which I very much doubt, the present management -appears to me too economical and too little patriotic to think of paying -the services of strangers, when they can have as good or better on the -spot. The Italian _troupe_ has no need of them in point of numbers; it -can stand alone. The present idea is to employ _acteurs and actrices_ -for the German opera who sing from need; unfortunately the very men are -retained as the _directeurs_ of the theatre and the orchestra who have -contributed by their want of knowledge and energy to the downfall of -their own edifice. If only a single patriot were to come to the fore, -it would give the affair another aspect. But in that case, perhaps, -the budding national theatre would break forth into blossom; and what a -disgrace it would be to Germany if we Germans once began in earnest to -think, or act, or speak and even--to _sing_ German! Do not blame me, my -dear sir, if I go too far in my zeal. Convinced that I am addressing a -fellow _German_, I give my tongue free course, which unfortunately is -so seldom possible that after such an outpouring of the heart one feels -that one might get drunk without any risk of injuring one's health. - -The performances of the new German opera, which opened on October 16, -1785, with Monsigny's "Félix," were in no respect equal to those of the -Italian opera. Mozart, whose "Entführung" maintained its place in the -repertory until March, 1788, when the house was again closed, was not -further employed as composer.[9] Only on one occasion did the Emperor -seem to recollect that Mozart was the only opera composer of German -birth who could rival the Italian Salieri. At a "Festival in honour of -the Governor-General of the Netherlands," dramatic performances were -commanded by the Emperor in the Orangery at Schönbrunn, on February -7, 1796; the most distinguished actors and singers, both Italian and -German, were engaged.[10] Stephanie junior was commissioned to prepare -the German occasional - -{DER SCHAUSPIELDIRECTOR, 1786.} - -(47) - -piece; it was called "Der Schauspieldirector."[11] The dramatis persona -were as follows:--[See Page Image] - -The plot consists in the difficulties of Frank, the manager, in engaging -a company for a theatre he has received permission to open in Salzburg. -Many actors and actresses offer their services, and perform favourite -scenes by way of testing their ability, the piece concluding with a -similar trial of operatic music. The piece was loosely put together, and -its main interest consisted in allusions to the passing events in the -theatrical world; these are sometimes too palpable and rather coarse. -Casti's little Italian opera, written for the same occasion, "Prima la -Musica e poi le Parole" is, on the contrary, really witty and amusing, -and allows the composer scope for a genuine musical work. Salieri, whose -music, according to Mozart, was tolerable, but nothing more,[12] thus -gained a great advantage over Mozart, to whom was entrusted the musical -portion of the German piece. There could here, of course, be no question -of dramatic interest and individual characterisation. The two singers -bring their airs with them as prepared trials of skill. The object was -to mark the contrast between them. The two songs are alike in design, -with one slow and one agitated movement, and they further resemble each -other in their mixture of sentimentality and gaiety, and in the number -of bravura passages, - -{MOZART AS AN OPERA COMPOSER.} - -(48) - -which sometimes go to a considerable height. It is in the details that -everything is different, even to the instrumentation, and that the -sharpest possible contrast is maintained both in the parts and style of -delivery. There is no great liveliness of movement until--the manager -being perplexed to make his choice between the two--they fall to -quarrelling, each of them reiterating with increasing warmth: "Ich bin -die beste Sangerin." Thereupon the tenor comes to the rescue, and seeks -to allay the irritation of the enraged ladies, giving occasion for -a comic terzet full of life and humour. This was composed by Mozart, -probably because it amused him, on January 18, 1786, although the play -was not finished until February 3. Although the situation in itself -cannot be said to possess much interest, there is a certain charm in -the piece, and the forms which are usually only of artistic significance -have here a substantial basis. The imitations with which the singers -follow on each other's heels, the passages in which they run up to -a fabulous height, the alternation of rapid _parlando_ with affected -delivery and extraordinary passages--all these not only take effect as -means of dramatic characterisation, but give the hearers the pleasure -of deciding for themselves which of the two aspirants really is the best -singer. The peacemaking tenor attaches., himself now to one, now to the -other singer, and then again opposes them both, giving a certain amount -of dignity to the dispute by means of musical and dramatic contrasts. -Indeed the whole scene is so lively, so gay, so free from caricature, -and so euphonious, that the terzet may well claim a place with more -important works. The concluding operatic piece is a vaudeville. Each -solo voice delivers a verse of the song, passing with characteristic -modifications into the principal motif, which takes the form of a -chorus. The bass voice comes last; the actor Buf gives his decision for -the first buffo. This was Lange, who himself used to say that he could -only make a singer at need (Selbtsbiographie, p. 126), and who thus -ironically parodied his own words. - -Mozart also wrote an overture to the piece, in which, less bound by the -triviality of the text, he could move more - -{DER SCHAUSPIELDIRECTOR, 1786.} - -(49) - -freely. It consists of a single movement in quick time. The first -bars--[See Page Image] - -fall at once into the tone of the whole, and form in their contrasting -elements the motifs which are afterwards intersected in the working-out. -The two subsequent better-sustained melodies possess in their easy -imitative movement, the charm of a lively, excited conversation, the -transition passage forming a piquant contrast; in short, the whole -overture resembles a comedy with the different characters and intrigues -crossing each other, until at last all ends well. The whole festival was -twice repeated at the Kamthnerthortheater soon after the performance at -Schönbrunn.[13] - -Several later attempts were made to give the piece more action and more -music, so as to preserve Mozart's work on the stage. - -When Goethe undertook the management of the court theatre at Weimar in -1791, numerous Italian and French operas were arranged to German words -by the indefatigable concertmeister Kranz and the industrious theatrical -poet, Vulpius.[14] Goethe, being in Rome in the summer of 1787, was -extremely amused by the performance of an intermezzo, "L' Impresario -in angustie,"[15] which Cimarosa had composed in the Carnival of the -previous year (at the same time as Mozart's "Schauspieldirector") for -the Teatro Nuovo at Naples.[16] He at once had it arranged as a comic -opera, with the title of "Theatralische Abenteuer," and the whole of the -music to Mozart's "Schauspieldirector" introduced.[17] - -{MOZART AS AN OPERA COMPOSER.} - -(50) - -It was performed at Weimar on October 24,1791, with great success, -and afterwards repeated with alterations[18] on other stages during a -considerable time. - -In Vienna, after the operetta had again been thrice performed in -1797, an experiment was made in 1814 with an increased adaptation by -Stegmeyer, but without lasting success.[19] Within the last few years -L. Schneider has made a false step in the publication of the -"Schauspieldirector, or Mozart und Schikaneder."[20] Wishing to preserve -Mozart's music free from foreign contact, he chose out some songs, which -were suitably instrumentalised by Taubert, and fitted fairly well into -the new piece.[21] But in order to give the plot more interest he fell -into the unpardonable error of making Mozart himself the hero of the -opera, composing the "Zauberflöte" - -under Schikaneder's direction. It is incredible that any one should have -been capable of thus misrepresenting the master whom the resuscitation -of his music was intended to honour, as a senseless, infatuated coxcomb, -contemptible both in his obsequious submission to Schikaneder and -his immoral relations with his sister-in-law, Aloysia Lange. In 1856 -Mozart's operetta was given in Paris at the Bouffes Parisiens with great -success; but with what adaptations I am not aware. - -Mozart was altogether deceived in his expectation that the Italian opera -would not find favour with the public. Joseph made himself acquainted -through Salieri with all the most distinguished artists whom the latter -had heard in Italy (Mosel, Salieri, p. 75), and gave him full power to -engage those he thought fit; he even made this a special object of his -own journey through Italy. He thus succeeded in bringing together a -_personnel_ for opera buffa, which through a long series of years, with -various changes, was unsurpassed in the - -{REVIVAL OF ITALIAN OPERA, 1783.} - -(51) - -unanimous opinion of the public and connoisseurs.[22] The already -mentioned Vienna singers who went over to the Italian opera, Lange, -Cavalieri, and Teyber, were joined by Bemasconi, already past her -prime, in honour of whom Gluck's "Iphigenie in Tauris" was performed in -Italian, in December, 1783.[23] From Italy came Nancy Storace, Mandini, -and afterwards Celestine Coltellini. Of the German male singers they -had indeed dismissed Fischer, whose loss Mozart rightly declared to -be irreparable, but in Benucci they acquired a bass buffo of the first -rank. True, he left Vienna the same year, but Marchesini, who replaced -him, was not nearly so popular, and Benucci was recalled the following -year. The baritones were Mandini, Bussani, and Pugnetti, together -with the tenor, O'Kelly (Kelly), and the Germans, Adamberger, Saal, and -Ruprecht. On April 22, 1783, the Italian opera was opened with Salieri's -newly adapted opera "La Scuola dei Gelosi."[24] It was a decided success, -and was repeated twenty-five times, although a cold criticism of the -opening night asserts: "The prima donna sang extremely well, but her -gesticulation is intolerable. The buffo bore away the palm for natural -acting. The other performers are unworthy of notice."[25] The next -opera, by Cimarosa, "L' Italiana in Londra" (May 5), was not so well -received; but on the other hand Sarti's opera, "Fra due Litiganti il -Terzo Gode" (May 25) excited extraordinary enthusiasm.[26] Schroder -writes on July 26, 1783: "The Italian opera is much sought after, and -the German - -{MOZART AS AN OPERA COMPOSER.} - -(52) - -theatre is empty."[27] Earnestly as Mozart desired to be employed upon -a German opera, he could not fail to be excited by the performances and -success of the Italian opera, and his overpowering love of the drama -urged him again to employ his genius in the field best fitted for its -efforts. He writes to his father (May 7, 1783):-- - -The Italian opera has recommenced, and pleases very much. The buffo, -named Benucci, is particularly good. I have looked through at least a -hundred (indeed more) ibretti, but cannot find one satisfactory--that -is, unless much were to be altered. And a poet would often rather write -a new one than alter--indeed the new one is sure to be better. We have -here a certain Abbate da Ponte as poet; he is driven frantic with -the alterations he has to make for the theatre; he is, _per obligo_, -employed on a new libretto for Salieri, and will be at least two months -over it;[28] then he has promised to do something new for me. But who -knows whether he can or will keep his word? You know how fair-spoken the -Italians are! If he tells Salieri about it, I shall get no opera as long -as I live--and I should like to show what I can do in Italian music. -Sometimes I have thought that if Varesco does not bear malice on -account of the Munich opera he might write me a new book for seven -characters--but you know best if that can be done. He might be writing -down his ideas, and we could work them out together in Salzburg. The -essential point is that the whole thing should be very comic and, if -possible, that it should have two good female parts--one seria, the -other mezzo carattere, but both equal in importance. The third female -might be quite buffa, and all the male parts if necessary. If you think -anything can be done with Varesco, please speak to him very soon. - -By way of inducement to Varesco, he sent him word that he might reckon -on a fee of four or five hundred gulden, for that it was customary in -Vienna to give the poet the receipts of the third representation. Some -time after he asks again (June 7, 1783) - -Do you know nothing of Varesco? I beg you not to forget; if I were in -Salzburg we could work at it together so well, if we had a plan ready -prepared. - -Before Mozart went to Salzburg he had an instance of what he might -expect in the opposition made to the insertion of his two airs for -Adamberger and Madame Lange in - -{L' OCA DEL CAIRO, 1783.} - -(53) - -Anfossi's "Curioso Indiscreto" (Vol. II., p. 326). On his arrival -in Salzburg at the end of July, he found Varesco quite ready for -the undertaking, which was to begin at once, and to be completed in -Salzburg. - -Among Mozart's remains were found in Varesco's handwriting the first act -complete, and the prose table of contents in detail of the second and -third acts of the opera "L' Oca del Cairo" ("The Goose of Cairo"). The -_dramatis personæ_ are as follows:-- - -The contents are briefly these:-- - -Don Pippo, Marchese di Ripasecca, a vain and haughty fool, has by his -ill-treatment forced his wife, Donna Pantea, to leave him; he believes -her dead, but she is living, concealed at a place over the seas. -Biondello, hated by him, loves his daughter Celidora, whom he intends to -marry to Count Lionetto di Casavuota; he himself has fallen in love with -her companion Lavina, who has come to an understanding with Calandrino, -Biondello's friend and Pantea's relative. The two maidens are confined -in a fortified tower and closely guarded. In full conviction of his -security, Don Pippo has been induced to promise Biondello that if he -succeeds in gaining access to Celidora within the year, her hand shall -be his reward. Hereupon, Calandrino, a skilful mechanic, has constructed -an artificial goose large enough to contain a man, and with machinery -capable of motion; this is conveyed to Pantea, who, disguised in Moorish -costume, is to display it as a show; it is hoped that Pippo may consent -to its exhibition before the two maidens, and that Biondello may thus -be conveyed into the tower. As a condition Calandrino exacts from his -friend a promise of Lavina's hand. - -The opera begins on the anniversary of the wager. Don Pippo is about -to marry Lavina, and awaits the arrival of Count Lionetto; his house is -filled with preparations for festivity. The curtain rises on the whole -household, including the coquettish maid Auretta and her lover the -house-steward, Chichibio, having their hair dressed. Calandrino - -{MOZART AS AN OPERA COMPOSER.} - -(54) - -enters in much perturbation; Pantea has not arrived, and a violent storm -gives rise to the fear that she may fail altogether; some other device -must be hit upon. He promises marriage to Chichibio and Auretta, if -they can succeed in abstracting Don Pippo's clothes, and preventing his -leaving the castle, which they undertake. The scene changes: Celidora -and Lavina are conversing on a terrace on the fourth story of the tower, -to which they have obtained access in secret; the lovers appear below on -the other side of the moat, and a tender quartet is carried on. The new -plan is to throw a bridge across the moat and scale the tower. Workmen -arrive and the task is eagerly commenced; but Chichibio and Auretta, -chattering about their marriage, have failed to keep watch, and now -announce that Don Pippo has gone out; he himself speedily appears, -summons the watch, stops the work, and drives away the lovers. - -In the second act Pantea lands with the goose in a violent storm. It -is a fair-day, and the assembled people are full of amazement at the -natural and rational movements of the goose, which is supposed to come -from Cairo. Auretta and Chichibio inform Don Pippo of the wonderful -sight. He causes Pantea to come forward, and she informs him that the -goose having lost its speech from fright during the storm can only be -restored by the use of a certain herb growing in a lonely garden. Don -Pippo, delighted, commissions Calandrino to take Pantea and the -goose into the pleasure-garden, that so the two maidens may enjoy the -spectacle. The finale represents the fair close to the tower, the two -ladies looking on from the window. A dispute arises, in which Biondello -takes part; Don Pippo, as magistrate, is called on to do justice; some -ridiculous action is carried on, ending in a general tumult. Pantea then -puts Biondello into the goose and enters the garden, while Calandrino -informs Don Pippo that Biondello, in despair, has set out to sea in a -small boat, which is confirmed by the weeping Auretta. Don Pippo, in -high delight, forms a ludicrous wedding procession and proceeds to the -tower, where Celidora and Lavina stand at the window while the goose -makes various antics for the amusement of the crowd. Finally, Don Pippo -appears in the great hall of the tower, accompanied by the two maidens -and the goose, in full confidence of his triumph, and only waiting the -arrival of Count Lionetto to celebrate the wedding. Chichibio enters -with an uncourteous refusal from the Count. As Don Pippo is in the act -of giving his hand to Lavina, Pantea advances in her true person, the -goose begins to speak, opens, and Biondello steps out; Don Pippo is -beside himself, and is ridiculed by them all; he ends by promising to -amend his ways, and the three couples are made happy. - -No doubt this summarised account has omitted to take note of many comic -and effective touches; but on the other hand it has suppressed many -absurdities--the general impression of a fantastic and senseless plot -not being affected - -{L'OCA DEL CAIRO, 1783.} - -(55) - -by the treatment of the details. In the first glow of delight at having -a new libretto, Mozart set to work composing at once in Salzburg, -and after his return to Vienna he anticipated different scenes that -interested him; but he was soon seized with misgivings that the opera -could not be put on the stage without important alterations. He wrote on -the subject to his father (December 6, 1783):-- - -Only three more airs, and the first act of my opera is finished. With -the aria buffa, the quartet, and the finale I can safely say I am -perfectly satisfied--in fact, quite delighted. So that I should be -sorry to have written so much good music in vain, which must be the case -unless some indispensable alterations are made. Neither you, nor -the Abbate Varesco, nor I, reflected that it would have a very bad -effect--indeed, would ruin the opera--if neither of the two principal -female characters were to appear on the stage until the last moment, -but were to be always wandering about on the ramparts or terraces of -the tower. One act of this might pass muster, but I am sure the audience -would not stand a second. This objection first occurred to me in Linz, -and I see no way out of it but to make some scenes of the second act -take place in the fortress--_camera della fortezza_. The scene where -Don Pippo gives orders to bring the goose in might be the room in which -Celidora and Lavina are. Pantea comes in with the goose. Biondello pops -out; they hear Don Pippo coming. In goes Biondello again. This would -give an opening for a good quintet, which would be all the more comic -because the goose sings too. I must confess to you, however, that my -only reason for not objecting to the whole of the goose business is that -two men of such penetration and judgment as yourself and Varesco see -nothing against it. But there would still be time to think of something -else. Biondello has only undertaken to make his way into the tower; -whether he does it as a sham goose, or by any other trick, makes no -difference at all. I cannot help thinking that many more comic and more -natural scenes might be brought about if Biondello were to remain in -human form. For instance, the news that Biondello had committed himself -to the waves in despair, might arrive quite at the beginning of the -second act, and he might then disguise himself as a Turk, or something -of the kind, and bring Pantea in as a slave (Moorish, of course). Don -Pippo is anxious to purchase a slave for his wife; and the slave-dealer -and the Mooress are admitted into the fortress for inspection. This -leads to much cajoling and mockery of her husband on the part of Pantea, -which would improve the part, for the more comic the opera is the -better. I hope you will explain my opinion fully to the Abbate Varesco, -and I must beg him to set to work in earnest. I have worked hard enough -in the short time. Indeed, I should have finished the first act, if I -did not require some alterations made in some of the words; but I would -rather you did not mention this to him at present. - -{MOZART AS AN OPERA COMPOSER.} - -(56) - -In the postcript he again begs his father to consult Varesco, and hurry -him on. On further consideration, however, he thought he had still -conceded too much, and a few days afterwards he wrote (December 10, -1783):-- - -Do all you can to make my book a success. I should like to bring the -ladies down from the ramparts in the first act, when they sing their -airs, and I would willingly allow them to sing the whole finale -upstairs. - -Varesco was quite willing to make the alteration, which was easily to be -effected by a change of scene. The altered version exists, together with -the original text; but we know nothing further on the subject. Mozart -seems to have made more extensive demands. He wrote to his father -(December 24, 1783):-- - -Now, for what is most necessary with regard to the opera. The Abbate -Varesco has written after Lavina's cavatina: "A cui serverà la musica -della cavatina antecedente"--that is of Celidora's cavatina--but -this will not do. The words of Celidora's cavatina are hopeless and -inconsolable, while those of Lavina's are full of hope and consolation. -Besides, making one character pipe a song after another is quite an -exploded fashion, and never was a popular one. At the best it is only -fitted for a soubrette and her lover in the _ultime parti._ My idea -would be to begin the scene with a good duet, for which the same words, -with a short appendix for the coda, would answer very well. After the -duet, the conversation could proceed as before: "E quando s' ode il -cam-panello della custode." Mademoiselle Lavina will have the goodness -to take her departure instead of Celidora, so that the latter, as prima -donna, may have an opportunity of singing a grand bravura air. This -would, I think, be an improvement for the composer, the singers, and -the audience, and the whole scene would gain in interest. Besides, it -is scarcely likely that the same song would be tolerated from the second -singer after being sung by the first. I do not know what you both mean -by the following direction: At the end of the interpolated scene for the -two women in the first act, the Abbate has written: "Siegue la scena -VIII che prima era la VII e cosi cangiansi di mano in mano i numeri." This -leads me to suppose that he intends the scene after the quartet, where -the two ladies, one after the other, sing their little songs from the -window, to remain. But that is impossible. The act would be lengthened -out of all proportion, and quite spoiled. I always thought it ludicrous -to read: _Celidora_. "Tu qui m' attendi, arnica. Alla custode farmi -veder vogl' io; ci andrai tu puoi." Lavina: "Si dolce arnica, addio." -(Celidora parte.) Lavina sings her song. Celidora comes back and says: -"Eccomi, or vanne," &c.; and then out goes Lavina, and Celidora sings -her air; they relieve one another, like soldiers on guard. It is much -more natural - -{L'OCA DEL CAIRO, 1783.} - -(57) - -also that, being all together for the quartet, to arrange their -contemplated attack, the men should go out to collect the necessary -assistants, leaving the two women quietly in their retreat. All that can -be allowed them is a few lines of recitative. I cannot imagine that it -was intended to prolong the scene, only that the direction for closing -it was omitted by mistake. I am very curious to hear your good idea for -bringing Biondello into the tower; if it is only comical enough, we will -overlook a good deal that may be unnatural. I am not at all afraid of -a few fireworks; all the arrangements here are so good that there is no -danger of fire. "Medea" has been given repeatedly, at the end of which -half the palace falls in ruins while the other half is in flames. - -Whether Varesco refused to give up the "goose business," whether he was -afraid of further endless emendations, or what his reasons were, who -can tell? In any case no radical change was made in the text, and, much -against his will, Mozart was forced to lay the opera aside. Besides a -recitative and the cursory sketch of a tenor air, six numbers of the -first act are preserved in draft score (422 K.), with, as usual, the -voice parts and bass completely written out, and the ritornelli -and accompaniment more or less exactly indicated for the different -instruments. Four numbers belong to Auretta and Chichibio; the -comparison with "Figaro" is an obvious one, and though Chichibio is -far from being a Figaro, Auretta approaches much nearer to Susanna. The -situation of her air (2) is not badly imagined. Calandrino, hearing from -Auretta that Chichibio is very jealous, embraces her in jest and says, -"What would Chichibio say if he saw us?" Thereupon that personage -enters, and Auretta, pretending not to observe him, sings:-- - - Se fosse qui nascoso - Quell' Argo mio geloso, - O, poverina me! - - Direbbe: "O maledetta, - Pettegola, fraschetta! - La fedeltà dov' è?" - - Pur sono innocente, - Se fosse presente, - Direbbe tra se: - - "O qui non c' è pericolo, - Un caso si ridicolo - Goder si deve affè." - -{MOZART AS AN OPERA COMPOSER.} - -(58) - -The musical apprehension of the contrasts contained in the words is -remarkably humorous and graceful, and especially the point to which -the whole tends. "O qui non cè peri-colo" is as charmingly roguish as -anything in "Figaro." Chichibio's comic air (3) is in the genuine -style of Italian buffo, and consists of a rapid _parlando_; after the -direction to close with the ritornello it acquires some originality of -colour from the instrumentation. In the shorter of the two duets -between Auretta and Chichibio, the orchestra was also intended to play a -prominent part. The first duet (1), however, is more important and -more broadly designed; Auretta provokes Chichibio's jealousy in the -traditional manner, and then seeks to appease it. The whole piece, with -its shifting humours, is lively and amusing, and the subject--[See Page -Image] - -carried out by the orchestra and toyed with by the voice-parts, is of -a mingled grace and intensity truly worthy of Mozart. Then there are -sketches of two great ensembles. The quartet (6) in which the lovers -converse from afar has less of a buffo character and more true -feeling; the two pairs of lovers are clearly distinguished, and their -characteristics sharply defined. The finale (7), on the other hand, is -altogether in the liveliest buffo tone. At the beginning the lovers are -full of eagerness and hope at the building of the bridge, then follows -the excitement of suspense, and when Don Pippo actually appears a -general tumult breaks out. It does not lie in the nature of this -situation to make the same display of rich variety, nor of the dignity -of deep emotion, which we admire so much in other finales; it is -calculated rather to excite wonder at the long continuation of spirited -movement and ascending climax. In the last presto, especially, this is -quite extraordinary; here the chorus (contrary to custom in comic opera) -is independent and full of effect, yielding to no later work of the same -kind. A proof of the figure Don Pippo is intended to cut is given in -this - -{LO SPOSO DELUSO, 1784.} - -(59) - -finale. The short andante maestoso, "Io sono offeso! La mia eccellenza, -la prepotenza soffrir non de," indicates a grand buffo part such as -never occurs in any other opera. We have, it is true, but a weak and -shadowy outline of all these movements. Let the experiment be made of -imagining corresponding numbers of "Figaro" and "Don Giovanni" deprived -of all their orchestral parts except the bass, and a few bars to suggest -the different motifs, and how much weaker and more colourless will be -the image that remains! So, also, we can scarcely arrive at even an -approximate idea of the life which Mozart would have thrown into -these sketches when he came to work them out in all their detail and -brilliancy of colouring. They betray, in common with all the works of -this period, the firm touch of a master, and possess a singular interest -to the student, even in their incomplete form. Who can say that Mozart, -if he had finished the opera, would not have succeeded in overcoming the -weaker points of the libretto? And yet he scarcely seems to have hoped -as much himself, seeing that he finally laid aside the work, begun with -so much eagerness and carried on so far. But he was far from abandoning -his design, and seeing no immediate prospect of a new libretto, he -selected from among the numerous books which he had collected one that -he might at least hope to see put on the stage. This was "Lo Sposo -Deluso" ("Der gefoppte Brautigam"), probably the same opera which was -produced at Padua in the winter of 1787, with music by Cav. Pado.[29] -That it was a libretto which had already been made use of follows -from the fact that Mozart made some corrections from the original of -inaccuracies as to names committed by the ignorant Italian copyist. -It is not necessary for the comprehension of the portions composed by -Mozart (430 K.) to transcribe the whole of the complicated contents of -the book; the list of characters, with the names of the singers to whom -Mozart alloted the various parts, will suffice to show the drift of the -plot. - -The _dramatis personæ_, then, are as follows:--[See Page Image] - -{MOZART AS AN OPERA COMPOSER.} - -(60) - -The time at which Mozart was at work on this libretto falls within that -during which Nancy Storace performed as Signora Fischer. She had been -induced to marry an English violinist, a Dr. Fisher, at Vienna, who -ill-treated her, and was thereupon sent out of the country by the -Emperor. This was in the year 1784,[30] and as Nancy Storace never -afterwards bore the name of her husband, she could only have been so -described by Mozart shortly after her marriage. As the opera begins, -Bocconio, awaiting his bride, is discovered giving the finishing touches -to his toilet; his friend Pulcherio, the woman-hater, is present, and -jeers at him; so do Don Asdrubale and Bettina, who declares that if her -uncle does not provide her with a husband without delay, she will give -him and his wife no peace. While he is defending himself, the arrival -of the bride is announced; the confusion increases, for he is not yet -ready, and the others all torment him the more. Mozart has connected -this quartet with the overture, which leads into the first scene without -a break. We have a merry flourish of trumpets and drums, taken up by the -whole orchestra, and at once we are in the midst of wedding festivities -and joyous excitement. The plan of the - -{LO SPOSO DELUSO, 1784.} - -(61) - -overture, though without any actual allusion, reminds us of that to -"Figaro," but falls short of it in spirit and refinement. The merriment -is interrupted by a tender andante 3-8, in which strings and wind -instruments alternate, prefiguring the amorous emotions which are to -have a place in the drama. The flourish is heard again, the curtain -rises, and the andante is repeated in its main points, the instrumental -movement serving as a foundation for the free motion of the voices. The -different points are more sharply accented, and the hearer's enjoyment -is intensified by the richer and more brilliant working out of the -movement, which shows itself, as it were, in an altogether new light. -The ensemble is inspired with cheerful humour, full of dramatic life, -and showing distinctly Mozart's own art of giving independence and -freedom to the voices and orchestra, as members of one perfect whole. -The draft is worked out somewhat beyond the first design, the stringed -instruments being almost written in full, and the principal entrances of -the wind instruments at least indicated. We are thus enabled to form -a sufficient idea of the movement, which, had it been completed, would -have been so brilliant an introduction to the opera. Two airs are -preserved in the customary sketch form--voices and bass entire, and -detached indications for the violin. In the soprano air (3), however, -the outline is so characteristic that but a small effort of imagination -suffices to endow it with the effect of full instrumentation. The -caricatured haughtiness of the Roman lady Eugenia is shown in the very -first words:-- - -The contrast between pomposity and volubility is given at once; the -object is to balance one with the other, so that they may appear natural -displays of a consistent character. - -The moderation of tone thus obtained is all the more necessary from the -character being a female one, since a woman cannot be caricatured to -the point of being revolting, as a man can, without injury to the comic -effect. - - Nacqui all' aura trionfale, - Del Romano Campidoglio - E non trovo per le scale, - Che mi venga ad incontrar? - -{MOZART AS AN OPERA COMPOSER.} - -(62) - -Caricature, which emphasises certain characteristic features of an -individual at the cost of others less striking must always be an -objectionable mode of musical representation. The external features -which can be exaggerated by the musician are limited and soon exhausted, -the exaggeration of emotional expression to produce a comic effect is -a very dangerous device, because music does not possess the resources -which enable poetry and the formative arts to represent disproportions -of caricature as amusing and comical rather than distorted and hideous. -Mozart takes as the foundation for his musical representation a genuine -pride, which is only led by chance impulses to express itself in -an exaggerated and distorted manner, and it is this temporary -self-contradiction which produces the comic effect. The musical -device he employs for the purpose is the composition of the air in -the traditional heroic form of opera seria, which is opposed to the -situation of the moment as well as to the fault-finding words. The -compass and employment of the voice show that Mozart had Storace in -view, for whom he afterwards composed Susanna. Pulcherio's second air -(4) is much more sketchily delineated. Eugenia and Bocconio, after -their first meeting, are not on very good terms with each other, and the -obliging friend seeks to reconcile them; he draws Bocconio's attention -to Eugenia's beauty, and hers to Bocconio's amiability, and as he goes -first to one and then to the other with his appeals, he pictures to -himself the misery which is sure to follow the union of the two. The -contrasting motifs to which the situation gives rise are arranged -in animated alternation. The sketch, however, shows only the general -design; and the share taken in it by the orchestra, doubtless a very -important one, cannot be even approximately arrived at. A terzet (5 -cf., Vol. II., p. 424) between Eugenia, Don Asdrubale and Bocconio is -completely worked out, and causes regret that it was not inserted in -a later opera, that so we might have heard it from the stage. Don -Asdrubale coming to greet Bocconio's bride, the lovers in amazement -recognise each other. Eugenia, who had been informed of Don Asdrubale's -death in battle, falls half-swooning on a couch, and Bocconio hastens -off to fetch - -{LO SPOSO DELUSO, 1784.} - -(63) - -restoratives. Asdrubale, who is on the way to Rome that he may wed -Eugenia, overwhelms her with reproaches, and throws himself on a couch -in despair. Eugenia has risen, and before Asdrubale can explain himself, -Bocconio returns, and to his astonishment finds the scene completely -altered. At this point the terzet begins, and expresses most charmingly -the confusion and embarrassment of the three personages, who are all in -the dark as to each other's conduct, and who put restraint on themselves -even in their extremity of suspense. The orchestra carries on the -threads independently, joined by the voices, sometimes apart and -interrupted, to suit the situation, sometimes together. An excellent -effect is given by the sharply accented expression of involuntary -painful emotion contrasting with the reserve which otherwise prevails -in the terzet. The whole tone of the piece is masterly; while never -overstepping the limits of comic opera, it successfully renders the deep -agitation of mind of all the three characters. This is contrived, not -by the mixture of a comic element in the person of Bocconio, who rather -approximates to the frame of mind of the other two, but by the cheerful -tone which penetrates the whole without any loss of truth of expression. - -This opera again stopped short of completion, and a third seems to -have had the same fate. A terzet for male voices, which is preserved in -duplicate draft, was intended for the first scene of a comic opera. An -opera by Accoromboni, "Il Regno delle Amazoni," was, according to Fétis, -performed at Parma in 1782, as well as elsewhere,[31] with success, and -the words of the terzet leave little doubt that this, too, was among the -"little books" Mozart had looked through, and that it suggested to him -an experiment which must almost have coincided in point of time with the -two just mentioned. It can scarcely have been the imperfections of the -libretti alone which caused Mozart to leave these operas unfinished, -but also the improbability of ever bringing them to performance. -The brilliant reception accorded to the Italian maestri, Sarti and -Paesiello, in Vienna, only caused - -{MOZART AS AN OPERA COMPOSER.} - -(64) - -the German masters to fall more into the background. The extraordinary -success of Paesiello and Casti with "Il Re Teodoro'' (Vol. II., p. 344), -alarmed even Salieri. He had himself begun an opera, "Il Ricco d' un -Giorno," but laid it aside rather than enter into competition with the -"Re Teodoro." He was always skilful in turning circumstances to account. -When his "Rauchfangkehrer" failed in 1781, and Mozart's "Entführung" was -rousing great expectations, he received in the nick of time a commission -from Munich to write the opera "Semiramide," which was performed during -the Carnival.[32] He then set out, recommended and patronised by Gluck, -to produce "Les Danaides" in Paris. Crowned with new laurels, by reason -of the success which it there met with, he returned to Vienna and -completed his opera, after the first enthusiasm for his rivals had died -out. It was given on December 6, 1784, but without success.[33] Mozart's -prospects for the year 1785 were not any more favourable, when suddenly -help appeared from an unexpected quarter. - -Lorenzo da Ponte (1749-1838),[34] a native of Ceneda, was exiled from -the republic of Venice, where he had been schoolmaster, on account of -his opinions and manner of life. After a short stay in Gorz and Dresden, -he came to Vienna, warmly recommended to Salieri by the poet Mazzola, -just as the Italian opera was in process of being established. Through -Salieri's influence he was appointed a theatrical poet by Joseph II., -who continued to befriend him; he had thus every reason to be beholden -to Salieri. His first attempt was this opera, "Il Ricco d' un Giorno," -which he did not himself consider a success; Salieri ascribed its -failure, which he felt the more keenly in contrast to Paesiello's -success, solely and entirely to the poet, and swore that he would sooner -cut off his hand than set to music another word of Da Ponte's. He had no -difficulty in obtaining a libretto - -{CASTI--DA PONTE.} - -(65) - -from Casti, "La Grotta di Trofonio"; and this opera, which was first -given on October 12, 1785, was a great success.[35] Da Ponte now saw -himself threatened in his position, for Casti was his declared rival and -opponent. - -Casti had long been famous as a witty and gallant verse-maker; he was -acquainted with the most influential men of the day, and was ambitious -of succeeding Metastasio as _poeta Cesareo_. The rise of Da Ponte, who -had to some extent taken Metastasio's place in the theatre, would be -altogether against his interests; he sought therefore both by praise and -blame to bring his rival into discredit, and ridiculed him personally -in his operetta, "Prima la Musica" (Vol. III., p. 47). Casti carried his -vanity and self-complacency to such a pitch that Kelly mimicked him on -the stage in his own opera ("Demo-gorgone"), to the intense delight of -the public.[36] It was plainly Da Ponte's interest to gain the favour of -composers who might do credit to his operatic libretti. - -Vincent Martin (1754-1810), born in Valencia, and therefore called "Lo -Spagnuolo," had produced some operas in Italy with success since 1781; -Storace had made a furore in one of them at Venice.[37] This caused him -to repair to Vienna in 1784, where the wife of the Spanish Ambassador -took him under her powerful protection. At the command of the Emperor -Da Ponte adapted for him the opera, "Il Burbero di Buon Core," after -Goldoni's comedy, which was performed for the first time on January -4, 1786, with complete success; but his next operas, "Il Finto Cieco," -composed by Gazzaniga, and "Il Demogorgone," composed by Righini, were -not particularly successful. Not satisfied with these composers, he cast -his eyes on Mozart, to whom he had promised a libretto as early as 1783. -Da Ponte positively affirms[38] that it was owing to his readiness and -decision that Mozart was enabled to place his masterpiece on the stage -in defiance of all the cabals and intrigues of his enemies; and he -expresses the - -{MOZART AS AN OPERA COMPOSER.} - -(66) - -hope that an impartial and truthful account of the affair will make this -evident. We shall therefore follow his account, but shall correct and -modify it in its details by means of other available information.[39] - -Baron Wezlar, a great lover of music, in whose house Mozart had lived -for a time (Vol. II., p. 304), had brought about the acquaintance -between the latter and Da Ponte, and proved himself a munificent patron -on the occasion. On Mozart's expressing anxiety lest an opera composed -by him should not be allowed to appear, Wezlar engaged to pay the -librettist a suitable fee, and to bring about the performance of -the opera in London or Paris if the obstacles in Vienna proved -insurmountable. Confiding in the favour and discernment of the Emperor, -Da Ponte declined this offer. In discussing a suitable subject Mozart -expressed the wish that Da Ponte would adapt Beaumarchais' comedy, "Le -Mariage de Figaro," which, after a prolonged struggle, had been given -for the first time on April 27, 1784, and was now occupying public -attention. The adaptation would be an easy matter, but the Emperor had -forbidden the production of the piece at the National Theatre on account -of its freedom of tone. Da Ponte, however, hoped to overcome this -difficulty; he agreed with Mozart to keep.the undertaking a secret. -They set to work, Da Ponte writing the libretto, and Mozart composing -it gradually as he received it: _in six weeks the whole was finished_. -Fortunately there was a dearth of new operas at the time. Da Ponte, -without consulting any one, went straight to the Emperor, and told him -what had happened. The Emperor had misgivings both as to Mozart, who, -though an excellent instrumental composer, had written an opera which -was no great success ("non era gran cosa"), and as to the piece which -he had already suppressed. Da Ponte declared that he would be answerable -for Mozart as well as for the piece, which he had adapted in such a -manner as to be perfectly fit for representation. The Emperor gave way, -summoned Mozart before him with the score, and after - -{ADAPTATION OF "FIGARO," 1785.} - -(67) - -hearing some portions of it, commanded that it should be performed and -put into rehearsal at once. This caused much displeasure to Mozart's -opponents, Casti and Count Rosenberg, "a sworn enemy of the Germans, who -would listen to nothing that was not Italian,"[40] and who made as many -difficulties as he could. Da Ponte relates one instance of the kind. The -manager, Bussani (the singer who was cast for the part of Bartolo), told -Count Rosenberg that in the third act of "Figaro," during the wedding -festivities, while Susanna is conveying the letter to the Count, a -ballet was to be introduced. Rosenberg sent for the poet, reminded him -that the Emperor would not allow a ballet, and turning a deaf ear to -his remonstrances, tore the scene out of the book. Mozart was furious; -wanted to call the Count to answer, to horsewhip Bussani, to appeal to -the Emperor, to take back the score--in short, he could with difficulty -be pacified. At the full rehearsal the Emperor was present. In obedience -to Rosenberg's order the ballet was omitted, and in dead silence Susanna -and the Count made their now meaningless gestures. The Emperor, in -amazement, asked what it all meant, and on Da Ponte's explanation of -the affair, ordered a proper ballet to be at once arranged. This story, -although Da Ponte may have exaggerated the importance of his own share -in it, doubtless gives a fair idea on the whole of the circumstances -under which Mozart's "Figaro" was produced. Kelly's assertion that -Mozart was commissioned by the Emperor to write an opera, and selected -"Figaro," accords very well with Da Ponte's account. Mozart began his -work in the autumn of 1785, as we learn from a letter of his father's to -Marianne (November 11, 1785):-- - -At last, after six weeks' silence, I have received a letter from your -brother of November 2, containing quite twelve lines. His excuse for not -writing is that he has been over head and ears at work on his opera, - -"Le Nozze di Figaro." He has put off all his pupils to the afternoon, so -that he may have his mornings free. I have no fear as to the music; - -{MOZART AS AN OPERA COMPOSER.} - -(68) - -but there will no doubt be much discussion and annoyance before he can -get the libretto arranged to his wish; and having procrastinated and let -the time slip after his usual fashion, he is obliged now to set to work -in earnest, because Count Rosenberg insists upon it. - -This contradicts Da Ponte's account of the secrecy with which the opera -was prepared; and it may be doubted also whether it was really written -in six weeks. The date in Mozarts own catalogue,-April 29, 1786, only -proves that he closed his work by writing the overture immediately -before the first performance (May 1).[41] Da Ponte may have exaggerated -somewhat tor the sake of effect. Mozart's Thematic Catalogue shows what -he was capable of accomplishing even while at work upon "Figaro." There -is a hiatus in the catalogue from July 5, 1785, to November 5. It is -possible that he was busy with the opera during this interval; but -during the time immediately following, when he was working at it in real -earnest, we find the following compositions entered:-- - -1785. November 5. Quartet to the "Villanella Rapita" (Vol. II., p. -331). - -November 21. Terzet I (479, 480 K.). - -December 12. Sonata for piano and violin in E flat major (481 K.). - -December 16. Pianoforte concerto in E flat major (482 K.). - -1786. January 10. Pianoforte rondo in D major (485 K.). - -January 18. Terzet from the "Schauspieldirector." - -February 3. "Schauspieldirector" (486 K.). - -March 2. Pianoforte concerto in A major (488 K.). - -March 10. Duet and air for the private performance of "Ido-meneo" (489, -490 K.). - -March 24. Pianoforte concerto in C minor (491 K.). - -April 29. "Le Nozze di Figaro" (492 K.). - -To these may be added the Lent Concerts, which were also then -occupying him. There were other difficulties to be overcome before -the performance, of which we hear nothing from Da Ponte, but which are -related by Kelly:-- - -There were three operas now on the _tapis_, one by Righini ("ü -Demo-gorgone"), another by Salieri ("La Grotta di Trofonio"), and one - -{INTRIGUES AGAINST "FIGARO."} - -(69) - -by Mozart, by special command of the Emperor. Mozart chose to have -Beaumarchais' French comedy, "Le Mariage de Figaro," made into an -Italian opera, which was done with great ability by Da Ponte. These -three pieces were nearly ready for representation at the same time, and -each composer claimed the right of producing his opera for the first. -The contest raised much discord, and parties were formed. The characters -of the three men were all very different. Mozart was as touchy as -gunpowder, and swore that he would put the score of his opera into the -fire if it was not produced first; his claim was backed by a strong -party. Righini, on the contrary, was working like a mole in the dark to -get precedence. The third candidate was Maestro di Capella to the court, -a clever, shrewd man, possessed of what Bacon called "crooked wisdom"; -and his claims were backed by three of the principal performers, who -formed a cabal not easily put down. Every one of the opera company took -part in the contest. I alone was a stickler for Mozart, and naturally -enough, for he had a claim on my warmest wishes, from my adoration -of his powerful genius and the debt of gratitude I owed him for many -personal favours. The mighty contest was put an end to by his majesty -issuing a mandate for Mozart's "Nozze di Figaro" to be instantly put -into rehearsal. - -A slight error has crept in here, for Salieri's opera was given first -on October 12, 1785; but this account confirms the fact of the Emperor's -interference. Mozart's claims were supported by the distinguished -company of amateurs who arranged a representation of "Idomeneo" at the -Auersperg Theatre in March (Vol. II., p. 289). The fact that his friends -Count Hatzfeld (Vol. II., p. 291) and Bridi (Vol. II., p. 359) took his -part in the dispute shows that it was intended to put Mozart forward as -a composer of Italian operas, and that powerful support was considered -necessary for the purpose. His father had cause therefore to write to -his daughter (April 18):-- - -On the 28th, "Le Nozze di Figaro" is to be put on the stage for the -first time. It will mean much if it succeeds, for I know that there -has been a surprisingly strong cabal against it. Salieri and all -his adherents will move heaven and earth against it. Duschek told me -lately[42] that my son met with such violent opposition because of his -extraordinary talent and cleverness. - -{MOZART AS AN OPERA COMPOSER.} - -(70) - -Niemetschek (p. 37) goes so far as to assert that it was commonly -reported that the Italian singers did all they could to ruin the opera -on its first performance by intentional mistakes and carelessness, and -that they had to be sternly reminded of their duty by the Emperor, to -whom Mozart appealed in despair at the end of the first act. Kelly says -nothing of this; he maintains, on the contrary, that never was opera so -strongly cast, and that all the subsequent performances he had seen -were no more to be compared to the original one than light is to -darkness:[43]-- - -All the original performers had the advantage of the instruction of the -composer, who transfused into their minds his inspired meaning. I never -shall forget his little animated countenance, when lighted up with the -glowing rays of genius; it is as impossible to describe it as it would -be to paint sunbeams. I remember at the first rehearsal of the full band -Mozart was on the stage with his crimson pelisse and gold-laced cocked -hat, giving the time of the music to the orchestra. Figaro's song "Non -più andrai" Benucci gave with the greatest animation and power of -voice. I was standing close to Mozart, who, (_sotto voce_), was repeating: -"Bravo! bravo, Benucci!" and when Benucci came to the fine passage, -"Cherubino, alla vittoria, alia gloria militar!" which he gave out with -stentorian lungs, the effect was electricity itself, for the whole of -the performers on the stage, and those in the orchestra, as if actuated -by one feeling of delight, vociferated: "Bravo! bravo, maestro! viva, -viva, grande Mozart!" Those in the orchestra I thought would never have -ceased applauding, by beating the bows of their violins against the -music-desks. The little man acknowledged by repeated obeisances his -thanks for the distinguished mark of enthusiastic applause bestowed upon -him. - -The following was the cast of the first performance, according to -Mozart's Thematic Catalogue--the original libretto is unfortunately -lost:[44]--[See page images] - -{PERFORMANCE OF "FIGARO."} - -(71) - -The reception of the opera by the public on its first performance (May -1, 1786) was such as to justify the most favourable anticipations.[45] -"Never was anything more complete," says Kelly, "than the triumph of -Mozart and his 'Nozze di Figaro.'" The house was crowded, and many -pieces were encored, so that the opera lasted twice the usual time; -but that did not prevent long-continued applause and repeated calls for -Mozart at the close of the performance. L. Mozart wrote to his daughter -on May 18: "At the second performance of your brother's opera (May 3) -five pieces were encored, and on the third (May 8) seven; one little -duet had to be sung three times."[46] The opera, therefore, was a decided -success; too much so, indeed, for many people, and the Emperor was -persuaded, after the first performance, to forbid any piece to be -encored, under the pretence of sparing the singers and the conductor. -Kelly narrates how the Emperor, after issuing this prohibition, -addressing himself at a rehearsal to Storace, Mandini, and Benucci, -said:[47] "I - -{LE NOZZE DI FIGARO.} - -(72) - -dare say you are all pleased that I put a stop to encores; it must -be fatiguing and distressing to you to repeat so many songs." Storace -replied: "It is indeed, sire, very distressing." The other two bowed, -as if in assent; but Kelly, who was standing by, said boldly to the -Emperor: "Do not believe them, sire, they all like to be encored; at -least I am sure I always do"; whereupon the Emperor laughed. Mozart's -enemies found it impossible to drive the opera completely from the -stage, but they took care that it should not be given often enough -to take firm hold of the public favour. Nevertheless, it reached nine -performances within the year, though with long intervals between them -(May 1, 3, 8, 24, July 4, August 28, September 22, November 15, December -18). On November 17 Martin's "Cosa Rara" (after so strong an opposition -on the part of the singers, that the Emperor was obliged to compel them -to sing)[48] achieved an unprecedented success. This threw "Figaro" -somewhat into the shade, both in the public estimation and in the -Emperor's opinion; the latter told Dittersdorf that Mozart overweighted -the singers with his full accompaniments;[49] Martin's easy and taking -melodies were far more to the royal taste. During 1787 and 1788 "Figaro" -was not given at all in Vienna,[50] and was not reproduced until August -29, 1789. - - - -FOOTNOTES OF CHAPTER XXXV. - -[Footnote 1: For the history of opera in Vienna I am much indebted to an article -written with full knowledge of the subject (A. M. Z., XXIV., p. 2651) -and still more so to the careful and accurate communications which I -owe to the courtesy of my friend Dr. Leop. von Sonnleithner; these two -accounts form the groundwork of the present chapter, even where I have -not expressly referred to them.] - -[Footnote 2: Müller (Abschied, p. 263) does not indeed mention the younger -Stephanie by name, but other accounts explain his allusions. Schroder -wrote to Dalberg (January 19, 1782): "I'm insisting upon the removal of -young Stephanie from all concern in the affair, but there is no one bold -enough to propose to the Emperor to dismiss a man whom he has appointed, -and who will certainly be the ruin of the theatre."] - -[Footnote 3: Meyer, L. Schroder, I., p. 358. A. M. Z., XXIV., p. 265. Nicolai -heard a performance of Gluck's "Orpheus" there in 1781 (Reise, IV., p. -537).] - -[Footnote 4: Kelly, Reminisc., I., p. 194.] - -[Footnote 5: A. M. Z., XXIV., p. 269. Schroder wrote to Dalberg (October 21, -1782): "German opera is abolished here, and comedy has been strengthened -by Reineke and Opiz."] - -[Footnote 6: The new operas were: January 10--Gassmann, "Die Unruhige Nacht" (La -Notte Critica), performed three times; February 9--Gallus, "Rose," or -"Pflicht und Liebe im Streit," performed twice; February 23--J. Weigl, -"Die betrogne Arglist," performed three times.] - -[Footnote 7: On January 20, 1781, Klein submitted his opera "Kaiser Rudolf von -Habsburg" to the Electoral German company; a short notice (Rhein. -Beitr. z. Gelehrs., 1781, I., p. 383) gives it extraordinary praise. He -afterwards turned the same subject into a tragedy with similar title, -which appeared in 1787.] - -[Footnote 8: The letter was published in facsimile by Gassner (Zeitschr. f. -Deutschlands Musikvereine, II., p. 161), and has often been printed.] - -[Footnote 9: The new German original operas which were performed were: 1785--"Die -Dorfhandel," or "Bunt über Eck," by Rupprecht; "Die Dorfdeputirten," -by Teyber. 1786--"Die glücklichen Jager," by Umlauf; "Der Alchymist," by -Schuster; "Doctor und Apotheker," by Dittersdorf; "Robert und Hannchen," -by Hanke; "Betrug und Aberglauben," by Dittersdorf; "Zemirens und Azors -Ehestand," by Umlauf. 1787--"Die Liebe im Narrenhause," by Dittersdorf; -"Das wüthende Heer," by Rupprecht; "Im Finstern ist nicht gut tappen," -by Schenk; "Die Illumination," by Kürtzinger.] - -[Footnote 10: Wien. Ztg., 1786, No. 11. L. Schneider, Cäcilia, XXIV., p. 148. R. -Hirsch, Mozart's "Schauspieldirector," Leipz., 1859.] - -[Footnote 11: "Der Schauspieldirector." Ein Gelegenheitsstück in einem Aufzuge. -Wien, 1786. Printed, according to Schneider, in Stephanie's Vaudevilles.] - -[Footnote 12: Mosel, Salieri's Leben u. Werke, p. 90.] - -[Footnote 13: Wien. Ztg., 1786, No. 13 Anh.] - -[Footnote 14: Goethe, Tag-Vund Jahreshefte, 1791 (Werke, XXI., p. 12).] - -[Footnote 15: Goethe, Ital. Reise (Werke, XIX., p. 360).] - -[Footnote 16: A. M. Z., 1864, pp. 465, 649.] - -[Footnote 17: The text is printed in Diezmann's Goethe-Schiller-Museum, p. 15. -Goethe can scarcely have had a greater share in it than the insertion -of the songs "An dem schönsten Frûhlingsmorgen" and "Bei dem Glanz der -Abendröthe" (Neues Verz. e. Goethe-Bibl., p. 37). The words of Mozart's -pieces are only somewhat improved in unimportant particulars, being, as -a whole, very poor and insipid.] - -[Footnote 18: Theaterbriefe von Goethe, p. 32.] - -[Footnote 19: Hirsch, Mozart's Schauspieldirector, p. 18.] - -[Footnote 20: Printed in the German Bühnenalmanach, 1861.] - -[Footnote 21: Besides the Bandlterzett (441 K., Vol. II., p. 362), and the air -"Manner suchen stets zu naschen" (433 K., Vol. III., p. 44), the two -songs "An Chloe" (524 K.) and "Die betrogene Welt" (474 K.) are also -inserted.] - -[Footnote 22: Reichardt (A. M. Z., XV., p. 665. Schletterer, Reichardt, I., p. -324): "Opera buffa was at that time (1783) far better appointed there, -and followed its own bent with far more earnestness and consistency than -anywhere in Italy. The orchestra was also first-rate--full of fire and -discretion." Cf. Musik. Wochenbl., p. 66. Car. Pichler, Denkw., I., p. -78.] - -[Footnote 23: Berl. Litt.-u. Theat.-Ztg., 1784,1., p. 14. Opera seria was only -given as an exception. When the celebrated male soprano Luigi Marchesi -(Cramer, Magaz. f. Mus., I., p. 559) passed through Vienna on his -journey from St. Petersburg, in August, 1785, the Emperor directed him -to appear in Sarti's "Giulio Sabino," which was played six times to -overflowing houses (Muller, Abschied, p. 7).] - -[Footnote 24: Berl. Litt.--u. Theat.-Ztg., I., pp. 14,19.] - -[Footnote 25: Berl. Litt.--u. Theat-Ztg., I., p. 313.] - -[Footnote 26: Cramer, Magaz. f. Mus., II., p. 185.] - -[Footnote 27: Meyer, L. Schröder, I., p. 345.] - -[Footnote 28: This was the opera "Il Ricco d'un Giomo," which was produced with -little success on December 6, 1784 (Mosel, Salieri, p. 86).] - -[Footnote 29: Mus. Real-Ztg., 1789, p. 85.] - -[Footnote 30: Kelly, Reminisc., I., p. 231. Pohl, Mozart u. Haydn in London, p. -169.] - -[Footnote 31: Cramer, Magaz. f. Mus., II., p. 556.] - -[Footnote 32: Mosel, Salieri, p. 74.] - -[Footnote 33: Mosel, Salieri, p. 79. Da Ponte, Mem., I., 2, p. 50.] - -[Footnote 34: L. Da Ponte's "Memorie" appeared in New York, 1823 (2nd edition, -1829-30), and a translation at Stuttgart, 1847. Cf. A. M. Z., X., p. -679; XLI., p. 788; XLIV., p. 769.] - -[Footnote 35: Schink, Dramaturg. Monate, II., p. 539.] - -[Footnote 36: Kelly, Reminisc., I., p. 235.] - -[Footnote 37: Kelly, Reminisc., I., p. 189.] - -[Footnote 38: Da Ponte, Mem., I., 2, p. 68.] - -[Footnote 39: Kelly (Reminisc., I., p. 257) gives some interesting notices on the -history of "Figaro."] - -[Footnote 40: Berl. Mus.-Ztg., 1793, p. 141.] - -[Footnote 41: An account of the fate of the autograph score, which came into the -possession of N. Simrock, of Bonn, in 1864, is given in the N. Ztschr. -fur Mus., XXXVI., p. 261. Cf. XXXV., pp. 65, 77.] - -[Footnote 42: Duschek and his wife had arrived at Salzburg from Prague at the -beginning of April, after a short stay in Vienna.] - -[Footnote 43: Ulibicheff's opinion that, fortunately for the music, Mozart had -to do with mediocre singers (II., p. 40), is unfounded. Cf. A. M. Z., -XXIV., p. 270.] - -[Footnote 44: It is remarkable that none of the German vocalists, neither Madame -Lange nor Cavalieri nor Teyber, on whom Mozart had himself reckoned -for his "Sposo Deluso" (Vol. III., p. 60), were employed; a result, no -doubt, of operatic factions. We know from Da Ponte (Mem., I., 2, pp. -109, no, 135) that Cavalieri was highly favoured by Salieri (Mosel, -Salieri, p. 184), whose pupil she was.] - -[Footnote 45: So Mozart writes the name. Kelly was, as he says himself -(Reminisc., I. p. 139), called Okelly in Italy.] - -[Footnote 46: She afterwards saog Pamina in the "Zauberflote."] - -[Footnote 47: The Wiener Zeitung (1786, No. 35) contained only the following -brief notice: On Monday, May 1, was performed lor the first time in the -National Theatre a new Italian opera in four acts, entitled 'Le Nozze di -Figaro,' adapted from the French comedy of Mons. de Beaumarchais by -Herr Abb. da Ponte, theatrical poet; the music is by Herr Kapellmeister -Mozart. La Sign. Laschi, who has lately returned here, and La Sign. -Bussani, a new vocalist, made their first appearance as the Countess and -the page."] - -[Footnote 48: Da Ponte, Mem., I., 2, p. 90.] - -[Footnote 49: Dittersdorf, Selbstbiogr., p. 237.] - -[Footnote 50: In, June, 1787, Balzer announced (Wien. Ztg., 1787, No. 46, Anh.) -that the unanimous approbation with which Mozart's masterpiece, "Die -Hochzeit des Figaro," had been received in Prague, had induced him -to publish a pianoforte arrangement by Kucharz; he also advertised -arrangements for wind instruments, and a version of the work as a -quintet by Abbé Vogler(I).] - - -=== - - - -MOZART 36 - -BY DAVID WIDGER - - - - -CHAPTER XXXVI. "LE NOZZE DI FIGARO." - -THE choice of Beaumarchais' comedy "Le Mariage de Figaro, ou La Folle -Journée," as a subject for operatic treatment, was deliberately made by -Mozart himself.[1] The - -{LE MARIAGE DE FIGARO.} - -(73) - -play had excited unusual interest, both on account of the name and -political position of the author and of the curious circumstances -under which it had been produced in Paris. Beaumarchais had offered his -comedy, towards the end of 1781, to the Théätre-Français, where it was -readily accepted. But rumours prejudicial to the piece led Louis XVI. to -have it read aloud in his presence; he was horrified at its freedom of -tone, and declared that he would never consent to its performance. This -only served to stimulate curiosity, and people thronged to hear the -reading of the manuscript; a strong court party interested themselves -for its production, the actors pressed for it, the public insisted -upon it. Beaumarchais knew well how to turn all these circumstances to -account; in June, 1783, his comedy was on the point of performance at -the court theatre; the audience was actually assembled, when, just as -the curtain was about to rise, a fresh prohibition arrived, from the -King. Complaints of tyranny and oppression now became audible, and the -affair assumed a political aspect. At length the King was prevailed upon -to countenance a private representation at a festival given by M. -de Vaudreuil to the Comte d'Artois in September, 1783. Beaumarchais -contrived that this should lead to a public performance, which took -place in April, 1784.[2] The unheard-of success of the play caused its -reputation to spread rapidly, and Mozart's attention could not fail to -be attracted to it, the more so as Paesiello's "Barbiere di Seviglia," -founded on Beaumarchais' earlier comedy, had been well received in -Vienna. Mozart's search for a suitable libretto among the Italian ones -already published, and his attempt to produce a new one with. Varesco, -were equally unsuccessful. The accepted form of opera buffa, relying -for effect solely on broadly comic situations and caricature, did not -satisfy Mozart's conditions of dramatic reality in the development of -an interesting plot and a consistent delineation of character. Both -conditions were amply fulfilled by Beaumarchais. "Le Nozze di Figaro" -is well known to be in a certain sort a continuation of the "Barbiere di -Seviglia." - -{LE NOZZE DI FIGARO.} - -(74) - -The majority of the characters appear in both pieces, events belonging -to the plot of "Figaro" are grounded on the previous play, and it is -necessary for a proper appreciation of the motives and characterisation -to bear the connection of the two in mind:-- - -Count Almaviva having, with Figaro's help, gained the hand of Rosina, -the charming ward of Doctor Bartolo, takes Figaro and Marcellina, -Rosina's duenna, into his service, and retires to his castle, attended -also by Basilio, the music-master. He soon wearies of his wife's -society, and seeks distraction in the company of Susanna, the Countess's -maid and Figaro's affianced bride. Basilio is again made to act the -part of a go-between. The piece begins on the day appointed for Figaro's -wedding. Figaro, having learnt the Count's designs from Susanna, -determines to outwit his master, and to prevent the success of his -scheme for delaying the wedding. In this scheme the Count is offered -assistance by Marcellina, who is in love with Figaro, and possesses his -written undertaking to marry her should he fail in repaying her by a -certain day a sum of money she has lent him. Her dread of losing all -chance of Figaro, by his union with Susanna, induces her to call Bartolo -to her assistance, and the latter is the more ready to do what he -can, both that he may revenge himself on Figaro, and free himself from -Marcellina's claims upon him. It appears that years ago she bore him a -son, who was kidnapped as a child. While this danger is hanging over -the heads of the lovers, Susanna is sought in her room by the page -Cherubino, a heedless and beautiful youth, just budding into manhood. -The Count has surprised him with Fanchette, daughter of his gardener -Antonio, with whom he is himself flirting, and has discharged him from -his service; he begs Susanna to intercede for him with the Countess, his -godmother, for whom he entertains an ardent passion. As they converse, -they hear the Count approaching, and Cherubino hides behind a large -arm-chair; the Count has come to offer Susanna a dowry if she will -consent to meet him the same evening; she, however, vigorously repulses -him. Basilio enters: the Count hides behind the same arm-chair, and -Cherubino slips round to the front, and covers himself with a cloak -which lies upon the chair. Basilio reiterates to Susanna the Count's -proposals, and, on her continued refusal, makes malicious allusions to -the page, who is paying court not only to Susanna, but to the Countess. -The Count comes forward in a fury, orders the immediate dismissal of -the page, tells how he found him concealed in the gardener's house, and -discovers him in the arm-chair. But Cherubino has been a witness to all -that has passed, and, in order to conciliate and get rid of him at the -same time, the Count gives him a commission in his regiment, ordering -his immediate departure for Seville, to join the garrison there. At this -point Figaro enters at the head of the villagers in holiday attire. The -Count, at his marriage, had - -{BEAUMARCHAIS' FIGARO.} - -(75) - -renounced his seignorial rights, and, instigated by Figaro, his grateful -subjects come to petition him to honour the first wedding which has -since been celebrated by himself placing the wreath on the head of the -bride. The Count cannot refuse the petition, but begs for a few hours -delay, in order that the ceremony may be rendered more brilliant. -Figaro in the meantime is plotting a double intrigue against the Count, -with the co-operation of the Countess, who has been kept informed of -all that is going on by her devoted Susanna. Her relations to Figaro and -Susanna, and her ready acquiescence in a design to recall her husband -to a sense of his duty by means of a trick, keep us in mind that the -Countess Almaviva is the Rosina of the "Barber of Seville." She loves -her husband, and has a full consciousness of her own dignity; but -the circumstances of her early life, and of her marriage with Count -Almaviva, have left their indelible impress upon her. Figaro warns the -Count, who has gone hunting, by an anonymous letter that a rival has -made an assignation with the Countess; he hopes that jealousy will -divert his mind from the wedding. On the other side he assures him of -Susanna's intention to keep her appointment in the garden; Cherubino, -who has been allowed to delay his departure at Figaro's intercession, -is to be disguised so as to take Susanna's place at the interview. |The -page comes to be dressed; all at once the Count knocks, having hurried -home in jealous haste. Cherubino slips into the inner room, of which the -Countess locks the door; as the Count is plying her with angry questions -Cherubino throws down a chair; the Countess explains that Susanna is -within, but refuses to allow her to come out, or even to answer, and -will not give up the key. The Count, enraged, secures all means of -egress, and drags the Countess away with him to fetch an axe and break -the door open. Susanna, who has been concealed in an alcove during -this scene, proceeds to liberate Cherubino; he, finding no other exit -available, springs through the window into the garden, and Susanna -takes his place in the cabinet. The Count returning with the Countess, -determined to employ force in opening the door, she confesses that the -page is in the inner chamber, whereby his rage is still further excited; -to the astonishment of them both Susanna steps forth. The Countess soon -collects herself, and explains that their only intention has been to -punish him for his want of faith, and that Figaro wrote the letter as a -preliminary to the trick; the Count is forced to sue for pardon, which -he obtains with difficulty. Figaro now enters with the information that -all is prepared for the wedding, and being taxed by the Count with the -letter, denies all knowledge of it, and is with difficulty brought to -understand the position of affairs. This danger is hardly over when the -gardener enters, half tipsy, with the complaint that some one has just -jumped from the window of the cabinet upon his flowers; Figaro declares -that he was there with Susanna, and had jumped into the garden from fear -of the Count's fury. The gardener says that he thought he had recognised -Cherubino, but hands Figaro a paper which - -{LE NOZZE DI FIGARO.} - -(76) - -had been dropped in the garden. The Count, his suspicions newly -awakened, demands the contents of the paper; the Countess recognises -in it the page's patent, and whispers through Susanna to Figaro, who is -able to ward off this fresh danger. Marcellina now appears supported -by Bartolo, and makes known Figaro's promise of marriage; the Count, in -high delight, promises to support her claims in a court of justice, and -by dismissing Basilio, who puts forward his claims to Marcellina's hand, -revenges himself for the letter which Basilio had presented to him. - -Before the sitting of the court the Countess conceives the design of -herself taking Susanna's place at the rendezvous with the Count. The -trial which takes place results in Figaro's being ordered to pay his -debt to Marcellina, or in default to marry her. The Count appears at the -goal of his wishes, but Figaro's evasion--that he must have the consent -of his parents--leads to the discovery that he is the long-lost son -of Bartolo and Marcellina, who thereupon decide to celebrate their -espousals together with his; Susanna, entering with money obtained -from the Countess to redeem Figaro, is indignant at finding him in -Marcellina's arms, but her anger is speedily turned to delight at -hearing the true position of affairs. - -During the solemn wedding ceremony--at which Cherubino, disguised as -Fanchette, appears among the village maidens and is recognised--Susanna -gives the Count a letter dictated by the Countess, in which she appoints -the place of rendezvous; a pin which is stuck into the letter is to be -returned as a token of understanding. Figaro sees that the Count reads -the letter and pricks himself with the pin, without noticing that -Susanna has given it to him; hearing afterwards from Fanchette that -she is commissioned by the Count to convey the pin back to Susanna, he -easily surmises what it means. Beside himself with jealousy, he stations -his parents and friends in the neighbourhood of the appointed place, and -repairs thither himself to surprise and punish the guilty pair. - -In the darkness of night the Countess and Susanna, having exchanged -clothes, come to put their husbands to the proof; Susanna has been -warned by Marcellina of Figaro's designs. Scarcely is the Countess -alone, when she is alarmed by the approach of Cherubino, who presses -a kiss on the supposed Susanna; the Count, entering on the instant, -salutes the page with a box on the ear, which is received instead by the -listening Figaro. Alone with the Countess, the Count addresses her in -the most endearing terms, presents her with money, and with a costly -ring, and endeavours to go off with her; she escapes him in the -darkness, and he seeks her in vain. - -In the meantime Susanna, as the Countess, comes to the enraged Figaro, -but forgetting for a moment to disguise her voice, he recognises her, -and turns the tables by proposing to her to revenge herself for her -lord's want of faith by her own, whereupon she makes herself known by - -{DA PONTE'S LIBRETTO.} - -(77) - -boxing his ears. Peace is easily restored by his explanation, and as -the Count approaches, seeking his Susanna, they continue to counterfeit -love. The Count in a rage calls for his people with torches, Figaro's -friends hasten in, and with them the Countess. The Count, to his -shame, discovers that it was his wife who accepted his presents and -declarations of love, and the pardon which she accords to him brings the -confusion to an end. - -Such is a mere outline of this amusing play of intrigue, where one knot -twisting in with another, one embarrassment growing out of another, call -forth ever and again fresh contrivances, while an abundance of effective -situations and characteristic detail make the witty and satirical -dialogue one of the most graphic character pictures of the time.[3] -Da Ponte has arranged his libretto with much skill, having no doubt -received important aid from Mozart himself. The progress of the piece -is left almost unaltered, the necessary abbreviations being judiciously -made.[4] Thus, the lengthy trial scene is omitted, and only the result -in its bearing on the plot is communicated. Sometimes an under-plot is -added, such as Basilio's appearance as Marcellina's lover. The -clearness of the plot is not often endangered, as it certainly is by the -alteration which omits all mention of a son of Bartolo and Marcellina -previous to their recognition of Figaro as their offspring. The musical -pieces are introduced with admirable discrimination in such positions -as to allow free and natural scope to the musical rendering of each -situation without hindering the progress of the plot, and this is no -small praise in such a piece as "Figaro." The whole scheme of the drama -demands that quite as much attention shall be given to the ensemble -movements and finales as - -{LE NOZZE DI FIGARO.} - -(78) - -the solo airs; and this is of great advantage to the musical -construction. The definite and prearranged progress of the action -fulfils all the conditions of operatic representation with regard to the -position and diversity of the musical pieces; the poetical conceptions -are clever and appropriate, a suggestion of Beaumarchais being often -amplified in the musical working-out. The French comedy was of wonderful -advantage in maintaining the dialogue; and, shortened and modified as -it was of necessity, it retained far more of the spirit and life of the -original than was usual in the recitatives of opera buffa. This is -not indeed the case as far as the German adaptations of the opera are -concerned. I am not aware whence proceeded the first translation made -use of in Berlin in 1790.[5] In 1791 Knigge adapted the opera for -Schroder in Hamburg;[6] in 1792 it was given in Vienna, translated by -Gieseke; and in 1794 Vulpius's translation appeared. A new translation, -giving not only Da Ponte's verses, but Mozart's improvements on them, is -a pressing necessity. The vast superiority of "Le Nozze di Figaro," in -characterisation, plot, and dialogue, to the very best of opera buffa -libretti may be easily discerned by comparing it with other famous -operas, such as Casti's "Re Teodoro" or "Grotta di Trofonio." In many -essential points "Figaro" overstepped the limits of opera buffa proper, -and brought to view entirely new elements of dramatic construction. The -political element indeed, on which perhaps most of the effect of the -comedy depended, was altogether omitted from the opera. Not only does -the dialogue receive its essential character from the satire and scorn -which it freely casts upon the abuses of political and social life--the -whole tendency of the play is to depict the nobleman of the period, who, -himself without truth and honour, demands both from others, indulges -his lust without scruple, and thereby causes his dependents, injured in -their moral rights, to turn against him their intellectual superiority, -so that he is finally - -{DA PONTE'S LIBRETTO.} - -(79) - -worsted and disgraced. This conception of the nobility and their -position in relation to the citizen class is expressed with energy and -malice, and found such a response in the prevailing opinions of the -time, that the production of the piece against the expressed will of -the King appeared to be a public confirmation of the principles which -inspired it; and Napoleon might with justice say of "Figaro": "C'était -la révolution déjà en action."[7] Every trace of these feelings has -vanished in the opera, as will be clearly perceived by a comparison of -the celebrated "Frondeur-monologue" of Figaro in the fifth act with -the jealous song in the opera. The omission was made not so much in -deference to the Emperor Joseph's scruples as with the right conviction -that the political element is altogether out of place in music. - -The omission of political satire is the more serious because it leaves -as the central point of the plot an immorality which is not exactly -justified, but not by any means seriously punished; only treated with -a certain frivolity. The noble libertine is opposed by true and upright -love, honest devotion to duty and honourable conduct; but these moral -qualities are not made in themselves effective; the true levers of the -plot are cunning and intrigue employed as weapons of defence. The whole -piece appears in a doubtful light, the atmosphere surrounding Count -Almaviva is impure, and the suppression of those circumstances which -could alone make the phenomenon natural affects more or less the whole -spirit of the plot, and deprives the dialogue of much of its point and -double meaning. - -Beaumarchais might fairly plead that, having undertaken to give a true -picture of the manners of his time, absolute truth of conception and -detail was necessary to insure the right moral effect; it was for -a later age to perceive how completely the author of the satire was -himself under the influence of the time which he depicts and would fain -improve. This justification is denied to the opera. It has no title to -be considered as a picture of morals, neither can it pretend to exercise -any direct influence, whether moral or - -{LE NOZZE DI FIGARO.} - -(80) - -political, on the minds of men. The dialogue is undoubtedly in many -respects purer than in the comedy; but the plot and its motives, the -chief situations, the whole point of view, become all the more decidedly -frivolous. How came it, then the Mozart could choose such a subject for -his opera, and that the public could accept it with approbation? It must -in the first place be borne in mind that the facts on which the plot is -founded, and the point of view from which these facts are regarded, -had at that time substantial truth and reality; men were not shocked at -seeing on the stage that which they had themselves experienced, and -knew to be going on in their own homes. A later age is disgusted by the -contrast between semblance and reality, and at the representation of -immorality in all its nakedness; the taste of the time demands that -it shall be shown after another form and fashion. A glance at the -entertaining literature, and even at the operas of the last half of -the eighteenth century, shows clearly that representation of immorality -plays an important part therein in a form which bespeaks the temper and -spirit of the time; and further, that a desire for the representation -of moral depravity is an infallible symptom of moral disease. It cannot, -therefore, be wondered at that a picture of the moral corruption which -penetrated all classes, from the highest to the lowest, and which had -brought all social and political relations to the verge of dissolution, -should have been regarded with eager approbation and enjoyment. The -age which produced and enjoyed "Figaro" took a lighter view of sensual -gratification and the moral turpitude connected therewith than that -which seems right to a generation grown serious by reason of higher aims -and nobler struggles. It need not here be discussed how far manners -and opinions which change with the times are to be regarded as absolute -morality; the point we are proving is undeniable, and is apparent, -often painfully so, in all the light literature and memoirs of the day. -Caroline Pichler writes in reference to this very period:[8]-- - -{MORAL TENDENCY OF FIGARO.} - -(81) - -There prevailed a taste for all that was beautiful and pleasant in -Vienna at that time. The mind had freer movement than at present, and -anything might be written and printed which was not in the strictest -sense of the word contrary to religion and the state. There was not -nearly so much stress laid upon _good manners_. Plays and romances of -a tolerably free tendency were admitted and discussed in good society. -Kotzebue was very much thought of. His pieces, as well as Gemmingen's -"Deutscher Hausvater," Schroder's "Ring," and many others which are sunk -in oblivion, together with a number of tales and romances (Meissner's -sketches above all) were founded on indecent subjects. They were read -without scruple or concealment by all the world, and every young girl. - -I myself saw and read them all repeatedly; "Oberon" I knew well, and -Meissner's "Alcibiades." No mother felt any scruple at allowing her -daughter to become acquainted with such works; and indeed living -examples of what we read moved before us with so little concealment of -their irregular and immoral doings, that it would not have been possible -for any mother to keep her daughter in ignorance on these points. - -It is sufficient to refer to the reading of Wieland's works. - -What can be more repugnant to our ideas than to find a young girl -writing to her lover:-- - -I hope you will soon get the new "Amadis"; it is the funniest, most -whimsical book. I wonder how you will like Olinda! Master Amadis is a -little too like butter--he melts in every sunbeam. - -Our wonder increases when we reflect that this young girl is Caroline -Flachsland, and her lover is Herder.[9] There can be no doubt that in -this respect Mozart was a child of his time; that he willingly allowed -himself to glide along the pleasant stream of life in Vienna, and that -his merrier moods were often productive of free and even coarse jests. -The frivolous element in Beaumarchais' comedy was not, therefore, likely -to repel him, although it would be unfair to assert that it mainly -attracted him; he accepted it, as others did, as the sauce which was -most likely to be of acceptable flavour. - -His chief concern was doubtless the gradual unfolding and continual -interest of the plot, and the graphic delineation of character, -qualities which were entirely overlooked by the ordinary opera buffa. -Any approach to probability or analogy with actual life was not thought -of, and was - -{LE NOZZE DI FIGARO.} - -(82) - -not often replaced even by a fanciful poetic vein of humour; attempts to -give consistency to the caricatures of individuals and situations only -served to bring their irreconcilable contrasts into stronger relief. -In "Figaro," on the contrary, the interest depends upon, the truth the -representation of actual life. The motives of the actors are serious, -they are carried out with energy and intellect, and from them the -situations are naturally developed; only the light in which they are all -portrayed is that of Beaumarchais' strongly accented "gaieté," which is -by no means innocent, and in its essence nothing less than musical. It -is one of the strongest proofs of Mozart's genius that he should have -undertaken, moved as he was by the dramatic signification of the piece, -to infuse a new soul into it by his musical treatment; so sure was -he that whatever came home to his mind might be used as the germ of a -living creation. The musical representation, however, could only be a -true one by relying entirely on the emotions which alone are capable -of being expressed in music.[10] The whole piece is raised to a -higher sphere by the subordination of the powers of understanding and -intellect, which Beaumarchais had made the chief factors in his design. -Beaumarchais' aim was to preserve his plot and characters from vulgarity -or caricature; the point of view whence the musical reconstruction -proceeded led inevitably to an ennobling of the whole representation. -In depicting emotions, whether as the impulse to action, or as giving -significance even to the least commendable promptings of the mind, the -musician was in his own element, and the - -{MUSICAL TREATMENT OF THE DRAMA.} - -(83) - -wealth of dramatic situations and characters was a pure gain to an -artist who knew how to turn it to account. The piercing eye of genius -finds materials for its finest performance where a more superficial view -reveals nothing but difficulties. If each of the characters, pursuing -the interests they have at heart, are to express their inner sentiments -at every point in conformity with their nature, it follows that the -aim of dramatic characterisation in its true sense must be the -representation of individuality, sharp and precise in form, true and -pure as to its source; thus only will the exaggeration of caricature be -avoided. This holds good of all the chief characters in "Figaro"--of the -Count and Countess, Figaro, Susanna, and Cherubino. They are so entirely -governed by their emotions and passions, so completely involved in the -complications proceeding therefrom, that an artistic representation must -depend on the depicting of these emotions in their fullest truth. - -Bartolo and Marcellina seem to invite a treatment in caricature. In the -"Barber of Seville" we find the same Bartolo as a buffo character. This -is made impossible here by the fact that they are to appear afterwards -as Figaro's parents, and ought not, therefore, to cut grotesque figures -in our eyes. Beaumarchais' point, that Marcellina gives herself airs -of superiority to Susanna, "parce qu'elle a fait quelques études -et tourmenté la jeunesse de Madame" is not available for musical -characterisation, but Mozart brings it out skilfully in another way. In -the duet (Act I., 5), in which Susanna and Marcellina vie with each other -in impertinence and provocation, the expression is toned down by the -actual, disputing being left to the orchestra, and the two women are put -quite on an equality. Susanna prevails over Marcellina only by reason -of her youthful grace, and the whole appears an outbreak of that jealous -susceptibility which is said to be an attribute of the female sex. -Nobler women would not yield to such impulses, but these two belong to -no exalted sphere, and give the rein to their angry humours. But they -never forget themselves so far as to offend delicacy, and the general -tone is a gay one, Marcellina being shown in no way inferior to - -{LE NOZZE DI FIGARO.} - -(84) - -Susanna.[11] Afterwards, when graver matters engage her, when she -asserts her claims upon Figaro in the first finale, or recognises him as -her son in the sestet, the musical expression is sustained and full of -true feeling. A singer who was able to form her conception of the part -from these touches of character would make of Marcellina something quite -different from the ordinary old housekeeper, whom we have unhappily been -used to see and hear, no doubt from a mistaken endeavour to render the -illusion that Figaro's mother must be an old woman, and sing like an -old woman. Marcellina's air (Act IV., 2)," on the other hand, does not -assist the characterisation, and is the only piece in the whole opera -which fails of its effect. The whole style of it, even to the passages, -is old-fashioned, like the traditional air for a seconda donna; it -appears to have been a concession made to the taste of the singer. -Basilio, the man of cold intellect and malicious cunning, is not a -figure which can be made comic by caricature. Mich. Kelly (1764-1825), -for whom it was written, was an Irishman, who had studied in Naples, and -was highly successful as a tenor in Italy and Vienna; his powers as a -mimic fitted him especially for comic parts.[12] Basilio's malice -and scorn are expressed in the terzet (Act I., 7) with delicacy and -character, and, in contrast with Susanna's painful excitement and the -Count's anger, they give to the piece an irony, such as has seldom found -expression in music. The point justly noted by Ulibicheff (II., p. 45 ) -that Basilio, in his attempts to pacify the Count after finding the page -in the arm-chair, repeats the words: "Ah, del paggio quel ch' ho detto -era solo un mio sospetto," a fifth higher, brings out in a striking -degree his character of refined malice. The effect is heightened by the -use of the same motif by the Count, when he is - -{BASILIO.} - -(85) - -telling how he found the page with Barberina; and it is attained in the -simplest manner by the natural development of the musical structure. -Basilio falls into the background in the course of the opera; the comic -way in which Beaumarchais makes him banished by the Count, and his -courtship of - -Marcellina, would have afforded good operatic situations, but -abbreviation and simplification were absolutely necessary, and much -that was not essential had to be sacrificed. The air which is given to -Basilio in the last act (Act IV., 3) scarcely affords compensation. Da -Ponte, deprived of Beaumarchais' guidance in this place, makes Basilio -illustrate by the fable of the asses' skin that those who can flatter -and deceive succeed in the world. The musical rendering follows the -story, the orchestra giving the characteristic detail. The expression -of ease and self-complacency, and above all the incomparable idea, -deservedly noticed by Ulibicheff, of turning the last sentence of the -heartless poltroon: "Onte, pericoli, vergogna e morte col cuojo d' asino -fuggir si puö," into a sort of parody of a triumphal march, give the air -a character of its own". Executed with humour and delicate mimicry it -becomes in fact an epitome of Basilio's character, with its utter want -of genial qualities. But tone-painting occurs only in such touches as -those of the storm, the yelping dog, the hurried retreat, and never -comes to the foreground. This means of effect, elsewhere so favourite a -device in opera buffa, is always sparingly used by Mozart. The "Din -din, don, don," in the duet between Susanna and Figaro (Act I., 2) can -scarcely be called tone-painting any more than it can be said to be -word-painting; it is hardly more than an interjection, which has the -advantage in its musical rendering of being incorporated as a motif in -the structure of the piece. Nor can the term be justly applied to the -march like tone of Figaro's "Non più andrai" (Act I., 9). Certain forms -and phrases have developed themselves in music as expressions of warlike -ideas, and they are employed as a matter of course where these ideas -occur; Figaro, describing to the page the military life before him, has -it mirrored as it were by the orchestra. Mozart wisely guards against -entering - -{LE NOZZE DI FIGARO.} - -(86) - -upon any musical details in the picture, which would have led to a -distorted tone-painting; he confines himself to the barest and most -general allusions produced by association of ideas. It is often -difficult to decide how far the association of ideas contributes to -the partly involuntary, partly conscious construction of the musical -expression. For instance in the first duet between Figaro and Susanna -(Act I., 1), the motif for the bass--[See Page Image] - -with the corresponding one for the first violins, goes very well with -Figaro's measuring of the room, the diminutions expressing clearly -enough his repeated stretches. It cannot be doubted that the situation -has suggested the motif, but whether Mozart intended to express the -action of measurement is far less certain, and any idea of tone-painting -is out of the question. The subordinate characters of the drunken -gardener Antonio and the stuttering judge Don Curzio might under other -circumstances have been made into caricatures in the sense of opera -buffa, but they appear in situations which have so decided a character -of a totally different kind that they could not have departed from it -without serious injury to that harmony of the whole which none knew -better than Mozart how to preserve. The little cavatina (Act IV., 1) - -for Barbarina, (Fanchette in Beaumarchais) is very significantly not -exactly caricatured, but drawn in stronger colours than is elsewhere -the case. This little maid, in her liking for Cherubino, and with an -open-hearted candour which makes her a true _enfant terrible_ to the -Count, is altogether childish, and not only naïve but unformed. It is, -therefore, natural that she should express her grief for the lost pin, -and her fear of punishment, like a child; and when we hear her sobbing -and crying over it we receive the same ludicrous impression which -grown-up people rarely fail to feel at the sight of a child expressing -the sorrow of his heart with an energy quite out of proportion to the -occasion. The fact that the strong accents which Mozart here multiplies -to produce the effect of the disproportion of childish - -{FIGARO.} - -(87) - -ideas are afterwards made use of to express real emotion does no injury -to the truth of his characterisation. In a similar way the expression -of sentiment is exaggerated when it is represented as feigned; as, -for instance, the last finale, when Figaro makes love to the supposed -Countess, whom he has recognised as Susanna, and grows more and more -vehement in order to excite the Count's jealousy. Here we have a parody -of the accents of strongest passion (Vol. II., p. 427). How differently -does the same Figaro express his true feelings! How simple and genuine -is the expression of his love in the first duet (Act I., 1), when -he interrupts his measurements to exclaim to his pretty bride, with -heartfelt joy: "Si, mio core, or è più bello!" and in the last finale, -when he puts an end to pretence and, in an exalted mood, with the -feeling of his newly won, safely assured happiness fresh upon him, -exclaims: "Pace! pace, mio dolce tesoro!" Equally true is Figaro's -expression of the jealousy which results from his love. At first indeed -this feeling is a curiously mingled one. Warned by Susanna herself, he -has full confidence in her, and feels all his intellectual superiority -to the Count; he contemplates his situation with a humour which is -admirably rendered in the celebrated cavatina (Act I., 3). Cheerfully -as it begins, the expression of superciliousness and versatility has a -tinge of bitterness and resentment, betraying how nearly he is touched -by the affair which he affects to treat so lightly. Afterwards, when he -believes himself deceived, grief and anger are strongly expressed in the -recitative preceding his air (Act IV., 4). But his originality asserts -itself even here. The consciousness of what his situation has of the -ludicrous never forsakes him, and his anger against the whole female -sex, which he works up more and more, involuntarily assumes a comic -character. Here we have one of the many points which Mozart added to the -text. - -{LE NOZZE DI FIGARO.} - -(88) - -The somewhat unflattering description of womankind runs-- - - Queste chiamate dee - Son streghe che incantano per farci penar, - Sirene che cantano per farci affogar, - Civette che allettano per trarci le piume, - Comete che brillano per toglierci il lume-- - -and so on, until at the end-- - - Amore non senton, non senton pietà-- - Il resto non dico, già ognuno lo sà. - -He has no sooner pronounced the fatal "il resto non dico," when he seems -unable to get out any more; and so it runs-- - - Son streghe che incantano--il resto non dico - Sirene che cantano--il resto non dico, &c.-- - -giving, opportunity for a corresponding musical treatment of the words. -At last Mozart makes the horns strike in unexpectedly and finish the -phrase for him in a manner full of musical fun. As the consciousness -grows upon Figaro that he is himself the injured party, his signs of -grief and pain grow stronger and more animated. The blending of warm -feeling with the involuntarily comic expression of intellectual reaction -is psychologically true, and in such a character as Figaro's inevitable; -it is embodied in the music in a form very different to that of an -ordinary buffo aria. Not less true to nature is Figaro's resigned -expression of disappointed love further on, when, having the evidence of -his own senses that Susanna has been unfaithful to him, he ejaculates: -"Tutto è tranquillo." But such a mood as this could not be a lasting one -with Figaro, and changes at once upon Susanna's entrance. Benucci, for -whom Mozart wrote Figaro, possessed an "extremely round, full, fine bass -voice." He was considered a first-rate actor as well as singer, and -had the rare merit of never exaggerating.[13] The individual -characterisation is still more sharply defined when several personages -appear together in similar situations. Immediately upon the air where -Figaro declares war upon the Count (Act I., 3) follows Bartolo's air -(Act I., 5) [14] in which the latter announces his approaching victory -over Figaro. He also is altogether in earnest; Figaro has cruelly -deceived him, and the long-looked-for - -{BARTOLO.} - -(89) - -opportunity of vengeance is close at hand: "Tutta Sevilla conosce -Bartolo, il birbo Figaro vinto sarà." He is full of pride and -self-consciousness-- - - La vendetta è un piacer serbato ai saggi, - L' obliar l' onte, gl' oltraggi - E bassezza, è ognor viltà-- - -and the air begins with the forcible and impulsive expression of this -self-consciousness enhanced by rapid instrumentation; Bartolo feels the -injury done to him, and his obligation in honour to avenge himself, -and the sincerity of this feeling invests him with a certain amount of -dignity. But--his character has none of the elements of true greatness; -as soon as he begins to descant on the way in which he is to outwit -Figaro, his grovelling spirit betrays itself; he excites himself with -his own chatter, and complacently announces his own triumph beforehand. -Bartolo's dignity is not, however, a parody on his true self; the -comic element consists in the contrast of the pride which lays claim to -dignity and the small-mindedness which unwittingly forfeits the claim. -The German translations lose the chief point of the characterisation. -Capitally expressed is the original: "coll' astuzia, coll' arguzia, col -giudizio, col criterio, si potrebbe----" here the orchestra takes up the -motif of the words "è basezza," as if to edge him on, but soon -subsides, as he recollects himself: "si potrebbe, si potrebbe"--suddenly -interrupted by "il fatto è serio," to which the whole orchestra responds -with a startling chord; thereupon he resumes with calm self-confidence: -"ma, credete, si farà," and then launches into the flood of trivialities -with which he seeks to bolster up his courage. - -Steffano Mandini, the original Count Almaviva, was considered by Kelly -as one of the first buffos of the day,[15] and Choron used to hold him -up to his scholars as his ideal of a singer.[16] At the moment when -Susanna has hearkened to; his suit, he infers from a word let fall by -her that she has - -{LE NOZZE DI FIGARO.} - -(90) - -deceived him. Injured pride, disappointed hope, and jealousy of his -happier rival, excite him to a pitch of passion which breaks out in -true cavalier fashion with the words (Act III., 2).: "vedrò, mentr' io -sospiro, felice un servo mio!" What a world of expression Mozart has -thrown into these words! While disappointed but unvanquished passion -presses its sting deep into his heart, injured pride flares up prepared -to give place to no other feeling than that of revenge. In the wonderful -passage which follows with renewed force upon the immediately preceding -tones of sharp complaint--[See Page Image] the change from major to -minor brouight about by the chromatic passage in the middle parts is -of inimitable effect.[17] We have before us the nobleman, feeling -his honour affronted because he is not allowed to injure that of his -servant, and there is in the expression of his revengeful desires and -his certainty of victory no tinge of Figaro's cunning or Bartolo's -meanness; the stream of passion flows full and unmingled, and the -noble position of the Count gives it a certain amount of composure; -his weakness excites regret rather than contempt or even ridicule. The -expression of this air corresponds to the musical conception of the -Count throughout the opera, in making his feelings of injured pride -outweigh those of disappointed desire. Pride, jealousy, or anger, -unjustifiable as they may be in their outbreaks, are always more -dignified and nobler motives than a love-making whose only foundation -is licentiousness, and its only excuse frivolity. He gives free play to -this feeling in - -{THE COUNT.} - -(91) - -the enchanting duet with Susanna (Act III., 1); but the situation -is rendered endurable to the audience by the knowledge that Susanna -is playing a part to please the Countess. Mozart has given this little -duet a title to be placed in the first rank of musical works of art by -the delicacy with which he has rendered the mixture of encouragement and -coyness in Susanna's demeanour, her true motives being as clear to the -audience as is the misunderstanding of the Count. The harmonic turns of -her evasive answer to his passionate request, "Signor, la donna ognora -tempo ha di dir si," are masterpieces of musical diplomacy. Even the -piquant conceit by which she answers his urgent questions, "Verrai? non -mancherai?" with "si" instead of "no," and _vice versa_, to his great -perplexity, has something more than a merely comic signification.[18] It -characterises most strikingly the security with which she plays with -his passion as expressed in these eager, flattering requests. Even here, -delight at his hard-won victory predominates over his sensual impulses. - -The sensual element of love plays far too great a part in "Figaro," -however, to be altogether disregarded in its musical rendering. It would -be a difficult matter to determine how far and in what way music -is capable of giving artistic expression to this side of the tender -passion; but it cannot be disputed that Mozart has in this respect -competed successfully with the sister arts of painting and poetry. -In Susanna's so-called garden air (Act IV., 5) her longing for her -betrothed is expressed with all the tender intensity of purest beauty; -but the simple notes, cradled as it were in blissful calm, that seem to -be breathed forth "soft as the balmy breath of eve," glow with a mild -warmth that stirs the heart to its depth, entrancing the mind, -and intoxicating the senses like the song of the nightingale. The -_pizzicato_ accompaniment of the air fitly suggests a serenade. It gives -the voice free scope, and the sparely introduced wind instruments, as -well as the tender passage for the first violin towards the close, only -serve to give a finer emphasis to the - -{LE NOZZE DI FIGARO.} - -(92) - -full body of the voice. The impression of longing delight is intensified -by the simplicity of the harmonies, as if from fear of disturbing by any -sudden change the calm bliss of the passing moment. But what analysis -can penetrate these mysteries of creative genius[19] Mozart was right to -let the feelings of the loving maiden shine forth in all their depth -and purity, for Susanna has none but her Figaro in her mind, and the -sentiments she expresses are her true ones. Figaro in his hiding-place, -listening and suspecting her of waiting the Count's arrival, throws, -a cross light on the situation, which, however, only receives its full -dramatic signification by reason of the truth of Susanna's expression -of feeling. Susanna, without her sensual charm is inconceivable, and a -tinge of sensuality is an essential element of her nature; but Mozart -has transfigured it into a noble purity which may fitly be compared with -the grandest achievements of Greek sculpture. - -Nancy Storace (1761-1814), "who possessed in a degree unique at that -time, and rare at any time, all the gifts, the cultivation, and the -skill which could be desired for Italian comic opera,"[20] seems to have -been a singer to whom Mozart was able to intrust the rendering of this -mixture of sentiment and sensuality. When "Figaro" was reproduced in -July, 1789, he wrote for Adriana Ferrarese del Bene,[21] a less refined -and finished singer, the air "Al desio di chi t'adora" (577 K.), -retaining the - -{RONDO FOR SUSANNA.} - -(93) - -accompanied recitative.[22] The words of this song-- - - - Al desio di chi t' adora - Vieni, vola, o mia speranza, - Morirö, se indarno ancora - Tu mi lasci sospirar. - Le promesse, i giuramenti - Deh! ramenta, o mio tesoro! - E i momenti di ristoro - Che mi fece amor aperar. - Ah! che omai più non resisto - All' ardor, che il sen m' accende. - Chi d' amor gli affetti intende, - Compatisca il mio penar. - -with the reference to vows and hopes unfulfilled seem better suited to -the Countess than to Susanna, though the air is clearly indicated for -the latter. Apparently the song was intended to strengthen Figaro in the -delusion that it was the Countess he saw before him. The device -might intensify the situation, but it was a loss to the musical -characterisation, for the air was not altogether appropriate either to -Susanna or the Countess. The singer had evidently wished for a grand, -brilliant air, and Mozart humoured her by composing the air in two -broadly designed and elaborately executed movements, allied in style to -the great airs in "Cosi fan Tutte," and in "Titus." The bravura of the -voice and orchestra is as entirely foreign to "Figaro" as is the greater -display of sensual vigour with which the longing for the beloved one -is expressed. Apart from its individual characterisation, the air has -wonderful effects of sound and expression, greatly heightened by the -orchestra. Basset-horns, bassoons, and horns are employed, occasionally -_concertante_, giving a singularly full and soft tone-colouring to the -whole. A draft score, unfortunately incomplete, in Mozart's handwriting, -testifies to a later abandoned attempt for a similar song. The -superscription is "_Scena con Rondo_"[23] the person indicated, Susanna. -The beginning of the recitative, both in words and music, is like that -of the better-known - -{LE NOZZE DI FIGARO.} - -(94) - -song, and it expresses the same idea somewhat more diffusely as it -proceeds, closing in B flat major. The solitary leaf preserved breaks -off at the eighth bar of the rondo; only the voice-part and the bass are -given--[See Page Image] - -but even this fragment of text and melody suffices to show a complete -contrast to the air just mentioned. A little ariette preserved in -Mozart's original score and marked "Susanna" (579 K.), has still less -of the delicate characterisation which we admire so much in the -opera.[24]The words-- - - Un moto di gioja - Mi sento nel petto, - Che annunzia diletto - In mezzo il timor. - Speriamo che in contento - Finisca l' affanno, - Non sempre è tiranno fato ed amor-- - -are trifling, and so commonplace that they suggest no particular -situation. Even the music, hastily thrown together and light in -every respect, expresses only a superficially excited mood. If, as is -probable, the air was intended for the dressing scene,[25] the want of -individual characterisation - -{SUSANNA.} - -(95) - -becomes all the more observable. It would be a great mistake to consider -the character of Susanna as a mere expression of amorous sensuality. -This side of it is judiciously displayed first without any reserve, -in order to throw into relief her not less real qualities of devoted -affection, faithful service, and refined and playful humour. The very -scene, not in itself altogether unobjectionable, in which the ladies -disguise the page, is turned into an amusing joke by Susanna's innocent -and charming merriment. Susanna's air in this scene (Act II., 3) -is, technically speaking, a cabinet piece. The orchestra executes an -independent piece of music, carefully worked-out and rounded in most -delicate detail, which admirably renders the situation, and yet only -serves as a foil to the independent voice-part. A tone of playful humour -runs through the whole long piece from beginning to end; it is the -merriment of youth, finding an outlet in jest and teasing, expressed -with all possible freshness and grace. But the high spirit of youth does -not exclude deeper feelings where more serious matters are concerned; in -the terzet (Act II., 4) where Susanna in her hiding-place listens to the -dialogue between the Count and Countess, she displays deep emotion, and -expresses her sympathy with truth and gravity. Mozart has indeed grasped -this painful situation with a depth of feeling which raises the terzet -far above ordinary opera buffa.[26] In her relations to Figaro, Susanna -displays now one, now the other side of her nature. It is judiciously -arranged that immediately succeeding her first heartfelt, though not -sentimental expression of love (Act I., 1), the second duet (Act I., 2), -should display her merry humour. Her consciousness of superiority over -Figaro, who learns the Count's designs first through her, combined with -the ease of her relations towards them both, resulting from the honesty -of her love, enable her to carry off the difficult situation with - -{LE NOZZE DI FIGARO.} - -(96) - -a spirit and youthful gaiety which contrast with Figaro's deeper -emotions. He begins indeed with unrestrained merriment, but the same -motif, mockingly repeated by Susanna, becomes a warning which has so -serious an effect upon him that not even her endearments can quite -succeed in chasing the cloud from his brow.[27] The ground-tone of the -duet, the intercourse of affianced lovers, is expressed with the utmost -warmth and animation, and places us at once in the possession of the -true state of affairs. Before the end comes, however, we see the couple -testing each other's fidelity and measuring their intellectual -strength against each other, as when in the last finale Susanna, in the -Countess's clothes, puts Figaro to the proof, and he, recognising her, -takes his clue accordingly. This duet sparkles with life and joviality, -rising, after the explanation, to the most winning expression of tender -love. - -The characters of the Countess and Cherubino are much less complicated -than that of Susanna. The Countess is represented as a loving wife, -injured by a jealous and faithless husband. The musical characterisation -gives no suggestion of any response, however faint and soon stifled, to -the page's advances, but is the most charming expression of ideal purity -of sentiment. She suffers, but not yet hopelessly, and the unimpaired -consciousness of her own love forbids her to despair of the Count's. -Thus she is presented to us in her two lovely songs. The calm peace of -a noble mind upon which sorrow and disappointment have cast the first -light shadow--too light seriously to trouble its serenity--is expressed -with intensest feeling in the first air (Act II., 1). The second (Act -III., 4), - -when she is on the point of taking a venturous step to recall the -Count to her side, is more agitated, and, in spite of the melancholy -forebodings which she cannot quite repress, gives expression to a joyful -hope of returning happiness. There is no strong passion even here; the -Count's affronts - -{CHERUBINO.} - -(97) - -excite her anger, and the dilemma in which she is, placed awakens her -youthful pleasure in teasing. This reminiscence of Rosina in earlier -years, combined with the consciousness of her true feeling, so finely -expressed by the music, may in some measure supply the motive for the -deceit which she thinks herself justified in using towards the Count. -Signora Laschi, who took the part of the Countess, was highly esteemed -in Italy, but was not a great favourite in Vienna.[28] Signora Bussani, -on the other hand, who appeared for the first time as the page, although -not a singer of the first rank, was much admired by the public for her -beautiful figure and unreserved acting,[29] or as Da Ponte says, for her -_smorfie_ and _pagliacciate_.[30] "Cherubino is undoubtedly one of the -most original of musical-dramatic creations, Beaumarchais depicts a -youth, budding into manhood, feeling the first stirrings of love, and -unceasingly occupied in endeavouring to solve the riddle which he is to -himself. Count Almaviva's castle is not a dwelling favourable to virtue, -and the handsome youth, who pleases all the women he meets, is not -devoid of wanton sauciness: "Tu sais trop bien," he says to Susanna, -"que je n'ose pas oser." To Susanna, with whom he can be unreserved, he -expresses the commotion of his whole nature in the celebrated air (Act -I., 6) which so graphically renders his feverish unrest, and his deep -longing after something indefinable and unattainable. The vibration of -sentiment, never amounting to actual passion, the mingled anguish and -delight of the longing which can never be satisfied, are expressed with -a power of beauty raising them out of the domain of mere sensuality, -Very remarkable is the simplicity of the means by which this -extraordinary effect is attained. A violin accompaniment passage, not -unusual in itself, keeps up the restless movement; the harmonies make no -striking progressions, strong emphasis and accents are sparingly used, -and yet the - -{LE NOZZE DI FIGARO.} - -(98) - -soft flow of the music is made suggestive of the consuming glow of -passion. The instrumentation is here of very peculiar effect and of -quite novel colouring; the stringed instruments are muted, and clarinets -occur for the first time and very prominently, both alone and in -combination with the horns and bassoons.[31] The romanze in the second -act (2) is notably different in its shading. Cherubino is not here -directly expressing his feelings; he is depicting them in a romanze, and -he is in the presence of the Countess, towards whom he glances with all -the bashfulness of boyish passion. The song is in ballad form, to suit -the situation, the voice executing the clear, lovely melody, while the -stringed instruments carry on a simple accompaniment _pizzicato_, -to imitate the guitar; this delicate outline is, however, shaded and -animated in a wonderful degree by solo wind instruments. Without -being absolutely necessary for the progress of the melodies and the -completeness of the harmonies, they supply the delicate touches of -detail reading between the lines of the romanze, as it were, what is -passing in the heart of the singer. We know not whether to admire most -the gracefulness of the melodies, the delicacy of the disposition of the -parts, the charm of the tone-colouring, or tenederness of the -expression--the whole is of entrancing beauty. - -Unhappily we have lost a third air written for Cherubino. After the -sixth scene of the second act, in which Barberina requests the page to -accompany her, the original draft score contains the remark: "_Segue -Arietta di Cherubino; dopo l'Arietta di Cherubino viene scena 7, ma ch' -è un Recitativo istromentato con Aria della Confessa_," This arietta is -not in existence, and probably never was, a change in the arrangement -of the scenes having rendered it superfluous. This is to be regretted; -Cherubino's intercourse with Barberina would have supplied an essential -feature which is now wanting in the opera. But even as it is, the image -of - -{DANCE--MARCH.} - -(99) - -Cherubino is so attractive, so original, that it must unquestionably be -reckoned among the most wonderful of Mozart's creations. - -Thus we see all the _dramatis personæ_ live and move as human beings, -and we unconsciously refer their actions and demeanour to their -individual natures, which lie before us clear and well-defined. So great -a master of psychological characterisation was under no necessity of -calling accessories of costume or scenery to his aid, and declined even -to remind us by the use of peculiar musical forms that the action was -laid in Spain. This device is only once resorted to. The dance which is -performed during the wedding festivities in the third act (Act III., -8, p. 377) reminds us so forcibly of the customary melody for the -fandango,[32] that there can be no doubt this dance was known in Vienna -at the time. Gluck has employed the same melody in his ballet of "Don -Juan," produced at Vienna in 1761. If Mozart's adaptation be compared -with the other two, it will be perceived that he has formed a free and -independent piece of music out of some of the characteristic elements -of the original, combining dignity and grace in a singular degree; the -treatment of the bass and middle pans, and the varied combinations u of -the wind instruments heighten the effect of the unusual colouring. At -the exclamation of the Gotmt, who has pricked himself with a pin the -bassoon strikes up in plaintif tones:--[See Page Image] - -which are comically appropriate. But they are not primarily introduced -to express pain; they belong to the dance music, and recur at the same -point later on in the dance; the point of the joke is the apparently -chance coincidence of the dance music with the situation of the moment. -The fine march preceding the ballet, the gradual approach of which -produces a very effective climax (Vol. II., p. 154, note), takes its - -{LE NOZZE DI FIGARO.} - -(100) - -peculiar colouring from the constant transition to the minor in the wind -instruments--[See Page Images]--without having any very decided national -character. Neither are the choruses sung on the same occasion by female -voices, or male and female together, particularly Spanish in tone, any -more than the chorus in the first act (Act I., 8); they are gay, fresh, -very graceful, and exactly fitted to the situation. - -Hitherto we have attempted an exposition only of the musical-dramatic -characteristics of the opera, the psychological conception which makes -the actions of the characters correspond with their individual nature... -Not less important are the events and circumstances which give rise to -the _combined action_ of the different characters; in the opera this is -displayed in ensemble movements. The prevailing principle is here -again truth in the expression of feeling; but the juxtaposition of -the different characters necessitates a greater stress to be laid on -individual peculiarities; - -and again, these characteristics of detail must be subordinated to the -main idea of producing a well-formed whole. A due balance of parts can -only be produced by compliance with the conditions of a musical work of -art. The substance and form of these ensemble movements are of course -subject to many modifications; many of them are nothing more than a -detailed and fuller exposition of some definite situation or mood; -and their whole design is therefore simple. Such are the duets between -Figaro and Susanna (Act I., i, 2), between Susanna and Marcellina (Act -I., 5), the writing duet (Act III., 5), and the duet between the Count -and Susanna (Act III., 1); they are distinguished from airs more by -their form than their nature. If during the dressing scene Cherubino -were to chime in with Susanna's remarks, the Countess were also directly -to interpose, such a duet or terzet would represent the situation in -greater variety of detail, the form would become richer by means of -contrasting - -{ENSEMBLES.} - -(101) - -elements, but the musical matter would not differ essentially from that -to which we are accustomed in solo airs. The terzet in the second act -is of this character; a situation or a mood is maintained, and only -variously mirrored in the various personages. Here, then, is the point -of departure for unity in the grouping of the whole; and the ordinary -resources of musical construction, such as the repetition of a motif in -different places, the elaboration and combination of the motifs, for the -most part lend themselves to the situation. - -The difficulty of the task increases in proportion as the music forms -part-of the plot. We have an instance of this in the duet between -Susanna and Cherubino (Act II., 5); when the latter tries to escape, and -finally jumps out of the window. The simple situation gives rise to an -expression of fear and disquiet in short, interrupted motifs, and the -prevailing characteristic is an agitation almost amounting to action__in -progress. The agitation, however, is so characteristically rendered by -the music, that, while appearing to flow from an irresistible impulse, -it is in reality only an effect of a definite musical formula fitly -working out a given motif. The orchestral part forms a separate piece of -music of very varied character.[33] - -The terzet of the first act comes in the very middle of the action (Act -I., 7). Here we have not merely three persons of dissimilar natures -thrown together, but at the particular point in the plot their interests -and sentiments are altogether opposed, and each of them is influenced by -different suppositions. The plot proceeds, however, and the discovery -of the page in the arm-chair gives a turn to affairs which changes the -position of each person present. We are struck in the first place with -the striking, delicately toned musical expression, especially when the -voices go together, as at the beginning, when the Count's anger: "Tosto -andate e scacciate il - -{LE NOZZE DI FIGARO.} - -(102) - -seduttor!" Basilio's lame excuse: "In mal punto son qui giunto," and -Susanna's distress: "Che ruina, me meschina!" are all blended into a -whole, while preserving throughout their individual characters. The same -is the case at the end also, when the Count, taken by surprise, turns -his displeasure against Susanna in ironical expressions: "Onestissima -signora, or capisco come và"; while she is anxious on her own account: -"Accader non puo di peggio!" and Basilio gives free expression to his -malice: "Cosi fan tutte le belle!" But while the music appears only to -follow the plot, we cannot fail on closer examination to perceive that -I we have before us a work constructed and carried out I according to -the strictest laws of musical form. It is all so naturally and easily -put together that what is really owing to deep artistic insight might be -considered by the uninitiated as the result of a fortuitous coincidence -of dramatic and musical effects. The intensely comic effect produced by -Basilio's repetition of his previous sentence, a fifth higher is brought -about of necessity by the musical form. A similar effect is produced -when, at the point where a return to the original key leads us to expect -a recurrence of the principal subject, the Count, with the same notes -in which he had exclaimed, full of resentment at Susanna's intercession; -"Parta, parta il damerino!" now turns to Susanna herself with the words: -"Onestissima signora, or capisco come và," the point being brought out -by the change from _forte_ to _pianissimo_. Traits like this of -delicate dramatic characterisation proceed immediately from the musical -construction, and are to be ascribed solely to the composer; the text -does not by any means directly suggest them. - -The dramatic interest reaches a far higher level in the two great -finales. The finale to the second act is judiciously constructed, as -far as is compatible with musical exigences, out of the elements -already existing in Beaumarchais. The dramatic interest rises with the -increasing number of persons taking part in the action, and grows to a -climax, while new developments proceeding from the unravelling of each -complication bring the actors into ever-varying relations with each -other. The different situations afford the most - -{FINALES.} - -(103) - -animated variety, moving onwards in close connection, but each -one keeping its ground long enough to give ample scope for musical -elaboration.[34] The situations thus give rise to the eight movements, -distinct in design and character, which form the finale. The masterly -combination of the different movements is more effective than would be -any amount of emphasis laid on particular points of characterisation. -The finale opens with a manifestation of intensest passion--the Count -glowing with rage and jealousy, the Countess, wounded to the heart, -trembling at the consequences of her imprudence. - -In no other part of the opera is the pathetic element express so -prominent, the conflict being so strongly expressed that a serious -catastrophe appears inevitable. But Susanna's unexpected appearance -brings about an explanation, which could not be more aptly expressed -than by the rhythmical motif of the second movement.[35] Susanna's -mocking merriment, which for a moment rules the situation, is in some -degree moderated by the uncertainty of the two others. The want of -repose of the following movement alters the character again, while the -chief characters have to adapt themselves to their change of relative -position. The Count has to propitiate his wife, without being altogether -convinced himself; the Countess's anger and forgiveness both come from -the heart, but she feels that she is not now quite in the right. Susanna -is exerting herself to bring about explanation and reconciliation, -and in so doing takes involuntarily, as it were, the upper hand of the -Countess. It is a mimic war, carried on in the most courteous manner; -every emotion is broken and disturbed. - -Now let us turn to the music. A succession of short motifs, each of -which characterises a particular element of the situation, are loosely -put together, none of them independently worked out, one driving out the -other. But the - -{LE NOZZE DI FIGARO.} - -(104) - -motifs occur in every case just where dramatic expression demands, -and each repetition throws a new light upon the situation, turning the -apparent confusion into a well-formed musical whole. Figaro brings -an element of unrestrained gaiety into the midst of this troubled -atmosphere; the G major following immediately on the E flat major breaks -away from all that has gone before. His merriment is truly refreshing, -but even he feels some constraint knowing that his secret is betrayed, -without being aware of what has led to it. The eagerness with which the -Count interrupts him, the anxiety with which the women seek to put him -in the right way, his alternate holding back and yielding, give the -scene a diplomatic sort of tone, wonderfully well-rendered by a tinge of -dignity in the music, which only here and there betrays, involuntarily -as it were, more animation. The closing ensemble gives to each of the -four voices a mysterious character which is quite inimitable. A complete -contrast to this delicate play is afforded by the half-drunken gardener -with his denunciation; this opponent requires quite a different -treatment. The musical characterisation becomes more lively and broader, -the different features more strongly marked. As soon as the Count begins -his examination of Figaro, the tone alters again. The remarkable andante -6-8 in which the beating motif--[See Page Image] is hurried through -the most varied harmonic transitions expresses an impatience which is -scarcely to be kept from violent explosion, quite in accordance with the -suspense with which the progress of the explanation is followed by -all present without arriving at any satisfactory solution. Finally -Marcellina enters with her confederates. The firm, bold pace which is at -once adopted by the music marks the commencement of a new struggle; the -peril becomes serious, and the change of situation brings about a new - -{FINALES.} - -(105) - -disposition of the characters. Marcellina, Basilio and Bartolo range -themselves on one side, the Countess, Susanna and Figaro on the other, -both parties aggressive and prepared for the fight, the Count between -them turning first to the one side and then to the other. When the -crisis is over, and Marcellina's claim acknowledged, the previous -positions are reversed; Marcellina's party has the advantage, Figaro's -is defeated. The vanquished party now lose self-command and become -violently agitated, while the victors express their triumph with mocking -composure. The finale ends in doubled tempos with a diffuse but decided -expression of those discordant moods on both sides, bringing the long -strife and confusion to an end.[36] The plan of the second finale -is quite different; we plunge at once into the midst of an animated -intrigue, one misapprehension and surprise following close upon another. -The Countess, disguised as Susanna, awaits the Count; Figaro, and -Susanna listen concealed; first the page enters, then the Count, and the -play proceeds, every one getting into the wrong place, receiving what -is not meant for him, and addressing himself to the wrong person. Mozart -has only grasped the amusing side of the complication, and the music -maintains a cheerful, lively character, without leaving room for any -expression of deeper feeling. By this means whatever is objectionable in -the situation seems to spring unavoidably as it were from the facts of -the case, on which the play is founded and developed. It is sufficiently -astonishing that the music should succeed in following this development -step by step in all its turns; the higher art of the master is displayed -in his power of representing dramatic life and reality in all its -perfection within the limits of a musical movement of scientific -conception and form. Nowhere perhaps is the style of intrigue which -Zelter praises as the special quality of the opera[37] brought - -{LE NOZZE DI FIGARO.} - -(106) - -so prominently forward as in this ensemble. It consists in the art of -making each character express himself naturally and appropriately, at -the same time rendering the due meaning of the situation and throwing -the right light on every separate utterance, while giving the whole a -brighter colouring. As soon as Figaro and Susanna are opposed to each -other, the tone and style are altered. Serious genuine feeling breaks -through the mask of deception, and asserts its sway. Not until the -Count enters does the trickery begin again, leading to a succession of -surprises which find their climax in the appearance of the Countess. The -music renders so bewitchingly the impression of her pardoning gentleness -and amiability that we are forced to believe in the sincerity of the -reconciliation, and to share in the rejoicings which follow on so many -troublous events.[38] - -Next to these two finales a prominent position is assigned to the sestet -(Act III., 3) which according to Kelly was Mozart's favourite piece in -the whole opera.[39] This partiality is characteristic, for his amiable -nature finds fuller expression in this piece than in any other. The -trial scene is omitted in the opera, but the recognition of Figaro -by Marcellina and Bartolo is brought into the foreground. The cool -sarcastic tone of Beaumarchais gives this scene something unpleasant; -but the musical version even here allows human sentiment to assert -itself; if it were not for the extraordinary circumstances on which the -scene is founded it would be quite pathetic. Both the parents and the -son are in the act of expressing the tenderest affection and delight -when Susanna hastens in to redeem Figaro. The violence with which she -manifests her anger at Figaro's apparent want of constancy is meant -quite seriously, and is necessary in order to show how deeply her heart -is affected. Amid the caresses of her supposed rival she learns the -truth, the charming melody to which Marçellina had made herself known to -her - -{THE SESTET.} - -(107) - -son being transferred to the orchestra while she acquaints Susanna of -her relationship to Figaro. Susanna, incredulous of the wonderful story, -demands confirmation from each person present in turn, and the situation -assumes a comic character, consisting however only in the unexpected -turn of events, not in the sentiments of the persons interested, who -only wish to be quite sure of their facts before giving themselves up -to unmitigated delight. Once assured of their happiness, it overflows in -fervent gratitude with an enchanting grace that invests the happy lovers -with a sort of inspired and radiant beauty. Mozart has added very much -to the effect by keeping the whole passage _sotto voce_, a device which -he always employs with deep psychological truth.[40] But the lovers are -not alone, and the contrast afforded by the other personages present -prevents the purely idyllic character which would be incongruous in this -scene. One of these is the Count, who with difficulty restrains his rage -so far as not to commit himself. The other is the stupid, stuttering -judge, Don Curzio, who has pronounced judgment as the Count's tool, and -is now amazed at what is passing before him; incapable of an idea, -he says first one thing and then another, and finally takes refuge in -obsequiously following the opinions of his lord and master. The striking -musical effect of the high tenor going with the Count's deep bass gives -an expression of cutting irony, and emphasises the stupidity of the -judge who chimes in with the Count, without in the least entering into -the passions which agitate him. Don Curzio serves here the same purpose -as Basiliain the terzet of the first act, mingling a comic element with -the expression of a deeper emotion, and modifying, without injuring, -the serious ground-tone of the piece. This mode of construction is -altogether Mozart's own, and is a striking testimony to his power of -grasping and delineating dramatic truth. - -Kelly narrates that Mozart begged him not to stutter - -{LE NOZZE DI FIGARO.} - -(108) - -while he was singing lest the impression of the music should be -disturbed. He answered that it would be unnatural if a stutterer should -lose his defect as soon as he began to sing, and undertook to do no harm -to the music. Mozart gave in at last, and the result was so successful -that the sestet had to be repeated, and Mozart himself laughed -inordinately. He came on the stage after the performance, shook Kelly -by both hands and thanked him, saying: "You were right and I was -wrong."[41] This was doubtless very amiable of Mozart, but his first -view was the right one, nevertheless. The artifice might succeed in a -master of mimicry, but Don Curzio ought certainly not to be made the -principal person in the sestet. On the contrary, he might well be -omitted altogether as a musical pleonasm; at least, if Basilio were to -be brought in and made to take the same part in the action. - -The sestet may be taken as an excellent example of the manner in which -Mozart turned his means of representation to account. We are struck -first of all with his power of grouping so as to produce a clear and -distinct whole. The effect and appreciation of music depends, like -architecture, on symmetry. Even though a strict parallelism of the -different component parts may be in all but certain cases inapplicable, -yet their symmetry must be always present to the apprehension of the -hearers. In the musical drama the characterisation of the situation -dominates the construction side by side with the laws of musical form. -In the sestet before us Marcellina, Bartolo, and Figaro form a natural -group, announcing themselves at once as connected from a musical point -of view, Marcellina and Bartolo closely corresponding, Figaro forming -the uniting member of the little group. Opposed to them we have the -Count and Don Curzio, who also keep together, but with greater freedom -of independent movement. Susanna's entry introduces a new element. At -first she opposes Figaro, and allies herself to the Count, and we have -then two strongly characteristic groups of three persons, each with a -construction and - -{TREATMENT OF THE VOICE PARTS.} - -(109) - -movement of its own. The explanation which ensues necessitates the -dissolving of the ensemble into a monologue, after which the situation -is changed. Susanna goes over to Figaro, Marcellina, and Bartolo, and -fresh group is formed, with Susanna as the chief member, though the -others do not by any means renounce their independence. Against this -concentrated force the discontented minority gives expression to -additional energy and resentment, coming to an end in unison. These -hints will suffice to show with what a firm mind of the hearers an -impression of the perfect freedom of dramatic action, within the limits -of strict and simple musical form. - -The great stress laid upon dramatic reality necessitated in general -simple forms and moderate execution in the musical part of the work. -In the airs the traditional form of two elaborate movements is only -exceptionally employed the cavatina or rondo form being in most cases -preferred and treated freely, although with considerable precision the -majority of the duets are similar in design, Mozart having usually -written over them _duettino, arietta_, But neither confined limits -nor dramatic interest have been made a pretext for the neglect of -well-constructed, well-rounded form; - -he never fails to hit upon the right point, whence a whole may be -organised. Thus, every separate passage in the finale heightens the -contrast, and leads by a 'natural process of development to a conclusion -for which '+ helps to prepare the way. What has been said in general terms -may be applied to the treatment of details, and primarily of the voices. -The dramatic characterisation necessitates perfect freedom in the -employment of every source of effect; long-drawn cantilene shorter -melodious phrase; well-marked motifs requiring elaborate working-out, -declamatory delivery merging into an easy conversational tone--all are -employed in their right place, often in rapid alternation and varied -combination. It is not sufficient, however that each separate device -should be employed effectively the essential point is that they should -be placed in right relations with each other, and with the whole of -which hand the musical edifice is put together so as to leave on the - -{LE NOZZE DI FIGARO.} - -(110) - -they form parts. The unhesitating use of the resources of the voice, -and the harmony of the effect, are admirable alike in the great ensemble -movements and in the smallest passage to be sung; the sestet and the -second duet may be brought forward as essentially differing in style and -subject, yet each in its place distinguished by delicacy of detail and -striking effect. Great simplicity in the treatment of the voices is -a noteworthy consequence of this tendency. Song is merely the means -adopted for expressing emotion of different kinds. Homely simplicity -not only corresponds to truth of expression--it is necessary for -the combination of heterogeneous motives, which would otherwise be -incomprehensible. - -This simplicity, however, is not of the kind that reduces all expression -to the same level, and abjures ornament and grace; rather is it the -simplicity of a nature which draws its inspiration from the depths of -the heart, and excludes all merely virtuoso-like displays which would -serve but to glorify the singer.[42] - -An important aid to characterisation and colouring was found by Mozart -in the orchestra. We know by what means he had prepared and cultivated -every part of a full orchestra as a means of characteristic expression -and euphonious charm. His contemporaries were particularly impressed -by his use of wind instruments, and in point of fact they were little -likely ever to have experienced before the sensations produced by the -tender interweaving of the wind instruments in Cherubino's romanze (Act -II., 2), or their soft, melting sounds in his air (Act I., 6). In these -days we should, indeed, appreciate rather Mozart's moderation in the -employment of wind instruments. Trombones are never used, and trumpets -and drums only in the overture the march with a chorus (Act III., 7), -the closing passages of the finales, and in three airs: those of Bartolo -(Act I., 4), Figaro (Act I., 9), and the Count (Act III., 2). This is -not saying much; true moderation consists, not so much in - -{THE ORCHESTRA.} - -(111) - -abstaining from certain methods, as in the way in which those which are -employed are held in check. Equally admirable is the masterly treatment -of the stringed instruments which form the groundwork of the orchestra, -at the same time that the independent movements of the separate -instruments develop a fresh and ever-varied vivacity. Mozart has striven -above all to preserve a healthy balance of sound effects, and a unity of -treatment which never aims at brilliant effects brought about either by -an ostentatious extra vagance or an exaggerated economy in the use of -his resources; the right effect is produced at the right point, and in -the simplest manner, regard being always had to the laws of climax. The -simplicity of the voice parts necessitates a corresponding simplicity -in the instrumental parts! most distinctly appreciable where they occur -obbligato. A comparison with "Idomeneo" and the "Entführung" in this -respect will bring out the difference very strongly. The orchestra in -the "Entführung" is treated more easily and simply than in "Idomeneo"; -in "Figaro" the highest degree of clearness is united with abundant -fulness and intensive force of instrumental colouring. - -The position here accorded to the orchestra may be regarded as not -so much an improvement on earlier operas as an essentially new -conception of its powers and functions.[43] The orchestra appears For -the first time not only as an integral part of the whole, but as -one with equal rights, taking an independent and active part in the -musical-dramatic representation. Such a conception could only be -realised when the orchestra and instrumental music had been developed -and cultivated as they were by Haydn and Mozart. In this independent -position it is neither above nor in opposition to the voices, but each -is indispensable to the due effect of the other. - -The orchestra is no longer to be looked upon as a mere accompaniment -to the voices, but as an independent and co-operating means of -representation. And as such we find it in "Figaro." In many passages -the orchestra seems to take the lead--as, for instance, in the dressing -scene (Act II., 3), when the animated, - -{LE NOZZE DI FIGARO.} - -(112) - -delicately worked-out orchestral passages not only hold the threads -together, but develop the characterisation. At other times the orchestra -forms the foundation in the working-out of motifs upon which the -voices are suffered to move freely, as in the duet between Susanna and -Cherubino (Act II., 5) and in different passages of the finales, the -andante 6-8 of the first finale and the first passage of the second. -There are, indeed, few numbers in which the orchestra does not -temporarily undertake one or the other office, in order to assist the -characterisation. The orchestra is never employed in this way with -better effect than in the so-called "writing-duet" (Act III., 5). At -the close of the recitative the Countess dictates the title, "canzonetta -sull' aria," and as soon as Susanna begins to write, the oboes and -bassoons take up the ritornello, and undertake to tell, as it were, what -Susanna is writing when she is silent and the Countess dictates.[44] -There is a trace here of a subsequent editorial alteration. Instead -of the present closing bars of recitative, which are inserted in the -original score by a strange hand, there were originally quite -different ones, to which the little duet in B flat major could not have -immediately succeeded. They probably served as an introduction to -a lively scene between the Countess and Susanna, similar to that in -Beaumarchais' dialogue. This is confirmed by the first sketch of the -writing-duet, which, with the title "Dopo il Duettino," only prefixes -the words of the Countess as recitative: "Or via, scrivi cor mio, -scrivi! gia tutto io prendo su me stessa." So close an approximation of -two duets was most likely the cause of the rejection of the first, with -the words of the recitative which called it forth. - -Detached features of the orchestral treatment, important as they may be, -however, do not constitute its peculiar character; many of them had been -previously and successfully attempted by other musicians. The essential -point consists in the orchestra taking part, as it were, in the action, -so that more often than not the instrumental parts would - -{THE ORCHESTRA--OVERTURE.} - -(113) - -form a complete and satisfying whole without any voice parts at all. -The orchestra, of course, frequently executes the same melodies as the -voices, but it treats them in an original manner, producing a constant -flow of cross effects with the voices. Sometimes again it works out -its own independent motifs, and adds shading and detail to the outlines -furnished by the voices. It is not possible to over-estimate the share -thus taken by the orchestra in maintaining the main conception of the -situation, in increasing the dramatic reality and interest of the plot, -and in strengthening the impression made upon the audience. - -The capabilities of instrumental music in this direction are most -strikingly displayed in the overture, in composing which Mozart appears -to have kept before him the second title of Beaumarchais' play, "La -Folle Journée." He has made one very characteristic alteration in -the course of the overture. At first the rapid impetuous presto was -interrupted by a slower middle movement. In the original score the point -where the return to the first subject is made (p. 13) is marked by a -pause on the dominant-seventh, followed by an andante 6-8 in D minor of -which, however, only one bar is preserved:--[See page image] - -{LE NOZZE DI FIGARO.} - -(114) - -The leaf on which its continuation and the return to the presto was -sketched is torn out, and the portion between _vi_ and _de_ crossed -through.[45] It is plain that Mozart altered his mind when he came to -the instrumentation of the overture, which he had sketched in the usual -way. Perhaps a middle movement beginning like a Siciliana did not please -him; in any case, he thought it better not to disturb the cheerful -expression of his opera by the introduction of any foreign element. -And in very truth the merry, lively movement pursues its uninterrupted -course from the first eager murmur of the violins to the final flourish -of trumpets. One bright, cheerful melody succeeds another, running -and dancing for very lightness of heart, like a clear mountain stream -rippling over the pebbles in the sunshine. A sudden stroke here and -there electrifies the motion; and once, when a gentle melancholy shines -forth, the merriment is as it were transfigured into the intensest -happiness and content. A piece of music can hardly be more lightly and -loosely put together than this; there is an entire want of study or -elaboration. Just as the impulses of a highly wrought poetic mood exist -unobserved, and pass from one to the other, so here one motif grows out -of the other, till the whole stands before us, we scarce know how. - -A not less important office is undertaken by the orchestra in assisting -the psychological characterisation, not only by giving light and shade -and colouring through changes of tone-colouring and similar devices -unattainable by the voices, but by taking a positive part in the -rendering of emotion. - -No emotion is so simple as to be capable of a single decided and -comprehensive expression. To the voices is intrusted the task of -depicting the main features, while the orchestra undertakes to express -the secondary and even 'the contradictory impulses of the mind, from -the conflict of which arise emotions capable of being expressed in music -alone of all the arts. We can scarcely wonder that Mozart's - -{FIGARO AS AN OPERA BUFFA.} - -(115) - -contemporaries, surprised at the novelty of his orchestral effects, -failed to appreciate their true meaning,[46] nor that his imitators -confined themselves to the material result, and failed to perceive -the intellectual significance of the improved instrumentation.[47] The -freedom with which Mozart employs voices and orchestra together or -apart to express dramatic truths can only exist as the highest result of -artistic knowledge and skill. The independence with which each element -cooperates as if consciously to produce the whole presupposes a -perfect mastery of musical form. True polyphony is the mature fruit of -contrapuntal study, although the severe forms of counterpoint are seldom -allowed to make themselves visible. - -To sum up, there can be no doubt that Mozart's "Figaro" must be ranked -above the ordinary performances of opera buffa on higher grounds than -its possession of an interesting libretto, a wealth of beautiful melody, -and a careful and artistic mechanism. The recognition of truth of -dramatic characterisation as the principle of musical representation was -an immense gain, and had never even been approached by opera buffa, with -its nonsensical tricks and caricatures. - -Rossini himself said that Mozart's "Figaro" was a true _dramma giocoso_, -while he and all other Italian composers had only composed _opere -buffe_.[48] Even though we acknowledge the influence of French opera -on Mozart (Vol. II., p. 342) as formed by Gluck,[49] and still more by -Grétry (Vol. II., p. 15),[50] the first glance suffices to show -that Mozart's superior musical cultivation enabled him to employ the -resources of his art to - -{LE NOZZE DI FIGARO.} - -(116) - -a far greater degree than Grétry. Granting also Grétry's undoubted -powers of dramatic characterisation and expression of emotion, Mozart's -nature is also in these respects far deeper and nobler. Nothing can be -more erroneous than the idea that Mozart's merit consisted in taking -what was best from Italian and French opera, and combining them into -his own; it was solely by virtue of his universal genius' that he -was enabled to produce an opera which is at once dramatic, comic, -and musical. Chance has decreed that "Figaro" should be an Italian -adaptation of a French comedy, set to music by a German; and this being -so serves only to show how national diversities can be blended into a -higher unity. - -A glance by way of comparison at the Italian operas which competed -in some respects successfully with "Figaro," such as Sarti's "Fra due -litiganti il terrzo godef" Paesiello's. - -"Barbiere di Seviglia" and "Re Teodoro," Martin's "Cosa Rara and "Arbore -di Diana," or Salieri's "Grotta di Trofonio," may at first excite -surprise that they contain so much that reminds us of Mozart, and which -we have learnt to identify with Mozart, knowing it only through him. But -a nearer examination will show that this similarity is confined to form, -for the most part to certain external turns of expression belonging to -the time, just as certain forms of speech and manner belong to different -periods. In all essential and important points, careful study will serve -only to confirm belief in Mozart's originality and superiority. All the -operas just mentioned have qualities deserving of our recognition. -They are composed with ease and cleverness, with a full knowledge -of theatrical effect and musical mechanism, and are full of life and -merriment, of pretty melodies, and capital intrigue. But Mozart fails in -none of these qualities, and only in minor matters do these other works -deserve to be placed side by side with his. None of them can approach -him even in some matters of detail, such as the treatment of the -orchestra, or the grouping of the ensembles. What is much more -important, however, they fail altogether in that wherein consists -Mozart's true pre-eminence: in the intellectual organisation, the -psychological depth, the - -{VIENNA, 1786.} - -(117) - -intensity of feeling, and consequent power of characterisation, the -firm handling of form and resource, proceeding from that power, and -the purity and grace which have a deeper foundation than merely sensual -Beauty. Those operas have long since disappeared from the stage, -because no amount of success in details will preserve in being any work -uninteresting as a whole. Mozart's "Figaro" lives on the stage, and in -every musical circle; youth is nourished on it, age delights in it -with ever-increasing delight. It requires no external aid for its -apprehension; it is the pulse-beat of our own life which we feel, the -language of our own heart that we catch the sound of, the irresistible -witchery of immortal beauty which enchains us--it is genuine, eternal -art which makes us conscious of freedom and bliss. - - - - -FOOTNOTES FOR CHAPTER XXXVI. - - -[Footnote 1: Confirmed by Kelly (Reminisc., I., p. 257).] - -[Footnote 2: L. de Lomenin, Beaumarchais et son Temps, II., p. 293.] - -[Footnote 3: The piece in various translations was soon familiar on every -stage in Germany. A. Lewald has lately issued a new translation of it -(Beaumarchais, Stuttg., 1839).] - -[Footnote 4: In Paris (in 1793) the unfortunate idea was conceived of performing -Mozart's music with Beaumarchais' complete dialogue (Castil-Blaze, -L'Acad. Imp. de Mus., II., p. 19). Beaumarchais was pleased with the -representation, though not with the adaptation (Lomenin, Beaumarchais, -II., p. 585). A notice of the performance says: "The music impressed us -as being beautiful, rich in harmony, and artistically worked out. The -melodies are pleasing, without being piquant. Some of the ensemble -movements are of extreme beauty."] - -[Footnote 5: Schneider, Gesch, d. Oper in Berlin, p. 59.] - -[Footnote 6: Aus einer alten Kiste, p. 177. Meyer, L. Schroder, II., p. 55.] - -[Footnote 7: Sainte-Beuve, Causeries du Lundi, VI., p. 188.] - -[Footnote 8: Car. Pichler, Denkw., I., p. 103.] - -[Footnote 9: From Herder's Nachlass, III., p. 67.] - -[Footnote 10: The intellectual transformation which the French comedy underwent -at Mozart's hands has often been insisted upon, e.g., by Beyle (Vies de -Haydn, Mozart et de Métastase, p. 359), who, while recognising Mozart's -excellence, is yet of opinion that Fioravanti or Cimarosa would perhaps -have succeeded better in reproducing the easy cheerfulness of the -original. Rochlitz also (A. M. Z., III., pp. 594, 595) and Ulibicheff -(II., p. 48) appear to consider the remodelling of the piece as not -altogether perfect. On the other hand, an enthusiastic article in the -Revue des Deux Mondes (XVIII., p. 844, translated in A. M. Z., XLII., -p. 589), extols Mozart as the master who has given to Beaumarchais' work -that which Mozart alone could have detected in the subject of it, viz., -_poetry_. Cf. Hotho Vorstudien fur Leben und Kunst, p. 69.] - -[Footnote 11: In the very characteristic and amusing duet for the two quarrelling -women in Auber's "Maurer" the realism of the musical representation is -of some detriment to the grace of expression and delivery.] - -[Footnote 12: He declares that he so astonished Casti and Paesiello by his power -of mimicry that, although he was very young, they intrusted him with the -difficult part of Gafforio in the "Re Teodoro," in which he made a great -sensation (Remin., I., p. 241).] - -[Footnote 13: Berl. Mus. Ztg. 1793, p. 138.] - -[Footnote 14: Bussani, who sang Bartolo and Antonio, had been in the Italian -Opera in Vienna in 1772 but left it the following year. He was noted for -his "resonant barn voice" (Müller, Genaue Nachr., p. 73).] - -[Footnote 15: Kelly, Reminisc., I., pp. 121, 196.] - -[Footnote 16: P. Scudo, Musique Ancienne et Moderne, pp. 22, 23.] - -[Footnote 17: Thus in Bartolo's air the close juxtaposition of major and minor -at the words "è bassezza è ognor viltà," exactly expresses the -intensification of his feeling of annoyance.] - -[Footnote 18: Rochitz, A. M. Z., III., p. 595.] - -[Footnote 19: A hasty sketch of the voice part shows only trifling alterations in -the later melody. It is noteworthy that Mozart made many attempts before -hitting upon a satisfactory conclusion.] - -[Footnote 20: A. M. Z., XXIV., p. 284.] - -[Footnote 21: She first appeared October 13, 1788, as Diana in Martin's "Arbore -di Diana" (Wien. Ztg., 1788, No. 83, Anh.).] - -[Footnote 22: Wien. Ztg., 1789, No. 76, Anh., announces, "Neues Rondeau von Mme. -Ferrarese aus Le Nozze di Figaro, Giunse alfin Rec. Al desio Rondeau." -The air is published with the character given, "La Contessa," without -any further intimation. Mozart's autograph has disappeared, but André -has a copy of the air with the recitative from Mozart's remains, -both marked for "Susanna." This increases the difficulty which exists -respecting it (Sonnleithner, Recensionen, 1865, p. 721).] - -[Footnote 23: In the original score of "Figaro" the conclusion of the secco -recitative is followed by the words, "Segue Recit. instrumental con -Rondo di Susanna." The present garden aria could scarcely be called a -rondo, and this probably refers to another air, the design of which was -abandoned.] - -[Footnote 24: It is printed in a pianoforte arrangement among the songs (Ouvr., -V., 20).] - -[Footnote 25: Written above it in a strange hand is, "Le Nozze di Figaro. 13 -Atto 2do," and the cue, "e pur n' ho paura." Counting the pieces this -air is in the second act, No. 13, in G major, like the preceding one; -if it is assumed that the opera is divided into two acts, the garden air -would be No. 13 in the second act. The cues are not to be found in both -places, so that an alteration must have been made in the dialogue. The -cue agrees in sense with the words of the Countess before the dressing -song, ( Miserabili noi, se il conte viene).] - -[Footnote 26: In the original terzet, when the parts went together, the highest -was given to the Countess; Mozart afterwards altered it, wherever -dramatic expression allowed, so that Susanna should sing the highest -part; this has necessitated trifling modifications here and there in -the disposition of parts. This alteration was no doubt undertaken with -a view to the singers. In the two finales their relative position was -settled before he proceeded to the working-out.] - -[Footnote 27: According to Beyle, it is only in this duet that Mozart has -rendered the character of French comedy, and even here he takes Figaro's -jealousy too seriously (Vies de Haydn, Mozart et de Métastase, p. 361).] - -[Footnote 28: Cramer, Magaz. f. Mus., 1788, II., p. 48. She first appeared on -September' 24, 1784, with success (Wien. Ztg., 1784, No. 79, Anh.), and -she appeared again after a pause in "Figaro" (Wien. Ztg., 1786, No. 35, -Anh.).] - -[Footnote 29: Berl. Mus. Ztg., 1793, p. 134.] - -[Footnote 30: Da Ponte, Mem., I., 2, p. 111; cf. p. 135.] - -[Footnote 31: The fragment of a sketch in score for this air is identical in the -first division; the words "solo ai nomi d'amor, di diletto," are -treated differently. A pianoforte arrangement of the air with violin -accompaniment, entirely in Mozart's handwriting, is in Jules Andre's -collection.] - -[Footnote 32: Dohrn, N. Ztschr. Mus., XL, p. 168.] - -[Footnote 33: The duet has undergone three unnecessary abbreviations in the -printing. The sketch of a few bars to serve as an introduction to -another duet has the superscription "Atto 2do, Scena 3, invece del -Duetto di Susanna e Cherubino." This was apparently never continued.] - -[Footnote 34: This connected construction of the different sections of the finale -is seldom found; they are generally merely successive scenas, as, for -instance, in Casti's "Re Teodoro."] - -[Footnote 35: Mozart has written above it, "Andante di molto," and not "Andante -con moto" as it is printed; and it may further be noted that Susanna -comes out of the closet "tutta grave."] - -[Footnote 36: Holmes says (Life of Mozart, p. 269) that Mozart wrote this finale -in two nights and a day, without stopping; in the course of the second -night he became unwell, and was obliged to desist when there only -remained a few pages to instrumentalise.] - -[Footnote 37: Zelter, Briefw. m. Goethe, V., p. 434.] - -[Footnote 38: Basilio and Don Curzio being intrusted to one singer, as well -as Bartolo and'Antonio, the score contains the names of the four -characters, but only two musical parts; supernumeraries were brought on -the stage in similar costumes when required.] - -[Footnote 39: Kelly, Reminisc., I., p. 260.] - -[Footnote 40: At first he gave Susanna's charming melody to the bassoon and flute -as well, but afterwards struck out both instruments, in order to allow -the voice full play. The instrumentation throughout the sestet is very -moderately treated.] - -[Footnote 41: Kelly, Reminisc., I., p. 260.] - -[Footnote 42: The running passages at the close of the air for the Countess (Act -III., 2) were not originally written by Mozart, but were added later, -probably at the wish of the singer.] - -[Footnote 43: Cf. Kossmaly to Ulibicheff, Mozarts Opern, p. 368.] - -[Footnote 44: This exquisite touch is completely lost in the German translation, -where the Countess only begins to dictate after the ritornello.] - -[Footnote 45: A writer in the Deutsch. Mus. Ztg., 1862, p. 253, conjectures that -an orchestral piece in D minor (101, Anh., K.) included among Mozart's -remains, but unfortunately lost, may have been this middle movement.] - -[Footnote 46: The Emperor Joseph's remark has been already mentioned. Carpani -(Le Haydine, p. 49; cf. p. 35) is of the same opinion. Grétiy's shrewd -criticism in answer to a question by Napoleon: "Cimarosa met la statue -sur le théätre et le piédestal dans l'orchestre; au lieu que Mozart met -la statue dans l'orchestre et le piédestal sur le théätre," has been -justly praised by Fétis (Biogr. Univ., IV., p. 106).] - -[Footnote 47: Carpani, Le Haydine, p. 202. Beyle, Vies de Haydn, Mozart et de -Métastase, p. 362. Stendsal, Vie de Rossini, p. 40.] - -[Footnote 48: Südd. Zeitg. f. Mus., 1861, p. 24.] - -[Footnote 49: H. Berlioz (Voy. Mus., II., p. 267) characterises Mozart as the -master who, above all others, followed in Gluck's footsteps.] - -[Footnote 50: Tieck, Dramaturg. Blatter, II., p. 325.] - -=== - - - -MOZART 37 - -BY DAVID WIDGER - - - - -CHAPTER XXXVII. MOZART IN PRAGUE. - -THE success of "Figaro" did not materially improve Mozart's position in -Vienna. He lived, it is true, in very pleasant intercourse with a large -circle of friends, especially with the members of the Jacquin family -(Vol. II., p. 357), but the necessity he was under of earning his living -as a music teacher and virtuoso was very galling to him. "You happy -man!" said he to Gyrowetz, who was setting out on a journey to Italy; -"as for me, I am off now to give a lesson, to earn my bread."[1] A -glance at the Thematic Catalogue of his compositions succeeding "Figaro" -shows that they were probably suggested by his position as a teacher and -in musical society:-- - -1786. June 3. Quartet for piano, violin, viola, and violoncello, in E -flat major (493 K.). - -June 10. Rondo for piano in F major (494 K.). - -June 26. Concerto for the French horn for Leutgeb in, E flat major (495 -K.). - -July 8. Terzet for piano, violin, and violoncello, in G major (496 K.). - - -{MOZART IN PRAGUE.} - -(118) - -1786. August 1. Piano sonata for four hands in F major (497 K.). - -August 5. Terzet for piano, clarinet, and violin, in E flat major (498 -K.). - -August 19. Quartet for two violins, viola, and violoncello, in D major -(499 K.). - -September 12. &Twelve variations for the piano in B flat major (500 K.). - -November. Variations for the piano for four hands in G major (501 K.). - -November 18. Terzet for piano, violin, and violoncello, in B flat -major(502 K.). - -Then follow three compositions intended for the winter concerts:-- - -1786. December 4. Pianoforte concerto in C major (503 K.). - -December 6. Symphony in D major (504 K.). - -December 27. Scena con rondo with pianoforte solo, for Mdlle. Storace -and myself, in E flat major (505 K.). - -We cannot wonder that he turned a willing ear to the entreaties of his -English friends, that he would leave Vienna in the autumn of 1786 (his -wife having presented him on October 27, 1786, with their third son, -Leopold, who died the following spring) and visit England; this plan -was seriously considered, and only abandoned upon his father's strong -opposition to it (Vol. II., p. 274). There soon after reached him -an invitation from another quarter, giving still greater prospect of -success and encouragement. "Figaro" made its way but slowly to most of -the other great towns of Europe,[2] but in Prague, where the "Entführung" -had left a very pleasing impression, it was performed at once, and with -the greatest success. - -The national taste for music which early distinguished - - -{MUSIC IN BOHEMIA.} - -(119) - -the Bohemians, and which they retain to the present day, arrived at -a high stage of development during the last century.[3] The zealous -attention bestowed upon church music both in town and country, and the -cultivated taste of the nobility, gave to talent an easy recognition, -and no available forces, either vocal or instrumental, were suffered to -remain in neglect. It was the "custom and obligation" for every head of -a school to write at least one new mass during the year, and to perform -it with his scholars. Any youth who distinguished himself was placed -in an institution where he was able to continue his musical education; -there was no lack of patrons ready to support him until he found a -situation in the musical establishment of a prince, a prelate, or a -monastery.[4] "The families of Morzini, Hartiggi, Czemini, Mannsfeldi, -Netolizki, Pachta, &c., were the patrons of many young men; they took -them from the village schools on their territories and brought them to -the capital to swell the ranks of their private musical establishments; -they wore a livery, and formed part of their retinue of servants. -Riflemen were not allowed to wear a uniform until they could blow the -bugle perfectly. Many noble families in Prague required their livery -servants to have a knowledge of music before being considered competent -for service." Under these circumstances, music and all connected with it -must have been held in high estimation at Prague, where the aristocracy -were wont to congregate during the winter. A permanent Italian opera, -especially intended for opera buffa, was founded by Bustelli, who had -also obtained a license in Dresden in 1765. From that time until 1776 he -gave performances at both places with a select - - -{MOZART IN PRAGUE.} - -(120) - -company, and acquired great fame thereby.[5] His successor was Pasquale -Bondini, who afterwards gave performances in Leipzig during the -summer,[6] and who was able to uphold the ancient fame of the Italian -opera in Prague. First-rate artists, such as Jos. Kucharz and Jos. -Strobach were engaged as operatic conductors; and other distinguished -musicians were engaged, as, for instance, Joh. Kozeluch (a relation of -Mozart's opponent living in Vienna, Leopold Kozeluch), Wenzel Praupner, -Vincenz Maschek, &c. There was, however, one artistic couple in Prague -of peculiar interest from their influential position and their intimate -friendship with Mozart. These were the Duscheks, whose name we have -already had frequent occasion to mention.[7] - -Franz Duschek (born 1736 in Chotinborek), while still a poor peasant -lad, attracted the notice of his feudal lord, Count Joh. Karl von -Spork, by his uncommon talent. He was first sent to study at the Jesuit -seminary at Königgràtz, but being obliged to give up study owing to an -unfortunate accident, he devoted himself entirely to music, and was -sent by the Count to Vienna, where he was educated into an accomplished -piano-forte-player by Wagenseil.[8] As such he had long held the first -rank in Prague, and not only did much by his excellent teaching to -advance the art of pianoforte-playing, but exercised a decided and -beneficial influence on musical taste in general. He was universally -esteemed as an honest and upright man, and his influence with -distinguished connoisseurs made him a powerful patron of foreign artists -visiting Prague. His hospitable house formed a meeting-point both for -foreign and native talent, and concerts were regularly given there on -certain days in the week. The animating spirit at all these meetings was -Duschek's wife Josepha (neé Hambacher),[9] who had received her musical -education from - - -{MADAME DUSCHEK.} - -(121) - -him. She played the pianoforte well enough to pass for a virtuoso, and -made some not unsuccessful attempts as a composer; but her forte lay in -singing. Her beautiful, full, round voice was admired equally with her -delivery, which was especially fine in recitative; she accomplished the -most difficult bravura passages with perfect ease, without neglecting -the effect of a perfect _portamento_; she united fire and energy with -grace and expression--in short, she maintained in every respect her -claim to be ranked with the first Italian singers of her time. This -claim was not, it is true, acknowledged by Leopold Mozart; when she was -in Salzburg with her husband, in 1786, he wrote to his daughter (April)-- - -Madame Duschek sang; but how? I cannot but say that she shrieked out an -air of Naumann's with exaggerated expression, just as she used to do, -only worse. Her husband is answerable for this; he knows no better, and -has taught her, and persuades her that she alone possesses true taste. - -Her appearance did not please him either. "She seems to me to show signs -of age already," he writes (April 13); "she has rather a fat face, and -was very carelessly dressed." Schiller's unfavourable remarks upon her -in Weimar, where she was in May, 1788, are quite in accordance with -this.[10] She displeased him by her assurance (Dreistigkeit)--he would -not call it impudence (Frechheit)--and her mocking manner, which -caused the reigning Duchess to observe that she looked like a discarded -mistress.[11] By favour of the Duchess Amalie she was allowed to -give three concerts for the display of her talent and the general -edification; Korner answers Schiller's account of her:[12]-- - -The Duchess is not so wrong in what she said of her. She did not -interest me very greatly. Even as an artist, I consider her expression -caricatured. Gracefulness is, in my estimation, the chief merit of song, -and in this she seems to me entirely wanting. - - -{MOZART IN PRAGUE.} - -(122) - -Reichardt, who became acquainted with the Duscheks in 1773,[13] writes -in 1808 from Prague:[14]-- - -I have found a dear and talented friend of those happy youthful days in -Madame Duschek, who retains her old frankness and love for all that is -beautiful. Her voice, and her grand, expressive delivery, have been a -source of true pleasure to me, - -She was a true friend also to Mozart. In 1777 the Duscheks were in -Salzburg, where they had family connections who were acquainted with the -Mozarts. Wolfgang took great pleasure in the society of the young lively -singer, and if she showed a disposition to hold aloof from Salzburg folk -in general, he too was "schlimm," as he called it, in this respect. Of -course he composed several songs for her (Vol. I., p. 234). The Duscheks -discovered Wolfgang's uncomfortable position in Salzburg; and the -intelligence that he intended shortly to leave the town drew from -them, his father says (September 28, 1777), expressions of the warmest -sympathy. They begged Wolfgang, whether he came to Prague then or at -any other time, to rely upon the most friendly welcome from them. In -the spring of 1786 they came to Vienna, and were witness of the cabals -against which Mozart had to contend before the performance of his -"Figaro." They were quite able to judge for themselves what the -opera was likely to be, and after the success which had attended the -performance of the "Entführung" in Prague they found no difficulty in -rousing interest there in the new opera:-- - -"Figaro" was placed upon the stage in 1786 by the Bondini company, and -was received with an applause which can only be compared with that which -was afterwards bestowed on the "Zauberflote." It is a literal truth that -this opera was played almost uninterruptedly during the whole -winter, and that it completely restored the failing fortunes of the -entrepreneur. The enthusiasm which it excited among the public was -unprecedented; they were insatiable in their demands for it. It was -soon arranged for the pianoforte, for wind instruments, as a quintet for -chamber music, and as German dance music; songs from "Figaro" - - -{PERFORMANCE OF "FIGARO."} - -(123) - -were heard in streets, in gardens; even the wandering harper at the -tavern-door was obliged to strum out "Non più andrai" if he wanted to -gain any audience at all.[15] - -Fortunately this enthusiastic approbation was turned to the profit of -the one whom it most concerned. Leopold Mozart wrote to his daughter -with great satisfaction (January 12, 1787):-- - -Your brother is by this time in Prague with his wife, for he wrote to me -that he was to set out last Monday. His opera "Le Nozze di Figaro" has -been performed there with so much applause that the orchestra and a -number of connoisseurs and amateurs sent him a letter of invitation, -together with some verses that had been written upon him. - -He conjectured that they would take up their abode with Duschek, whose -wife was absent on a professional journey to Berlin; but a greater -honour was in store for them. Count Johann Joseph Thun, one of the -noblest patrons of music in Prague, had placed his house at Mozart's -disposal. He accepted the offer gladly, and on his arrival at Prague, in -1787, he found the public enthusiastic for his music, and well-disposed -towards himself. The account which he addressed to Gottfried von Jacquin -(January 15, 1787) is written in the highest spirits:-- - -Dearest Friend!--At last I find a moment in which to write to you; I -intended to write four letters to Vienna immediately on my arrival, but -in vain! only a single one (to my mother-in-law) could I attempt, and -that I only wrote the half of; my wife and Hofer were obliged to finish -it. Immediately upon our arrival (Thursday, the 11th, at noon) we had -enough to do to be ready for dinner at one. After dinner old Count Thun -regaled us with music performed by his own people, and lasting about -an hour and a half. I can enjoy this true entertainment daily. At six -o'clock I drove with Count Canal to the so-called Breitfeld Ball, where -the cream of Prague beauty are wont to assemble. That would have been -something for you, my friend! I think I see you after all the lovely -girls and women--not running--no, limping after them. I did not dance, -and did not make love. The first because I was too tired, and the last -from my native bashfulness; but I was quite pleased to see all these -people hopping about to the music of my "Figaro" turned into waltzes and -country dances; nothing is talked of here but - - -{MOZART IN PRAGUE.} - -(124) - -"Figaro," no opera is cared for but "Figaro," always "Figaro"--truly a -great honour for me. Now to return to my diary. As I returned late from -the ball, and was tired and sleepy from my journey, it was only natural -that I should sleep long; and so it was. Consequently the whole of the -next morning was _sine linea_; after dinner we had music as usual; and -as I have a very good pianoforte in my room, you can easily imagine that -I did not allow the evening to pass without some playing; we got up a -little quartet _in caritatis camera_ (and the "schone Bandl hammera," -[Vol. II., p. 362] ) among ourselves; and in this way the whole evening -again passed _sine linea._ I give you leave to quarrel with Morpheus on -my account; he favoured us wonderfully in Prague; why, I cannot tell, -but we both slept well. Nevertheless, we were ready at 11 o'clock to go -to Pater Unger, and to give a passing glance at the Royal Library and -at the Seminary. After we had looked our eyes out, we felt a small -menagerie in our insides, and judged it well to drive to Count Canal's -to dinner. The evening surprised us sooner than you would believe, and -we found it was time for the opera. We heard "Le Gare Generose" (by -Paesiello). As to the performance, I can say little, for I talked all -the time; the reason I did so, against my usual custom, must have been -because--but _basta_--this evening was again spent _al solito_. To-day -I am fortunate enough to find a moment in which to inquire after your -welfare and that of your parents, and of the whole family of Jacquin. -Now farewell; next Friday, the 19th, will be my concert at the theatre; -I shall probably be obliged to give a second, and that will lengthen my -stay here. On Wednesday I shall see and hear "Figaro"--at least if I -am not deaf and blind by that time. Perhaps I shall not become so until -_after_ the opera. - -At the performance of "Figaro" Mozart was received by the numerous -audience with tumultuous applause; he was so pleased with the -representation, especially with the orchestral part of it, that he -expressed his thanks in a letter to Strobach, who conducted it. The -Prague orchestra was not strongly appointed,[16] nor did it shine -through the names of celebrated virtuosi; but it contained clever and -well-schooled musicians, full of fire and of zeal for what was good--the -best guarantee of success. Strobach often asserted that he and his -orchestra used to get so excited by "Figaro" that, in spite of the -actual labour it entailed, they would willingly have played it all over -again when they came to the end.[17] - - -{CONCERTS AND COMMISSIONS.} - -(125) - -The two concerts which Mozart gave in Prague were also highly -successful:-- - -The theatre was never so full, and delight was never so strongly and -unanimously roused as by his divine playing. We scarcely knew which -to admire most, his extraordinary compositions or his extraordinary -playing; the two together made an impression on our minds comparable -only to enchantment.[18] - -We have already given an account of the enthusiasm excited by Mozart's -extemporising (Vol. II., p. 438); the other compositions which he -performed were all loudly applauded, especially the lately written -symphony in D major. The pecuniary gain corresponded to the warmth of -this reception, and Storace was able to announce to L. Mozart that his -son had made 1,000 florins in Prague. The social distractions which -Mozart describes so graphically to his friend appear to have continued; -at least, he accomplished no musical work except the country dances -which he improvised for Count Pachta (510 K.; Vol. II., p. 436), and -six waltzes (509 K.), composed for the grand orchestra, probably for a -similar occasion (February 6, 1787).[19] When, however, in the joy of his -heart Mozart declared how gladly he would write an opera for an audience -which understood and admired him like that of Prague, Bondini took him -at his word, and concluded a contract with him by which Mozart undertook -to compose an opera - - -{DON GIOVANNI.} - -(126) - -by the beginning of the next season for the customary fee of one hundred -ducats.[20] - - - - -FOOTNOTES OF CHAPTER XXXVII. - - -[Footnote 1: Gyrowetz, Selbstbiogr., p. 14.] - -[Footnote 2: "Figaro" was first performed in Berlin, September 14, 1790 -(Schneider, Gesch. d. Oper, p. 59), and praised by the critics as a -masterpiece, while the ordinary public preferred Martin and Dittersdorf -(Chronik von Berlin, VIII., pp. 1229, 1244. Berl. Mus. Monatsschr., -1792, p. 137). "Figaro" had no greater success in Italy than others of -Mozart's operas: "Mozart's operas, at the hands of the Italian comic -singers and the Italian public, have met with the fate which would -befall a retiring sober man introduced to a company of drunkards; the -rioters would be sure to treat the sober man as a fool" (Berl. Mus. -Ztg., 1793, p. 77). Thus, failure was reported from Florence (A. M. Z., -III., p. 182) and Milan (A. M. Z., XVII., p. 294). "Figaro" has -lately been on the repertory of the Italian Opera in Paris; since the -unfortunate experiment in 1792 (p. 77, note), the opera has been given -in French at the Théätre Lyrique (1858), with the most brilliant success -(Scudo, Crit. et Litt. Mus., II., p. 458). "Figaro" was first performed -in London in 1813 (Catalani sang Susanna--Parke, Mus. Mem., II., p. 82), -and kept its place as one of the most favourite of operas.] - -[Footnote 3: Jahrb. d. Tonk., Wien u. Prag, 1796, p. 108. A. M. Z., p. 488. -Reichardt, Br. e. aufm. Reisenden, II., p. 123.] - -[Footnote 4: Gyrowetz, in his Autobiography (Wien, 1848), gives a description of -such an education.] - -[Footnote 5: A. M. Z., I., p. 330; II., p. 494.] - -[Footnote 6: [Blümner], Gesch. des Theaters in Leipzig, p. 203.] - -[Footnote 7: Particulars concerning him and his wife may be found in Cramer's -Mag. Mus., I., p. 997. Jahrbuch der Tonkunst, 1796, p. 113. A. M. Z., -I., p. 444.] - -[Footnote 8: Reichardt (Briefe eines aufmerks. Reisenden, I., p. 116) includes -him among the best pianoforte-players of the time (1773): "who, besides -a very good execution of Bach's music, has a particularly elegant and -brilliant style."] - -[Footnote 9: She was born in Prague in 1756, and died there at an advanced age.] - -[Footnote 10: Schiller, Briefw. m. Körner, I., p. 280. She had given a concert in -Leipzig on April 22 (Busby, Gesch. d. Mus., II., p. 668.)] - -[Footnote 11: We learn from L. Mozart's letters to his daughter, that Count -Clamm, "a fine, handsome, amiable man, without cavalier pride," was the -"declared lover" of Frau Duschek, and "kept her whole establishment."] - -[Footnote 12: Schiller, Briefw. m. Körner, I., p. 294.] - -[Footnote 13: Schletterer, Reichardt, I., p. 134.] - -[Footnote 14: Reichardt, Vertr. Briefe, I., p. 132.] - -[Footnote 15: Niemetschek, p. 34.] - -[Footnote 16: The violins were trebled, the violas and basses doubled (A. M. Z., -II., p. 522).] - -[Footnote 17: Niemetschek, p. 39. Holmes says (p. 278) that he heard the same -remark made by the first bassoonist after a performance of "Figaro."] - -[Footnote 18: Niemetschek, p. 40.] - -[Footnote 19: Every "Teutsche" has its "Alternativo," and they are united into a -connected whole, as Mozart especially remarks in a description of them. -The close is formed by a somewhat lengthy coda, and they are for the -most part lightly thrown together, with no pretension but to incite to -the dance. He remarks at the end, "As I do not know of what kind the -Flauto piccolo is, I have put it in the natural key; it can at any time -be transposed." A pianoforte arrangement in Mozart's handwriting is in -André's collection.] - -[Footnote 20: Niemetschek, p. 96. 1] - - -=== - - - - -MOZART 38 - -BY DAVID WIDGER - - - -CHAPTER XXXVIII. "DON GIOVANNI." - -MOZART had been so well satisfied with Da Ponte's libretto for "Figaro" -that he had no hesitation in intrusting the new libretto to him, and -immediately on his return to Vienna they consulted together as to the -choice of subject. Da Ponte, fully convinced of the many-sidedness of -Mozart's genius, proposed "Don Giovanni," and Mozart at once agreed to -it. Da Ponte relates,[1] with an amusing amount of swagger, that he was -engaged at one and the same time on "Tarar" for Salieri, on the "Arbore -di Diana" for Martin, and on "Don Giovanni" for Mozart. Joseph II. made -some remonstrance on this, to which Da Ponte answered that he would do -his best; he could write for Mozart at night and imagine himself -reading Dante's "Inferno"; for Martin in the morning, and be reminded -of Petrarch; and in the evening for Salieri, who should be his Tasso. -Thereupon he set to work, a bottle of wine and his Spanish snuffbox -before him, and his hostess's pretty daughter by his side to enact the -part of inspiring muse. The first day, the two first scenes of "Don -Giovanni," two scenes of the "Arbore di Diana," and more than half of -the first act of "Tarar" were written, and in sixty-three days the -whole of the first two operas and two-thirds of the last were ready. -Unfortunately we have no certain information either of the share taken -by Mozart in the construction of the text, nor of the manner in which -his composition was carried on. The warmth of his reception at Prague -made the contrast of his position in Vienna all the more galling to -him. On the departure of Storace, Kelly, and Attwood for England, in -February, 1787, he had seriously entertained the idea of following them -as soon as they had found a situation worthy of his acceptance - - -{VIENNA, 1787--DITTERSDORF.} - -(127) - -in London. The bass singer Fischer, who was visiting Vienna,[2] wrote in -Mozart's album on April 1, 1787, the following verses, more well-meaning -than poetical:-- - - Die holde Göttin Harmonie Der Tone und der Seelen, - Ich dächte wohl, sie sollten nie - Die Musensöhnen fehlen, - Doch oft ist Herz und - Mund verstimmt; - Dort singen Lippen Honig, - Wo doch des Neides Feuer glimmt-- - Glaub mir, es gebe wenig Freunde die den - Stempel tragen Echter Treu, Rechtschaffenheit. - -The lines throw a light on Mozart's relations to his fellow-artists, -and the hint contained in Barisani's album verses, written on April 14, -1787, that the Italian composers envied him his art (Vol. II., p. 306), -leaves no doubt as to whose envy, in the opinion of himself and his -friends, he had to dread. A musical connoisseur, visiting Vienna on his -return from Italy in the spring of 1787,[3] found everybody engrossed -with Martin's "Cosa Rara," which, Storace's departure having rendered -its performance in Italian impossible, was being played in a German -adaptation at the Marinelli theatre with success. Dittersdorfs success -in German opera had also the effect of throwing Mozart completely into -the shade. - -Dittersdorf (1739-1799)[4] came to Vienna during Lent, 1786,[5] to -produce his oratorio of "Job" at the concerts of the Musical Society, -and he afterwards gave two concerts in the Augarten, at which his -symphonies on Ovid's "Metamorphoses" were performed. The genuine success -of these compositions led to his being requested to write a German -opera. Stephanie junior, theatrical director at the time, provided him -with the incredibly dull libretto of the "Doctor und Apotheker," which -was played for the first - - -{DON GIOVANNI.} - -(128) - -time on July 11, 1786, and twenty times subsequently during the year. -That which had not been attained by the success of the "Entführung," -happened in this case. Dittersdorf was at once requested to write a -second opera, "Betrug durch Aberglauben," which was performed on October -3, 1786, with not less applause than the first; it was followed by a -third "Die Liebe im Narrenhause," also very well received on April 12, -1787. On the other hand, an Italian opera by Dittersdorf, "Democrito -Corretto," first performed on January 2, 1787, was a complete failure. -Dittersdorf's brilliant triumph over such composers as Umlauf, Hanke, -or Ruprecht, is not to be wondered at; his operas rapidly spread from -Vienna to all the other German theatres, and he acquired a popularity -far in excess of most other composers.[6] True merit was undoubtedly at -the bottom of this; he was skilful in appropriating the good points both -of opera buffa and of French comic opera, and his finales and ensemble -movements are specially happy in effect; he was not only thoroughly -experienced in the management of voices, but, being a fertile -instrumental composer, he had learnt from the example and precedent of -Haydn to employ his orchestra independently, and with good effect. -His easy flow of invention furnished him with an abundance of pleasing -melodies, a considerable amount of comic talent showed itself in -somewhat highly flavoured jokes, and his music had an easy-going, -good-tempered character, which, though often sinking into Philistinism, -was, nevertheless, genuinely German. Far behind Grétry as he was in -intellect and refinement, he decidedly excelled him in musical ability. -Life and originality were incontestably his, but depth of feeling or -nobility of form will be sought for in vain in his works. Each new -opera was a mere repetition of that which had first been so successful, -affording constant proof of his limited powers, which were rightly -estimated by some of his contemporaries.[7] Joseph II. - - -{COMPOSITIONS IN 1787.} - -(129) - -shared the partiality of the public for Dittersdorf's lighter style of -music, and rewarded him munificently when he left Vienna in the spring -of 1787. But the Emperor took no real interest in German opera--the -company received their dismissal in the autumn of 1787, and the -performances ceased in February, 1788.[8] - -Mozart's autograph Thematic Catalogue contains few important works -between his return to Vienna and his second journey to Prague:-- - -1787. March 11. Rondo for pianoforte, A minor (511 K.). - -March 18. Scena for Fischer, "Non sö d'onde viene" (512 K.). - -March 23. Air for Gottfried von Jacquin, "M entre ti lascio" (513 K.). - -April 6. Rondo for the horn, for Leutgeb (514 K.). - -April 19. Quintet for two violins, two violas, and violoncello, C major -(Vol. III., p. 19) (515 K.). - -May 16. Quintet, G minor (Vol. III., p. 20) (516 K.). - -May 18, 20, 23, 26. A song on each (517-520 K.). - -May 20. A piano sonata for four hands, in C major (521 K.). - -June 11. A musical jest (Vol. II., p. 367, 522 K.). - -June 24. Two songs (523, 524 K.). - -August 10. Serenade (525 K.). - -August 24. Pianoforte sonata with violin, in A major (526 K.). - -These were probably all composed for social or teaching purposes; even -the two quintets, which are worthy of the first rank, were no doubt -written to order for a particular musical circle. Nor were these -compositions to the taste of the Viennese public of the day. The -traveller already mentioned notes as follows:[9]-- - -Kozeluch's works hold their ground, and are always acceptable, while -Mozart's are not by any means so popular. It is true; and the fact -receives fresh confirmation from his quartets dedicated to Haydn, that -he has a decided leaning to what is difficult and unusual. But on the -other hand, how great and noble are his ideas--how daring a spirit does -he display in them! - -The amount of industry with which Mozart worked at "Don Giovanni" is -unknown to us. We may conclude that, if he followed his usual habit, -he plunged eagerly into his new libretto at first, and afterwards -procrastinated over - - -{DON GIOVANNI.} - -(130) - -the actual transcription of his ideas. The received tradition represents -him as bringing the unfinished opera to Prague in September, 1787,[10] -and completing it, incited by intercourse with the intended -performers and the stimulating society of his enthusiastic friends and -admirers.[11] The impresario, who was bound to provide accommodation for -the composer until after the performance, had lodged Mozart in a house, -"bei drei Löwen" (on the market-place).[12] He preferred, however, -the vineyard of his friend Duschek at Kossir (Kosohirz); and the -summer-house and stone table are still shown at which he used to sit -writing his score, with lively talk and bowl-playing going on round -him.[13] All such stories as those of the delicate diplomacy with -which Mozart apportioned the several parts to the satisfaction of the -performers, of his having been obliged to appease L. Bassi, indignant at -Don Giovanni having no proper grand air to sing; of his having -composed "La ci darem la mano" five times before he could satisfy the -singers,[14] repose on the same foundation as those of his - -{PERFORMANCE IN PRAGUE, 1787.} - -(131) - -love-making with the female performers.[15] As to this, we know his -relations with the Duscheks; Teresa Saporiti is said to have expressed -her surprise that so great an artist should be so insignificant in -appearance; whereat Mozart, touched on his weakest point, diverted his -attentions from her and bestowed them on Micelli or Bondini--there were -no other female artists in Prague at that time. We are unfortunate in -having no information as to the influence exerted on the details of -the composition by the idiosyncracies of the singers and other -circumstances. Two anecdotes obtained credence at the time, both -relating to the rehearsals for which Da Ponte had also come from -Vienna;[16] he was lodged at the back of the inn "Zum Platteis," and the -poet and composer could converse with each other from their respective -windows. - -In the finale of the first act Teresa Bondini as Zerlina failed to utter -the cry for help in a sufficiently spontaneous manner. After many vain -attempts, Mozart went himself on to the stage, had the whole thing -repeated, and at the right moment gave the singer so unexpected and -severe a push that she shrieked out in alarm. "That's right," he -exclaimed, laughing, "that is the way to shriek!" The words of the -Commendatore in the churchyard scene were originally, it is said, -accompanied only by the trombones. The trombone-players failing to -execute the passage, Mozart went to the desk, and began to explain how -it might be done, whereupon one of them said: "It cannot be played in -that way, nor can even you teach us how to do it." Mozart answered, -laughing: "God forbid that I should teach you to play the trumpet; give -me the parts, and I will alter them." He did so accordingly, and added -the wood wind instruments.[17] - -{DON GIOVANNI.} - -(132) - -A good omen for the reception of the new opera was afforded by a -brilliant performance of "Figaro" on October 14,[18] under Mozart's -direction, in honour of the bride of Prince Anton of Saxony, the -Archduchess Maria Theresa of Toscana, who was passing through Prague on -her wedding tour.[19] Nevertheless, Mozart himself felt far from secure -of the success of "Don Giovanni"; and after the first rehearsal, while -taking a walk with the orchestral conductor Kucharz, he asked him in -confidence what he thought of the opera, and whether it was likely to -achieve so decided a success as that of "Figaro." Kucharz answered that -he could entertain no doubt of the success of such fine and original -music, and that anything coming from Mozart would meet with ready -recognition from the Prague public. Mozart declared himself satisfied -with such an opinion from a musician, and said he was ready to spare -neither pains nor labour to produce a work worthy of Prague.[20] - -Thus approached the day of performance, October 29 (not November 4), -1787; and on the previous evening the overture was still unwritten, to -the great consternation of Mozart's assembled friends. We have already -told (Vol. II., p. 414) how he parted late from the merry company, and -sat down to write with a glass of punch before him, and his wife telling -him stories by his side; how sleep overcame him, and he was obliged -to lie down for several hours before completing his task; and how the -copyist was sent for at seven o'clock in the morning, and the overture -was ready at - -{SUCCESS IN PRAGUE} - -(133). - -the appointed time.[21] There was barely time to write out the parts -before the beginning of the opera, which indeed was somewhat delayed -on this account. The well-drilled and inspired orchestra played the -overture at sight so well that, during the introduction to the first -act, Mozart observed to the instrumentalists near him: "Some of the -notes fell under the desks, it is true, but the overture went capitally -upon the whole." The success of the first representation was brilliant. -The theatre was full to overflowing, and Mozart's appearance as -conductor at the piano was the signal for enthusiastic clapping and -huzzas. The suspense with which the overture was awaited found vent in -a very storm of applause, which accompanied the opera from beginning to -end. The cast of this performance was as follows:--[See Page Images] - -The performance, though not including any virtuosi of the first rank or -fame, was considered an excellent one; the inspiring influence of -the maestro and the elevated mood of the public united to induce -the performers to put forth all their powers, and stimulated them to -extraordinary efforts. Guardasoni, who was associated with Bondini in -the management of the theatre,[22] was so delighted with the success of - -{DON GIOVANNI.} - -(134) - -the opera that he announced it to Da Ponte (who had been obliged to -hurry back to Vienna to put "Axur" upon the stage) in the words: "Evviva -Da Ponte, ewiva Mozart! Tutti gli impresari, tutti i virtuosi devono -benedirli! finchè essi vivranno, son si saprà mai, cosa sia miseria -teatrale."[23] Mozart also communicated to' Da Ponte the happy result -of their joint labours, and wrote to Gottfried von Jacquin (November 4, -1787):-- - -Dearest Friend,--I hope you have received my letters. On October 29, -my opera, "Don Giovanni," was put in scena, with the most unqualified -success. Yesterday it was performed for the fourth time, for my benefit. - -I intend to leave here on the 12th or 13th, and as soon as I arrive in -Vienna you shall have the airs to sing. N.B.--Between ourselves--I only -wish my good friends (particularly Bridi and yourself) could be here for -a single evening to share in my triumph. Perhaps it will be performed in -Vienna. I hope so. They are trying all they can here to persuade me to -remain two months longer, and write another opera; but flattering as the -proposal is, I cannot accept it.[24] - -Mozart met with constant and unequivocal proofs of esteem on all sides -during his visit to Prague; an esteem, too, not of mere fashion or -prejudice, but founded on a genuine love of art; he gave himself up -unreservedly to the pleasure afforded him by intercourse with his -friends and admirers; and many of these retained long after, as -Niemet-schek says (p. 93), the memory of the hours passed in his -society. He was as artless and confiding as a child, and overflowing -with fun and merriment; it was difficult for - -{SONG FOR MADAME DUSCHEK, 1787.} - -(135) - -strangers to realise that they were in the society of the great and -admired artist. - -Mozart had promised his friend, Madame Duschek, that he would compose a -new concert air for her; as usual, however, he could not be brought to -the point of transcribing it. One day she locked him into a summer-house -on the Weinberg, and declared she would not let him out until he had -finished the air. He set to work at once, but having completed his task, -retorted that if she could not sing the song correctly and well at first -sight, he would not give it to her.[25] In truth, the words: "Quest' -affanno, questo passo è terribile," in the andante of this song ("Bella -mia fiamma," 528 K., part 2) are rendered after a highly characteristic -manner; and the intervals for the voice, not easy in themselves, -become, by their harmonic disposition, a severe test of pure and correct -intonation. Altogether, this is one of the most beautiful of Mozart's -concert airs; it makes no great claims on the singer's powers of -execution, but it requires a soprano voice of considerable compass and -power, and a grand and expressive delivery. It is interesting to observe -how this song, animated and energetic as it is in expression, yet -differs essentially from the properly dramatic music of "Don Giovanni." -Unconnected with any plot, and not designed for the stage, the situation -adopts a modified character, the concert singer being in a totally -different position from the actor; and the form in which the composer -clothes his conception is suitably modified also. On November 15, 1787, -immediately after Mozart's return to Vienna, Gluck died; and the success -of "Don Giovanni" in Prague may have contributed to induce Joseph II. -to retain Mozart in Vienna by appointing him Chamber-Musi-cian -(Kammermusikus) on December 7, 1787. For the present, however, there was -no prospect of a performance of "Don Giovanni" in Vienna. - -Salieri had produced his opera of "Tarar" in Paris, in June, 1787, -Beaumarchais having spared no pains to create - -{DON GIOVANNI.} - -(136) - -an effect by a lively and exciting plot, by lavish decorations and -costumes, and by political and philosophical allusions. The public was -at first somewhat disappointed, and the music was considered inferior -to that of the "Danaides," produced in 1774; but the extraordinary piece -made in the end a great effect, and attracted large audiences.[26] The -Emperor was exceedingly pleased with the music, and commissioned Da -Ponte to prepare Italian words for it upon the occasion of the marriage -of the Archduke Francis with the Princess Elizabeth. This Italian opera -of "Axur" retained only the groundwork of the original, both the words -and the music being completely remodelled. Da Ponte gave fresh proof -of his dexterity, and Salieri, finding his task far more congenial than -before, did not grudge the trouble of recomposition.[27] On January 8, -1788, the Festival opera "Axur" was performed as a "Freispektakel," the -betrothal of the distinguished pair by the Archduke Maximilian having -taken place on January 6.[28]At first the audience were somewhat taken -aback by the traces of the French "Tarar" in the Italian "Axur," but -very soon they felt the lively, brilliantly appointed plot, and the -freer development of musical forms to be additional charms bestowed on -the essentially Italian music. Several representations, following in -quick succession, increased the favour in which this opera came to be -held in Vienna,[29] especially by the Emperor Joseph,[30] and very soon -on every stage in Germany.[31] - -The present, therefore, was no time for "Don Giovanni." Mozart catered -for the amusement of the Viennese by the dances (534-536 K.), which -he wrote in January, 1788, for the balls in the Redoutensaale, and he -indulged his patriotic feelings by a song on the Turkish war, which -Baumann sang at the theatre in the Leopoldstadt (539 K.). He - -{PERFORMANCE IN VIENNA, 1788.} - -(137) - -appears also to have given a concert during Lent, for which he wrote his -pianoforte concerto in D major (537 K.). But Joseph II. commanded the -production of "Don Giovanni," and there was no more to be said; it -was given on May 7, 1788,[32] and was a failure. Everybody, says Da -Ponte,[33] except Mozart, thought it a mistake; additions were made, -airs were altered, but no applause followed. Nevertheless Da Ponte -took Mozart's advice, and had the opera repeated several times in quick -succession, so that people grew accustomed to what was unusual, and the -applause increased with every representation.[34] The cast of the opera -in Vienna was as follows:--[See Page Image] - -There was no reason, as will be acknowledged, to ascribe the tardy -success of "Don Giovanni" to the inferiority of its performance.[35] Da -Ponte appears also to have - -{DON GIOVANNI.} - -(138) - -exaggerated with respect to the frequent alterations. Mozart's Thematic -Catalogue contains three pieces for insertion written _before_ the -first performance (April 24, 28, 30) and incorporated in the book of -words.[36] Mdlle. Cavalieri, of whom it was said at the time[37] that, -deserving to be placed in the first rank of Italian singers, and almost -deified as she was in Italy, not a word in her praise was ever uttered -in Vienna, insisted on having a grand scena in the part of Elvira, in -order to maintain her reputation as a singer. This gave rise (April 30) -to the magnificent air "Mi tradi quell' alma ingrata" (527, 25 K.).[38] -Mozart could not indeed persuade himself to sacrifice so much to the -"voluble organ of Mdlle. Cavalieri" as he had formerly done in the -"Entführung" (Vol. II., p. 235), but even as it is, the dramatic -interest has to yield to the vocal--the character of Elvira to the -individuality of the singer. The tenor singer, Signor Francesco -Morelia,[39] on the contrary, seems to have found Ottavio's grand air -too much for him, and the air in G major "Della sua pace" (527, 27 K.), -composed for him is more modest in every respect. - -A stronger effort after popularity was made by the duet between Zerlina -and Leporello, "Per queste tue manine" (527, 28 K.). The situation is -broadly comic, and has no proper connection with the plot; Leporello -is roundly abused, and finally tied hand and foot by Zerlina. It was -probably intended as a sacrifice to the taste of the audience, who -expected an opera buffa to make them laugh heartily. We know that -Benucci was an excellent comedian in every branch of his art, and this -duet leads to the conclusion that Signora Mombelli's forte was buffa. -Zerlina expresses her anger and revenge volubly enough, but her own -special grace - -{CRITIQUES ON DON GIOVANNI.} - -(139) - -and roguery have quite deserted her here. In a true opera buffa the -duet would have been quite in keeping; but it is out of place in "Don -Giovanni," because it brings Leporello and Zerlina to the foreground in -a degree which does not accord with the plot, and places them both in a -harsh light, false to their character as elsewhere displayed. Mozart was -right, then, in his opinion that additions and alterations were not the -means to make his opera gain favour; it was altogether too unusual a -phenomenon to take immediate effect upon a Viennese audience. We have -already seen how Haydn was constrained to put to silence the adverse -criticisms of musicians and connoisseurs assembled at Count Rosenberg's, -by declaring his conviction that Mozart was the greatest composer in the -world. "Don Giovanni" first made its way upon the stages of Germany in -German adaptations. It was given at Mannheim with extraordinary success -in October, 1789,[40] and Schroder produced it in Hamburg at about the -same time; Schink, while severely criticising the libretto of the opera, -expresses himself enthusiastically in praise of the music-- - -How can this music, so full of force, majesty, and grandeur, be expected -to please the lovers of ordinary opera, who bring their ears to the -theatre with them, but leave their hearts at home? The grand and noble -qualities of the music in "Don Juan" will appeal only to the small -minority of the elect. It is not such as to tickle the ear of the crowd, -and leave the heart unsatisfied. Mozart is no ordinary composer. His -music has been profoundly felt and thought out in its relation to the -characters, situations, and sentiments of his personages. It is a -study in language, treated musically. He never decks out his songs -with unnecessary and meaningless passages. That is the way in which -expression is banished from music: expression consisting not in -particular words, but in the skilful and natural combination of sounds -as a medium of real emotion. Of this method of expression Mozart is -a consummate master. Each sound which he produces has its origin in -emotion, and overflows with it. His expression is glowing with life and -picturesqueness, yet without the taint of voluptuousness. He has the -richest, and at the same time the most temperate imagination. He is a -true virtuoso, never allowing his creative impulse to run away with his -judgment; his inspiration is guided by reason, his impersonations are -the result of calm deliberation.[41] - -{DON GIOVANNI.} - -(140) - -The Berlin criticism was not quite so favourable, the opera having -been there performed for the first time in the presence of the King on -December 20, 1790:[42]-- - -If ever an opera was looked forward to with curiosity, if ever a -composition of Mozart's was lauded to the skies before its performance, -it was surely this "Don Juan." Every one will allow that Mozart is a -great and admirable composer, but that nothing good or great has been -written before this opera, or will be written after it, is a point on -which we may be allowed to doubt. Theatrical music admits of no rules, -of no appeal but to the heart, and its worth is in proportion to its -effect thereon. No amount of art in heaping up instrumental effects will -make a great musician or render his name immortal, unless he can give -utterance to the passions and emotions of the heart. Grétry, Monsigny, -and Philidor are instances to the point. Mozart has aimed at writing -something extraordinary, something inimitably grand in his "Don Juan"; -the extraordinary is there, certainly, but not the inimitably grand. -Vanity, eccentricity, fancy, have created "Don Juan," not the heart; -and we should have preferred being called upon to admire the highest -capabilities of music in one of his oratorios or solemn church -compositions than in his "Don Juan."[43] - -The extraordinary success of the opera[44] is attested by a notice of -it[45] which proceeds to prove that this musical drama satisfies the -eye, enchants the ear, does violence to the intellect, offends against -morals, and suffers vice to trample upon virtue and good feeling. The -author of the criticism accounts for the popularity of the opera by the -quality of the music, which is beyond all expression grand:-- - -If ever a nation might be proud of one of its children, Germany may be -proud of Mozart, the composer of this opera. Never was the greatness of -the human mind more perceptible, never did music reach so high a level! -Melodies which an angel might have conceived are accompanied by divinest -harmonies, and those whose souls are in any degree susceptible to what -is truly beautiful will agree with me in saying the ear is bewitched. - -At the same time he cannot refrain from the pious wish:--[See Page -Image] - -{CRITIQUES ON DON GIOVANNI.} - -(141) - -Oh, that he had not so wasted the energies of his mighty mind!--that his -judgment had been brought to the aid of his imagination, and had shown -him a less miry path to fame! How can it please him that his name should -appear set in diamonds upon a golden tablet, and the tablet suspended on -a pillory? - -Spazier, who acknowledged Mozart's "true, unborrowed, unartificial -wealth of ideas,"[46] and said of "Don Giovanni" that some of its single -airs were worth more than whole operas by Paesiello,[47] remarks on -another occasion:[48]-- - -The pleasure of seeing a genius strike out a new path with ease, which -one feels would possess insurmountable obstacles to others, becomes pain -and grief, which can only be turned to enjoyment again by minute study -of the work, when such an artist puts forth his whole strength as Mozart -has in "Don Juan," where he overwhelms his hearers with the vastness of -his art, giving to the whole an almost boundless effect. - -His promise of a more minute description remained unfulfilled. The -various notices of the work which followed its performance in other -places were all of the same kind, both praise and blame recognising the -fact that a novel and important phenomenon was being treated of.[49] -After the performance in Weimar, Goethe wrote to Schiller (December 30, -1797) ^ - -Your hopes for the opera are richly fulfilled in "Don Juan"; but the -work is completely isolated, and Mozart's death frustrates any prospect -of his example being followed.[50] - -{DON GIOVANNI.} - -(142) - -The popularity of the opera with the general public spread rapidly, -and very soon there was no stage in Germany where "Don Juan" had not -acquired permanent possession. According to Sonnleithner's calculation, -"Don Giovanni" had been performed 531 times at Vienna at the end of the -year 1863; at Prague, Stiepanek asserts that 116 representations took -place during the first ten years, and 360 before 1855;[51] at the -celebration of the fiftieth anniversary of "Don Giovanni" at Berlin, -in 1837, more than 200 performances were calculated to have taken -place;[52] similar celebrations took place at Prague[53] and -Magdeburg.[54] The opera was first introduced at Paris in 1805, in -a fearfully distorted and mangled version, by C. Kalkbrenner; a -characteristic instance was the masque terzet, where the words "Courage, -vigilance, adresse, défiance, que l'active prudence préside à nos -desseins" were sung by three gendarmes. Kalkbrenner also interpolated -some of his own music, and, spite of it all, the fabrication pleased -for a time.[55] In the year 1811 "Don Giovanni" was first given in its -original form by the singers of the Italian opera, and ever since the -most distinguished artists have retained Mozart's masterpiece upon -this stage in an uninterrupted succession of performances.[56] A French -translation of "Don Juan," by Castil-Blaze,[57] was given at Lyons in -1822, at the Odéon in Paris in 1827, and at the Académie de Musique in -1834, admirably cast and brilliantly appointed, besides being more true -to the original;[58] a still newer adaptation has been performed at the -Théätre Lyrique.[59] In London the great success of "Figaro" had paved -the way for "Don Giovanni," which has ever since its - - -{STATISTICS OF PERFORMANCES.} - -(143) - -first performance, in April, 1817, occupied a prominent place at the -Italian opera of that city. The applause which followed the first -Italian representation was so great that the lessee of Covent Garden -theatre produced an English version in May of the same year, which was -excellently performed, and with considerable success.[60] - -While "Don Giovanni" was thus becoming familiar to opera-goers in the -north, and even in Petersburg, Stockholm, and Copenhagen, it had not met -with any very warm or general sympathy in Italy, where repeated attempts -to introduce it to the public had resulted only in a certain amount of -respectful recognition from connoisseurs. "Don Giovanni" was first given -in Rome in 1811, no pains having been spared in the rehearsals, and -few alterations made in the opera. The audience was very attentive, and -applauded loudly; the music was termed "bellissima, superba, sublime, -un musicone"--but not altogether "del gusto del paese"; the many -_stranezze_ might be "belissime," but they were not what people were -accustomed to.[61] A more successful attempt was made in Naples in the -following year, although not on so grand a scale; the audience were -attentive, and seemed to accustom themselves to the _musica classica_, -but even here the success was not lasting.[62] The first representation -at Milan in 1814 provoked quite as much hissing as applause, but -subsequent performances were more successful.[63] At Turin the -opera appears to have pleased in 1815, in spite of its wretched -performance.[64] A mangled version of "Don Giovanni" was given at -Florence in 1818, and failed, but it was afterwards very well received -in its true form;[65] in 1857, as a friend wrote to me, "the antiquated -hyperborean music" was so emphatically hissed that it could not be -risked again. In Genoa, too, in 1824, "Don Giovanni" pleased the -learned, but not the public;[66] and at Venice, in 1833, it gained some - -{DON GIOVANNI.} - -(144) - -little popularity by slow degrees.[67] Quite lately a celebrated Italian -singer exclaimed angrily at a rehearsal of "Don Giovanni": "Non capisco -niente a questa maledetta musica!"[68] Against all this must be placed -Rossini's charming answer when he was pressed to say which of his own -operas he liked best: one person present suggested one, another the -other, till at last Rossini exclaimed: "Vous voulez connaître celui de -mes ouvrages que j'aime le mieux; eh bien, c'est 'Don Giovanni.'"[69] -The fame of "Don Giovanni" did not long remain confined to the old -world. When Garcia and his daughters were giving Italian operas at New -York in 1825, at Da Ponte's suggestion they produced - -"Don Giovanni."[70] At the conclusion of the first finale everything -went wrong; Garcia, who was playing Don Giovanni, exerted himself in -vain to keep the singers and orchestra in time and tune, until at last, -sword in hand, he came forward and, commanding silence, exclaimed that -it was a shame so to murder a masterpiece. They began again, collected -themselves and took pains, and the finale came happily to an end.[71] -The applause of the public renewed Da Ponte's youth; he recounts the -satisfaction with which he heard the assurance of a friend, whose custom -it was to go regularly to sleep at the opera, that such an opera as that -would keep him awake all night.[72] "Don Giovanni" brought him still -further good fortune; he placed his unexpectedly large profits obtained -therefrom in the lottery, and for the first time drew a prize.[73] "Don -Giovanni," once having made its way, was soon unanimously pronounced -first among all, Mozart's operas; he was said to have declared that he -wrote - -{THE LIBRETTO.} - -(145) - -it not at all for Vienna, a little for Prague, but mostly for himself -and his friends.[74] It is true that the libretto was formerly -considered as a bungling fabrication only tolerated for the sake of the -music; nevertheless, and especially after Hoffmann's clever vindication -of its poetical meaning,[75] "Don Giovanni" gradually became the -accepted canon of dramatic music, and the subject of wide-reaching -discussion.[76] In "Figaro" Da Ponte had opened a new field to opera -buffa, by representing the actual life of _bourgeois_ society; in "Don -Giovanni" he raised opera buffa in another direction to an altogether -higher sphere.[77] The legend on which the opera is founded had reached -the people through the tradition of centuries, and, familiar upon every -stage in Europe, it held the same place in the popular mind as the myths -of Greek tragedy. The facts, in spite of their wonderful and fantastic -character, offered a good groundwork to the dramatist, and the main -conception and essential elements of the situations and characters being -given, the fullest freedom of construction and development was permitted -in the treatment of the legend.[78] Whether the legend current in -Seville - -{DON GIOVANNI.} - -(146) - -of Don Juan Tenorio,[79] who invited to supper the statue of a warrior -slain by him in a duel, and who, warned in vain to repent, was doomed to -everlasting perdition, is of ancient origin or not, would be difficult -to determine from the contradictory accounts given of it.[80] It is said -to have been performed in monasteries from an early date, adapted by an -unknown writer with the title of "El Ateista Fulminado:"[81] the first -authentic dramatic version of the story being that by Gabriel Tellez, -contemporary of Lope de Vega, monk and prior of a monastery in Madrid. -His active ecclesiastical life did not prevent his acquiring, under the -name of Tirso de Molina, an honourable place in Spanish literature as -a dramatic poet.[82] His "Burlador de Sevilla y Convidado de Piedra" -belongs, according to Schack, both in design and workmanship to his -most fugitive pieces, but contains portions which could only have -been written by a poet of the first rank.[83] The plot is briefly as -follows:-- - -First Day [The scene is laid in Naples].--The Duchess Isabella is having -a parting interview with her lover, Duke Ottavio, when she discovers -that Don Juan has stolen into her apartment in Ottavio's stead. Her -cries for assistance bring the King, who gives Don Juan into the custody -of his uncle, Don Pedro Tenorio, the Spanish - -{TIRSO DE MOLINA'S "CONVIDADO DE PIEDRA."} - -(147) - -Ambassador; the latter, discovering his relationship with his prisoner, -allows him to escape, and denounces Don Ottavio to the King as -Isabella's seducer. Don Pedro is thereupon commanded to arrest Don -Ottavio, to whom, however, he declares that a man having been found with -Isabella, she reported him to be Ottavio; the lover believes himself to -be deceived and betrayed, and Don Pedro connives at his escape. -[Coast scene in Tarragona.] Catalinon, Don Juan's servant, bears his -shipwrecked master lifeless to shore, where they are discovered by -Tisbea, a fisher-girl; Don Juan awakes to consciousness upon her bosom, -and they fall violently in love with each other.[84] Their love-making -is interrupted by a scene in which the Commandant, Don Gonzalo de Ulloa -gives Don Albeso, King of Castile, an account of his diplomatic mission -to Portugal. Then the story returns to Tisbea, who is deceived and -deserted by Don Juan, and left to her passion of despair. - -Second Day [The scene is in Seville].--Don Diego Tenorio, Don Juan's old -father, acquaints the King with the crime which his son has committed -in Naples against Isabella and Ottavio; the King banishes Don Juan from -Seville until he shall make reparation by marrying Isabella. Ottavio -enters and puts himself under the protection of the King, who promises -to demonstrate his innocence in Naples, and to give him the hand of -Donna Anna, Ulloa's daughter, and Don Juan's fiancée. Don Juan appears, -greets Ottavio in friendly fashion, and enters into a long conversation -with the Marquis de la Mota, wherein they discuss the beauties of the -day like the regular roués they are; finally the Marquis declares his -love for Donna Anna. He has no sooner departed than a note is brought to -Don Juan to be conveyed to the Marquis; he opens it, and finding that in -it Donna Anna appoints an interview, determines to keep the appointment -himself; and he acquaints De la Mota, who returns, with the invitation, -but names a later hour. He is as indifferent to his father's sentence of -banishment as to his repeated exhortations, and upon the arrival of the -Marquis to serenade Donna Anna, he borrows his mantle, ostensibly to -enable him to visit one of his many sweethearts, but really that he may -gain access to Donna Anna herself. Discovering the deceit, she cries for -help; her father stops Don Juan's way with drawn sword, and falls by -his hand. The murderer flies; De la Mota enters for the rendezvous; -the King, hurrying in with his guards, takes him for the murderer, -and delivers him to judgment, commanding a magnificent funeral for -the Commandant, and the erection of a monument in his honour. [Country -scene.] Patricio is celebrating his wedding with Aminta, when Don Juan, -journeying through, mingles with the guests, and placing himself close -to the bride, excites the jealousy of the bridegroom. - -Third Day.--Don Juan prevails upon the jealous Patricio to renounce - -{DON GIOVANNI.} - -(148) - -Aminta by falsely representing that she was formerly seduced by him, and -had summoned him to interrupt the wedding; he gains the consent of -her father by means of a solemn promise of marriage, and after a long -resistance, Aminta gives way. [The Sea-coast.] Isabella, arriving at the -King's summons for her espousals with Don Juan, falls in with Tisbea, -who complains of Don Juan's treachery, and repairs with Isabella to -Seville to seek justice from the King. [Seville.] Don Juan, informed by -Catalinon of how his victims are united to revenge themselves on him, -sees the statue erected to the Commandant, with an inscription calling -for vengeance on his murderer. This rouses his haughty insolence; he -plucks the statue by the beard, and invites it to supper, that it may -execute his vengeance. While Don Juan is entertaining his followers at -table, the statue appears, to the consternation of all but Don Juan, -and remains silent until the meal is over. Left alone with Don Juan, -the Commandant invites him to supper in the chapel, and he accepts the -invitation, after repressing an involuntary shudder. [The Palace.] The -King promises Don Diego that he will create Don Juan Count of Lebrija, -and bestow Isabella upon him, at the same time pardoning the Marquis -at Donna Anna's request, and uniting the two in marriage. Don Ottavio -requests the King's permission to fight a duel with Don Juan, his father -proposing to judge between the two; the King commands a reconciliation. -As he goes out, Aminta enters with her father, to acquaint the King with -her claims on Don Juan's hand, and Ottavio promises her his support. -[The Street.] Don Juan, pardoned by the King, and on the point of -wedding Isabella, prepares to keep his appointment with the Commandant, -and enters the church where Ulloa has spread a meal for him and -Catalinon. The dishes contain scorpions and snakes, the wine is gall and -verjuice, and the table music is a penitential psalm. After the meal, -the Commandant grasps Don Juan's hand with a grip which cannot be shaken -off;[85] "Thou art summoned to the eternal judgment-seat" exclaims the -Commandant; "thy reward shall be fitted to thy deserts." Don Juan falls -down lifeless and sinks below with the statue. [The Palace.] The King -wishing to see the nuptials celebrated, Isabella, Aminta, and Tisbea -come forward to make good their claims to Don Juan's hand, and the -Marquis reveals the treachery practised on him by Don Juan. The King is -in the act of promising justice, when Catalinon enters and makes known -Don Juan's dreadful end. Thereupon Ottavio and Isabella, De la Mota and -Donna Anna, Patricio and Aminta, are severally united, and "the story of -the Marble Guest comes to an end." - -{TIRSO DE MOLINA'S "CONVIDADO DE PIEDRA."} - -(149) - -The drama, necessarily, in this rapid sketch, stripped of all the -elegance and brilliancy of its poetical rendering, bears to an -extraordinary degree the stamp of the time and nation to which it -belongs. The freedom and unreserve with which the various love intrigues -are treated and described are certainly peculiar to the age, and the -story is distinguished by a dash of chivalric bravery all its own; the -audience, while recognising a faithful representation of their own -state of morals, were little inclined to take umbrage at the summary -punishment of the sinner before them.[86] This point is, indeed, -emphasised by various observations made in a truly catholic spirit; for -instance, when Don Juan says to his stony guest, after having mockingly -invited him to sup: "What will'st thou, vision, ghost? Dost thou suffer -still the pains of purgatory? Dost thou demand satisfaction? What is -thy will? I pledge my word to do as thou com-mandest. Why hast thou left -God's throne? Do thy sins cause thee still to wander?" The effect is -greatly heightened again by the reply of the statue when Don Juan is -about to light him out: "Let be; God lights my path." And when Don Juan -sees that all is over, he begs for a confessor, and the statue answers, -"Too late, too late is thy contrition!" and Don Juan falls dead. The -intricate plot is very unequally treated, and so indeed are also the -characters. Among the female characters, Tisbea as a type of passion, -and Aminta as a type of naïve simplicity, are both attractive and -original; and among the men Don Juan, boldly and freely sketched, and -his servant Catalinon, the inevitable "Gracioso" of the Spanish drama, -are most remarkable. Catalinon in particular is treated with moderation -and delicacy; neither his cowardice, his moralising, nor his wit is -brought too prominently forward, and he always appears as the shadow of -his master. Even in the spectre scenes he fails to rise to any grandeur -of character. The influence of Spain upon the Italian drama[87] -necessarily - -{DON GIOVANNI.} - -(150) - -brought Tirso's "Don Juan" to Italy. According to Ricco-boni, it first -appeared upon an Italian stage soon after 1620.[88] The first printed -translation known is that by Onofrio Giliberti, entitled "ü Convitato -di Pietra," performed in 1652 at Naples; others followed with the same -title by Giacinto Andrea Cicognini (1670) and Andrea Perucci (1678);[89] -the subject was familiar on the Italian stage, and unfailingly -popular.[90] - -The Italian dramatic company, who were naturalised in Paris at the -theatre of the Hötel de Bourgogne, were accustomed to appoint one of -their number to arrange the plan of the pieces which they performed, but -the actual performance was improvised. In this fashion they played an -improvised version of Giliberti's "Convitato di Pietra," which had an -extraordinary run.[91] The chief situations of the Spanish drama, much -simplified and coarsened, are compressed into five acts, and Arlecchino, -who appears here as Don Juan's servant, is brought into the foreground -and made the mouthpiece of a great deal of very questionable badinage:-- - -The first act represents Isabella's seduction in Naples. Don Pedro, her -father and Don Juan's uncle, agrees with her to denounce Ottavio, her -lover, as her seducer, which causes the latter to take flight.[92] In -the second act Don Juan and Arlecchino swim to shore [a very favourite -scene, richly garnished with jokes], and Don Juan's love passages with -the lovely fisher-maiden Rosalba take place. On her claiming his promise -of marriage, he mockingly refers her to Arlecchino, who unrolls the long -list of his master's mistresses. It was customary to allow the end -of the roll to fall, as if by chance, into the pit, and the audience -delighted themselves by looking for the names of their friends or -connections in the list. Rosalba, in despair, casts herself into the -sea.[93] - -{THE ITALIAN "CONVITATO DI PIETRA."} - -(151) - -The third act shows Ottavio in great favour at the court of Castile, on -the point of marriage with Donna Anna. He is attended by Pantaloon, who -carries on the usual by-play with Arlecchino. Don Juan intercepts the -letter in which Donna Anna summons Ottavio, steals in to her, Arlecchino -keeping watch outside, and slays the Commandant, her father, who -surprises them. In the fourth act Donna Anna demands justice from the -King; a reward of 6,000 thalers is placed upon the head of the murderer, -and Arlecchino is greatly tempted to gain it, which gives rise to -much jesting between him and Pantaloon. In the fifth act Don Juan -is discovered before the statue of the Commandant, which he mocks. -Arlecchino is made to invite it to supper, whereupon it nods, and, -upon Don Juan's repetition of the invitation, answers him in words. Don -Juan's supper gives opportunity for much comic display of greediness and -cunning on the part of Arlecchino, continuing even after the appearance -of the Commandant, who invites Don Juan and departs. The King, made -acquainted with Don Juan's crimes, commands him to be seized and brought -to justice. Before escaping he keeps his appointment with the Commandant -in the church, and is dragged below by the spectre. The closing tableau -shows Don Juan burning in hell, and expressing his torment and his -remorse:-- - -To which the demons answer: "Mai!"[94] - -This extravaganza was extraordinarily successful. In 1673 a second -version, with additions and new scenery ("Aggiunta al Convitato di -Pietra"), was announced.[95] The new Italian company of the Duke of -Orleans replaced the improvised "Convitato di Pietra" upon the stage in -1717, and it was revived in 1743.[96] This gave rise to a dispute with -the French actors, who were not willing to renounce their claim to so -taking a piece.[97] Dorimon first produced a translation of Giliberti's -piece with the title of "Le Festin de Pierre,[98] ou le Fils Criminel," -at Lyons in 1658, when - -{DON GIOVANNI.} - -(152) - -Louis XIV. met the Princess of Savoy there, and it was performed again -at the Théätre de la Rue des Quatre Vents, in Paris, during 1661. But -De Villiers had been beforehand with him here, having produced his -_tragi-comédie_ with the same title and almost verbal identity in 1659 -at the theatre of the Hötel de Bourgogne.[99] Don Juan's afflicted -father, exposed to the insolence of his son and the mockery of the -servant, appears quite at the beginning of the piece. Afterwards Don -Juan changes clothes with his servant Philippin in order to elude -justice, robs a monk of his cowl, and in this disguise slays Don -Philippo (Ottavio), the lover of Amarillis (Donna Anna). After the -Commandant has supped with him and invited him, Don Juan again seduces a -newly married woman, and then repairs to the chapel, where he is struck -by lightning as he sits at table. - -Molière did not neglect so promising a subject for the use of his -company, and his "Don Juan, ou le Festin de Pierre" was first performed -at the Palais-Royal on February 15, 1665. In contrast with the -buffoonery of the Italians he has tried to raise the subject into the -sphere of genuine comedy, and has thereby obliterated the last trace of -the national-historical character of the drama in its Spanish form. Both -sensual passion and chivalric boldness have disappeared. Molière's "Don -Juan" is a cold-blooded egotist in his love and his want of faith, an -enlightened rationalist, even when preserving his honour as a cavalier -with personal bravery; his servant Sganarelle reasons as morally as his -master immorally, but is quite as great an egotist, and a coward into -the bargain. The striking situations, in which the original was so rich, -are either merely related, as in the case of the seduction of Donna Anna -and the murder of the Commenda-tore, or they have lost all their lively -colouring by a new turn, as in the case of the adventures with the -fisher-girl and the peasant; everything that might shock or injure the - -{MOLIÈRE'S "FESTIN DE PIERRE."} - -(153) - -refined tone of comedy was omitted. On the other hand, the interests of -morality required that every opportunity for repentance and amendment -should be given to Don Juan; the more he is preached at from every -quarter, the more obstinate he becomes in his evil courses. The -truthfulness of psychological development thus striven after makes the -catastrophe all the more glaringly absurd; such a sinner as this could -not be carried off by a ghost. As a compromise, Molière makes Don Juan -to be warned by a spirit in the form of a woman, who is transformed into -an appearance of Time with his scythe; this was an allegory quite after -the taste of the time, and rendered the marble guest a superfluity. Some -of the situations, such as the adventure in the country, or the scene -with the merchant, are excellently rendered, and delicate traits of -characterisation are always to be found; in fact, the better a point -is, the less it is found to have to do with the original "Don Juan." -Molière's "Don Juan" was not printed during his life, and was only -played fifteen times. A versified adaptation of it by Thomas Corneille, -given in 1677, was well received, and kept the stage until 1847, when -Molière's comedy was again substituted.[100] - -Incited by Molière's example, Goldoni produced the "mauvaise pièce -espagnole," which he could not contemplate without horror, at Venice in -1736, in the worthier form of a regular comedy entitled "Don Giovanni -Tenorio, ossia il Dissoluto":-- - -In the first act, Donna Anna obeys her father against her will, and is -betrothed to Don Ottavio. The second act shows Elisa, a peasant girl, -taking leave of her lover Carino. Immediately after Don Juan appears, -plundered by robbers, and gains her favour. Carino surprises them -bidding farewell, but Elisa appeases his jealousy. Isabella, who has -been deserted by Don Juan in Naples, follows him disguised as a man. In -the third act she enters Seville with Ottavio, whom she has delivered -from the hands of robbers on the way hither. When Donna Anna discovers -her sex, she makes it the excuse for renouncing Ottavio's hand. -Isabella, meeting Don Juan, forces him to fight with her; but, refusing -from shame to give the standers-by any account of herself, she is -pronounced by Don Juan to be a maniac. Elisa also - -{DON GIOVANNI.} - -(154) - -pursues Don Juan, but he is warned against her by Carino, to whom she -has been faithless. Don Juan declares himself ready to give her up, -but Carino will have none of her. In the fourth act, Don Juan makes -declaration of love to Donna Anna, who is not unfavourably disposed -towards him, but refers him to her father for consent. He seeks, -however, with drawn sword to gain her favour on the spot; she calls for -help; her father hastens in, and is slain by Don Juan, who then escapes. -It is resolved to pursue him and to seek redress against him from the -King. In the fifth act Elisa promises to liberate him, having relatives -among the guards, if he will marry her. Isabella interposes and renews -her challenge to him to fight. Donna Anna, in mourning robes, calls -for vengeance, but Don Juan displays so much passion for her that she -relents and pardons him. Thereupon comes a letter from the King of -Naples, demanding Don Juan's punishment, and disclosing Isabella's -secret. Don Juan, seeing himself hopelessly lost, beseeches Carino to -slay him. A thunderbolt from the mausoleum of the murdered Commendatore -strikes him dead. - -Goldoni asserts[101] that the public were astonished at first, and did -not know "Ce que voulait dire cet air de noblesse que l'auteur avait -donné à une ancienne bouffonnerie." But it soon became known that -the coquettish Elisa was an actual portrait of the actress, Elizabeth -Passalacqua, who played the part, and that Goldoni had chosen this way -of being revenged on her for bestowing her favours simultaneously on -him and on the actor Vitalba. This roused interest in the piece, and -convinced people "que le comique raisonné était préférable au comique -trivial." Rosimond looked at the subject from quite another point -of view in his _tragi-comédie_ "Le Festin de Pierre, ou l'Athéiste -Foudroyé," produced in 1669 at the Théätre du Marais. This theatre was -then noted for its brilliant decoration and spectacle pieces, which -often necessitated high prices of admission. Such a piece was this of -Rosimond's, and he had been careful to lay the plot in heathen times, -that his atheism might vaunt itself with impunity.[102] Again, in 1746, -"Le Grand Festin de Pierre" was given in Paris as a pantomime,[103] and -has always been popular on village and marionette stages. - -{DON JUAN IN ENGLAND AND GERMANY.} - -(155) - -In England also "Don Juan" was put on the stage at about the same time. -Whether in his "Libertine Destroyed," which was produced in 1676, Thomas -Shadwell followed the Spanish original or the French or Italian version, -I cannot pretend to determine. The piece was very successful, but Don -Juan's villainy was so dreadful, and the piece altogether so horrible, -"as to render it little less than impiety to represent it on the -stage."[104] In 1725 Antonio de Zamora, Chamberlain to King Philip V. of -Spain, adapted the same subject under the title, "Non hay deuda que -no se pague y convi-dado de piedra." "This adaptation, displaying much -talent and skill, is cast almost in the same form as the opera; the -earlier adventures of Don Juan in Naples are omitted, and Zamora, -like the author of the libretto, begins with the murder of the -Commandant."[105] In Germany, "Don Juan, oder das Steinerne Gastmahl," -belonged to the standing repertory of the improvising actor from the -beginning of the eighteenth century. Prehauser, the celebrated buffoon -of the Vienna Theatre, made his first dramatic attempt in 1716 as Don -Philippo in the "Steinerne Gastmahl."[106] Schroder appeared in -Hamburg, in 1766, as Sganarell in "Don Juan," and "surpassed all -expectation."[107] This may have been a version of Molière's "Don Juan," -but as early as 1746 an afterpiece entitled "Don Juan" was on the -repertory of Ackermann's Company,[108] and in 1769 the pantomime -ballet of "Don Juan" was given by them.[109] At Vienna, up to 1772, an -improvised "Steinerne Gastmahl" was regularly given during the octave of -All Souls;[110] a proof that Don Juan's dissolute life was contemplated -with pleasure, and that morality was considered as abundantly vindicated -by his being carried off by the devil after a long penitential - -{DON GIOVANNI.} - -(156) - -speech.[111] The traditions of this burlesque degenerate into a mere -puppet-show. "Hanswurst" becomes the chief personage, and Don Juan's -love adventures are made subservient to his deeds of blood; both the -names and situations point to the French version of the Italian piece as -the principal source, but many additions have been made, and these, for -the most part, not happy ones.[112] - -It was in Paris that the first attempt was made to treat "Don Juan" -operatically. In the year 1713, Le Tellier produced "au jeu d'Octave," -a comic opera "Le Festin de Pierre," in three acts, and "en vaudevilles -sans prose" at the Théätre de la Foire Saint-Germain.[113] It was well -received, but exception being taken to the representation of hell at the -conclusion of the opera, it was suppressed; but a few days after, we are -told, "Le magistrat, mieux informé, révoqua cette sentence."[114] The -piece followed the old lines, only a few new jokes were introduced; and -the language of the couplets, judging by the specimens which are given, -must have been tolerably free. - -A ballet of "Don Juan," with music by Gluck, was performed in Vienna -in 1761.[115] The programme indicates four divisions, each of them -containing an important situation, worked out and enlivened by means of -different dances. - -{GLUCK'S BALLET, "DON JUAN."} - -(157) - -Unfortunately we have no hints as to the details of the music, which -consists for the most part of short and unelaborated dance melodies:-- - -In the first division, Don Juan serenades his mistress, Donna Anna, and -is admitted by her; surprised by her uncle, he escapes into the street, -and slays his pursuer. In the second division, Don Juan is giving a -feast, at which Donna Anna is present, and dances, a _pas de deux_ with -him; the appearance of the statue scares away the guests. After a short -stay, the Commendatore invites Don Juan, who accepts, and conducts him -to the door. In the meantime the guests reassemble, but seized with -fresh terror, rush from the house; Don Juan prepares to seek the -Commendatore alone, his servant, spite of threats and persuasions, -refusing to accompany him. The third part takes place in the mausoleum; -the Commendatore tries vainly to bring Don Juan to repentance, and -finally plunges him into the abyss. In the last division, Don Juan is -tormented by demons in the lower world; he strives in vain to escape or -to resist, and at last, in despair, he resigns himself and is devoured -by the flames.[117] - -Ten years before Mozart's "Don Giovanni," a _dramma tragicomico_, -entitled "ü Convitato di Pietra, ossia il Dissoluto," was performed -both at Vienna (first on August 21,1777) and at Prague; the composer was -Vine. Righini.[118] The plot is briefly as follows:[119]-- - -The fisher maiden Elisa, and her lover Ombrino, save Don Giovanni and -his servant Arlechino from the waves. Don Giovanni, who has betrayed -Isabella, daughter of the Duca d'Altamonte, in Naples, and is a fugitive -in consequence, readily wins the love of the too-confiding Elisa. The -Commendatore di Loioa, returning from victorious war, is greeted by Don -Alfonso in the name of the King of Castile, who has erected a statue -to his honour, and promises to wed his daughter Donna Anna to the Duca -Ottavio. Donna Anna, in defiance of her father's threats, refuses the -honour. Don Giovanni, whose crime and flight have been made known to -Don Alfonso, enters with Arlechino the house of the Commendatore, where -Donna Anna, having dismissed her maid Lisette, is preparing to retire -to rest. He offers her violence, which she resists, and recognises him; -thereupon enters the Commendatore and falls in - -{DON GIOVANNI.} - -(158) - -combat with Don Giovanni. Donna Anna vows vengeance on the murderer. In -the second act Don Giovanni determines to flee, and orders Arlechino to -be ready in the tavern, and to order a meal. Isabella, who has pursued -Don Giovanni, extorts from Don Alfonso a promise of reparation. Don -Giovanni, seized with remorse, takes refuge in the mausoleum, and falls -asleep near the statue of the Commendatore. There he is found by -the sorrowing Anna, whose love and pity he seeks in vain to kindle. -Arlechino summons him to the tavern, where all is prepared; he invites -the statue to be his guest, and is sorely perplexed by the answer given. -Arlechino in the tavern makes love to the hostess Corallina. Donna -Anna receives from Don Alfonso the assurance of the speedy pursuit and -punishment of Don Giovanni. The latter sups with Arlechino, waited upon -by Corallina and Tiburzio; he toasts the approving audience, Arlechino -and the pretty maids, in German verse! The statue appears, but does not -eat, invites Don Giovanni and disappears; the meal is continued with -the utmost composure. In the third act, Don Giovanni is the guest of the -Commendatore in the mausoleum; he refuses to repent, and is cast into -the abyss. Don Alfonso and Donna Anna are acquainted by Arlechino of -this consummation. Don Giovanni is seen tormented by demons. - -The libretto differs neither in design nor execution from that of an -ordinary opera buffa. - -In 1787 "Il Convitato di Pietra," by Gius. Gazzaniga, was given in -Venice at the Teatro di S. Mosè, and was received with much applause. -The opera was given in Ferrara, Bergamo,[120] and Rome, "every evening -for a month, till no one was satisfied who had not seen Don Juan -roasting in hell, and the late lamented Commandant rising to heaven as a -disembodied spirit";[121] it was played in Milan, 1789; in Paris, 1791, -where, however, in spite of the brilliant concluding scene, it was only -moderately successful,[122] and in London (notwithstanding Da Ponte's -contradiction) in 1794.[123] The libretto is lost, but fragments of a -score which Sonnleithner discovered in Vienna[124] show that Da Ponte - -{GAZZANIGA's "CONVITATO DI PIETRA."} - -(159) - -must have made liberal use of this libretto,[125] if, indeed, the two -have not a common source:--. - -Pasquariello is reluctantly keeping watch before the house of the -Commandant, when Don Giovanni rushes out, and strives to free himself -from Donna Anna, who snatches the mask from his face and calls her -father to help; he appears and falls in combat, a terzet for the men -closing the introduction [there is no overture]. After some little talk, -Don Giovanni flies with Pasquariello. Donna Anna hastens in with her -betrothed Duca Ottavio, and finds to her horror the corpse of her father -[accompanied recitative]; more composedly she acquaints him with Don -Giovanni's villany, and declares her intention of retiring to a -nunnery until Ottavio shall have discovered and punished the murderer -[air],[126] to which he consents sorrowfully [air]. Don Giovanni, -waiting for Donna Eximena in a casino, converses with Pasquariello, -when Donna Elvira enters in travelling guise; she has been deceived and -deserted by Don Giovanni in Burgos, and has followed him hither [air]. -They recognise each other, Don Giovanni refers her to Pasquariello for -the motives of his departure, and goes out. Pasquariello gives her the -list of his master's mistresses [air]; she vows to gain justice or -be avenged. Don Giovanni enters in loving converse with Eximena, and -satisfies her jealous doubts of his fidelity [air]. A peasant couple, -Biagio and Maturina, are celebrating their wedding [chorus and -tarantella]. Pasquariello pays court to the bride, but on the entrance -of Don Giovanni retires; and Don Giovanni treats the bridegroom so -rudely that he finally goes off in dudgeon [air]. Don Giovanni befools -Maturina by flattery and a promise of marriage. Two scenes are wanting -here (14 and 15). Biagio enters in jealous mood, but is appeased by -Maturina [scena and rondo]. Eximena questions Pasquariello concerning -his master, and rejoices to learn that he is constant to her [air]. -Don Giovanni is besieged with questions by Donna Elvira, Eximena, and -Maturina all at once, and satisfies each in turn by assuring her that -love for him has turned the brains of the other two.[127] Duca Ottavio -is discovered in the mausoleum adding the inscription to the statue -which the Commandant had erected to himself in his lifetime. Don -Giovanni enters with Pasquariello to view the monument, and obliges -the latter to invite the statue [duet]. The cook Lanterna attends Don -Giovanni; Elvira comes and meets him returning with Pasquariello; she -exhorts him earnestly to repent, but he scornfully refuses, whereupon -she leaves him - -{DON GIOVANNI.} - -(160) - -and retires to a nunnery. Don Giovanni proceeds to sup merrily -[concertino]; Pasquariello eats with him, and Lanterna wait upon them; -they toast the town of Venice and its lovely women.[128] A knock is -heard, and, to the horror of the two servants, the Commandant appears. -Don Giovanni bids him welcome, and orders Pasquariello to serve him; -he accepts the Commandant's invitation, giving him his hand on it, but -rejects his exhortation to repentance, and is delivered over to the -demons.[129] - -A "Convitato di Pietra," by Tritto, is known to me only through Fétis, -who places it in the year 1783.[130] - -A wealth of material, which made the task of selection difficult, left -Da Ponte no necessity to task his invention for his libretto.[131] -We have no means of ascertaining how deep or how extensive were his -previous studies,[132] but even compared with Gazzaniga's libretto, -which he closely followed for the greater part of the first act and -the second finale, we cannot fail to recognise his superiority in the -arrangement of the plot, in the delineation of character, and in -the grouping of situations for musical treatment, especially in the -ensembles. His discrimination in the selection of material was also very -just. He saw clearly that if the spectral apparition was to have its -due effect it must be set in vivid contrast with the representation -of actual life, with all its impulses of passion, of love, hate, or -despair, of humour and merriment. He cannot be said to have cast the -magic of true poetry over his work, nor has it the knightly tone of the -Spanish original, but he has endowed - -{DA PONTE'S LIBRETTO.} - -(161) - -his characters with the easy pleasure-loving spirit of the time; and the -sensual frivolity of life at Venice or Vienna is mirrored in every -page of his "Don Giovanni." The language displays a versatility almost -amounting to gracefulness; and, remembering to what a low level of -vulgarity the treatment of the subject had been brought, we shall be -the more ready to recognise the effort to raise the dialogue to a more -sensible and refined standard. Da Ponte was right in placing the main -points on which the action turns upon the stage, and in furnishing the -composer with a number of musically effective situations, in which the -elements of tragedy and comedy, of horror and merriment, meet and -mingle together. This curious intermixture of ground-tones, which seldom -allows; expression to any one pure and unalloyed mood, is the special -characteristic of the opera. Mozart grasped the unity of these contrasts -lying deep in human nature, and expressed them so harmoniously as -to open a new province to his art, for the development of which its -mightiest forces were henceforward to be concentrated. Great as has been -the progress of music in the expression of this inner life of man since -Mozart's time, he has not yet been surpassed in his power of creating -living forms instinct with artistic beauty, and endowed with perfect -dramatic truth. When Goethe declared that Mozart would have been the man -to compose his "Faust,"[133] he was thinking of "Don Giovanni"; but it -could scarcely have been the merely external manipulation of the plot, -however skilful, which directed his opinion. With the instinctive -certainty of genius he felt the universality of Mozart's conception and -representation of humanity, and acknowledged him as his equal on what -was, in his judgment, a far more extensive field than this. - -The commencement of the opera[134] sets us at once in the midst of the -action: the passionate intensity of the first - -{DON GIOVANNI.} - -(162) - -scene, the villainy which is practised before our eyes, prepare us -for the deep shadow which is to fall on the picture of reckless -pleasure-seeking, and for its horrifying conclusion; nor is the humorous -element altogether absent:-- - -Leporello is discovered keeping impatient watch for his master, who soon -appears, pursued by Donna Anna, and vainly striving to break loose -from her. Her cries for help bring the Commendatore, her father, who -challenges the insolent intruder to fight, and falls by Don Giovanni's -sword, to the consternation of the latter and of Leporello. Neither -scorn nor mockery are expressed in the words, "Ah! gia cade il -sciagurato," and the music is as far from such sentiments as the words. -Da Ponte has sagaciously shown traits of natural human sentiment in Don -Giovanni, and Mozart has not let these escape him. But he has no time to -waste in regrets; he takes to flight, and immediately after Donna Anna -returns with her affianced lover, Don Ottavio; she swoons at sight of -the corpse, and as soon as she returns to herself makes Don Ottavio -swear vengeance on the murderer. - -Don Giovanni, deaf to Leporello's reproaches, is confiding to him that -he is in pursuit of a new adventure,[135] when a lady enters. This is -Donna Elvira, whom he has deceived and deserted in Burgos, and who has -followed him to claim his promise of marriage; he approaches her, and is -consternated on seeing who she is. She overwhelms him with reproaches, -and he refers her to Leporello for explanations and excuses, taking the -opportunity of slipping away himself; Leporello, for her consolation, -displays a list of his master's love intrigues, which he carries about -with him. Enraged at this fresh insult, she resolves to sacrifice her -love for her unfaithful lover to her thirst for vengeance. - -Masetto and Zerlina, with their village friends, are celebrating their -wedding in the neighbourhood of Don Giovanni's casino, whither he -has repaired by preconcerted arrangement. Zerlina's fresh loveliness -attracts him; and, making acquaintance with the bridal party, he invites -them all into his casino, but soon drives out Masetto, whose jealousy he -has excited; and is on the point of winning Zerlina by his flattery and -declarations of love when Elvira steps between them, warns Zerlina, -and (spite of Don Giovanni's whispered protestation that she is a poor -maniac in love with him and mad with jealousy) carries off the peasant -maiden.[136] To Don Giovanni, thus left alone, enter Donna Anna and -Ottavio, who greet him as a friend of the family, and claim his - -{DA PONTE'S LIBRETTO.} - -(163) - -assistance in discovering the murderer and bringing him to justice; -while he is conversing with Donna Anna, Elvira again interposes and -warns her that he is a hypocrite. He again secretly represents her as -a maniac who must be humoured,[137] and goes out with her. Donna -Anna's suspicions are aroused, and observing Don Giovanni closely, she -recognises her father's murderer in him, acquaints Don Ottavio with the -circumstances, and urges him to avenge her father's death. Unwilling -to give easy credence to such a grave accusation, he decides to examine -thoroughly into the affair, and to clear up the doubts as to Don -Giovanni. The latter, disembarrassed of Donna Elvira, commands a banquet -to be prepared in honour of the bridal party. Masetto, whom Zerlina has -with difficulty appeased by her coaxing endearments, conceals himself -when he sees Don Giovanni approaching; after some demure behaviour on -Zerlina's part, Masetto comes forward, and Don Giovanni, with quick -presence of mind, persuades them both to accompany him into the house -for the banquet. Donna Anna and Don Ottavio enter with Elvira, who has -explained everything to them, and at her instigation they all put -on masks, in order to observe Don Giovanni without being recognised; -Leporello, perceiving them, conveys the expected invitation to enter, -which they accept. It was at that time customary in Venice to go about -masked, and strangers thus disguised were invited to enter where -any festivities were going on, thus heightening the frolic of the -masquerade. As they enter the hall, there is a pause in the dance; the -guests take refreshment, Don Giovanni devotes himself to Zerlina, and -Masetto, his jealousy again aroused, seeks to warn her; then the masked -strangers become the centre of observation, are politely greeted, and -the dance begins again. Donna Anna and Don Ottavio tread a minuet, the -dance of the aristocracy;[138] Donna Anna with difficulty restrains her -conflicting emotions, which vent themselves in occasional interjections, -while Don Ottavio exhorts her to remain calm. Elvira follows every -movement of Don Giovanni; the latter invites Zerlina to dance, and -Leporello forces Masetto to dance with him in order to distract his -attention from Zerlina. At the right moment Don Giovanni carries off -Zerlina. Leporello hurries after to warn him; her cries for help are -heard, and all rush to her rescue. Don Giovanni meets them, dragging -in Leporello, whom he gives out to be the culprit, and threatens with -death; but he is surrounded on all sides, the masks are thrown off, and -he finds himself in the midst of his victims, - -{DON GIOVANNI.} - -(164) - -intent on revenge. For one moment his presence of mind forsakes him -and he is at a loss how to extricate himself, but his courage speedily -returns, and he boldly and irresistibly makes his way through his -enemies. - -This momentary dismay and confusion is psychologically correct, and -brings an important feature into the situation, which Mozart has -effectively seized in his musical characterisation of it. Don Giovanni -and Leporello, with the storm of voices surging round them, sing _sotto -voce_; and highly characteristic is the submission to Leporello's -opinion to which Don Giovanni here condescends. Only with the words -"Ma non manca in me corraggio" does he gather his senses together, -and strike at once a different key, in which Leporello cannot follow -him.[139] - -The first act must be allowed to have a well-constructed and interesting -plot, but the second consists of situations without cohesion or -connection, although capable of being made musically very effective. It -wants a leading motive to hold the parts together, the incessant pursuit -of Don Giovanni not by any means answering the purpose; the comic tone -also degenerates into coarseness:-- - -Don Giovanni, having appeased the incensed Leporello with money and -fair words, confides to him that he is courting Elvira's pretty -wait-ing-maid, and changes clothes with him in order to gain easier -access to her. This is scarcely accomplished when Elvira appears at -the window. In order to get out of the affair with a good grace, Don -Giovanni renews his addresses to her with pretended passion, and she is -weak enough to give ear to him. Leporello, in his disguise, accepts and -answers her protestations of love, until Don Giovanni, making a noisy -entrance, drives them both away; then with a tender song he strives -to entice the waiting-maid to appear. Masetto then enters armed, with -several friends, to call Don Giovanni to account; the supposed Leporello -undertakes to put them on the right track, but cleverly contrives to -disperse and dismiss them, wheedles Masetto out of his weapons, beats -him soundly, and escapes. Masetto's cries bring Zerlina to the spot, and -she seeks to console him with loving caresses. - -In the meantime Leporello and Elvira have taken refuge in an -antechamber; Leporello tries to slip away, while Elvira beseeches him -not to leave her alone in the dark. He is on the point of escaping when - -{DA PONTE'S LIBRETTO.} - -(165) - -Don Ottavio enters with Donna Anna, endeavouring to calm her sorrow; -Elvira and Leporello each try to escape unobserved, but Zerlina and -Masetto intercept them. The supposed Don Giovanni is taken to account -on the spot; in vain does Elvira petition for him, to the general -astonishment; at last Leporello discovers himself, and after many -excuses and explanations makes good his escape. Don Ottavio, now no -longer doubting that Don Giovanni is the murderer of the Com-mendatore, -announces his intention of proceeding against him in a court of justice, -and begs his friends to console his betrothed until he shall have -accomplished his design. - -Don Giovanni awaits Leporello's arrival at the foot of the monument -erected to the Commendatore, and laughingly relates his latest -adventure; an invisible voice twice utters words of warning. He becomes -aware of the presence of the statue, and makes Leporello read the -inscription on it: "I here await the chastisement of my ruthless -murderer." In arrogant contempt of Leporello's horror he forces the -latter to invite the statue to supper; the statue nodding its head. Don -Giovanni calls upon it to answer, and on its distinctly uttering the -word "Yes" he hastens away in consternation. - -Don Ottavio strives anew to console Donna Anna, and at last begs for her -hand in marriage: she explains that, though her heart consents to -his prayer, her mourning for her father compels her to postpone its -fulfilment. This scene gives rise to a suspicion of having been inserted -in Prague after the completion of the opera, in order to give the singer -a final air. The situation is repeated at the close of the finale, and -is not here in accordance with Don Ottavio's previous appearances. Don -Giovanni, seated at his richly appointed table, eats and jokes with the -greedy Leporello. This scene, which was always made the occasion for -broad jesting between master and servant, has been turned by Mozart into -musical fun and by-play. Don Giovanni's private musicians play favourite -airs from the newest operas. At the first bar Leporello cries "Bravi! -'Cosa Rara!'" It is the last movement of the first finale from Martin's -"Cosa Rara": "O quanto un si bel giubilo," which was then in every one's -mouth; and the parody was a very happy one. Just as in Martin's opera -the discontented lovers are contrasted with the more favoured ones, on -whom their mistresses have been bestowed before their eyes, so here the -hungry Leporello contrasts with the gormandising Don Giovanni, and the -music might have been made for them. The second piece is greeted by -Leporello with "Evvivano! 'I Litiganti!'" It is Mingone's favourite air -from Sarti's opera, "Fra Due Litiganti il Terzo gode" (Act I., 8), the -same on which Mozart had written variations (Vol. II., p. 345), the then -familiar words of which-- - - "Come un agnello, - Che va al macello, - Andrai belando - Per la città"-- - -{DON GIOVANNI.} - -(166) - -were comically appropriate to the snuffling Leporello.[140] The apparent -malice which induced Mozart to parody favourite pieces from operas -which were avowedly rivals of his own (the impression being immensely -heightened by the humorous instrumentation caricaturing arrangements -for harmony music), is rendered in some degree excusable by his having -included himself in the joke. When the musicians strike up "Non più -andrai," Leporello exclaims: "Questa poi la conosco pur troppo!" -Thus Mozart expressed his gratitude to the people of Prague for their -enthusiastic reception of "Figaro."[141] - -To this merry pair enters Elvira. She has overcome her love, and intends -entering a cloister, but wishes to make one more effort to bring Don -Giovanni to repentance; but her representation being met only with -easy contempt, she angrily leaves him. She is heard to utter a shriek -without. Leporello hastens after her, and returns in horror: the statue -of the Commendatore is at the door; it knocks, and Don Giovanni has to -go himself to open it, and to conduct his marble guest to a seat. The -statue rejects all hospitality, and asks Don Giovanni if he is prepared -to return the visit; on his answering in the affirmative, he grasps him -by the hand, and calls upon him to repent. Don Giovanni repeatedly and -defiantly refuses, and the statue leaves him; night comes on, flames -burst from the earth, invisible spirit voices are heard, demons surround -Don Giovanni, who sinks into the abyss. Don Ottavio and Donna Anna, -Elvira, Masetto and Zerlina enter to drag the offender to justice, -but find that human revenge has been anticipated; Leporello, who has -witnessed the dreadful scene with every sign of horror, relates his -master's fearful end. Relieved from anxiety, and restored to their -natural relations, they unite in the words of the "old song"-- - - "Questo è il fin di chi fa mal, - E de' perfidi la morte - Alla vita è sempre ugual!" - -No doubt the serious moral appended to the gay and easygoing tone of -the opera was a reminiscence of the custom of considering the piece, -on account of its ready practical application, as a sort of religious -drama; the music takes the same tone towards the end. We can scarcely -conceive that it was with a view to the moral effect alone that Da Ponte -so contrived the plot that Don Giovanni should fail in each - -{GERMAN ADAPTATIONS.} - -(167) - -of the love adventures in which he engages; there can be no question -that the cheerful tone which runs through the whole opera depends -chiefly on the repulses with which the hero is continually met on the -field of his heroic deeds. It is true that some of the passionate force -which distinguishes the Spanish drama is thereby sacrificed, but, on -the other hand, the murders and low crimes which were heaped up in -the German burlesques of "Don Giovanni" also disappeared, and the -concentration of the action dispensed with a number of ill-connected -and licentious scenes. Unfortunately the German adaptations have made -a concession to the popular taste in retaining the accustomed Carnival -frolic, which has nothing whatever in common with Da Ponte's "Don -Giovanni"--to say nothing of Mozart. Only of late has this deformity -been occasionally removed by the introduction of the original recitative -in its stead.[142] But, apart from this, the current German version not -only misses the easy, often striking and graceful style of the Italian -verses, and spoils the melodious flow of the words; it even distorts the -sense, and puts into the mouths of the singers sentiments foreign alike -to the situation and to the music.[143] - -But whatever merit Da Ponte's libretto may claim, it claims chiefly as -having given occasion to Mozart's music; (527 K.). One is accustomed to -consider the libretto of an opera as the canvas on which the composer is -to work - -{DON GIOVANNI.} - -(168) - -his embroidery; it might in this case almost be compared to the frame -on which the sculptor erects and models his statue, so completely is the -endowment of the opera with body and soul the actual and exclusive work -of Mozart.[144] The very overture[145] shows at once that something more -is to be expected than the usual fun of opera buffa. Mozart must have -strongly felt the necessity for a grave and solemn introduction, and has -therefore selected the usual French form of overture, consisting of a -slow introduction followed by an allegro. The andante is taken from the -opera itself. We have the principal subjects of the spectral apparition -(as it were, the musical expression of the old title "Il Con-vitato di -Pietra"), indicating at the very commencement the culminating point of -the opera, and fixing its ground-tone.[146] After a few introductory -chords, clear, solemn sounds are heard like an apparition from heaven, -spreading around a feeling of disquiet and strangeness, swelling -into fear and horror. It is interesting to note how the ascending and -descending scales, which, like the mysterious rustling of the - -{THE OVERTURE.} - -(169) - -breeze, produce a kind of cold shudder in the hearer, were first brought -clearly before Mozart's mind during the performance of the ghost scene. -In the finale, where they first occur (p. 271), they were wanting in -the original score; Mozart inserted them subsequently, and, room being -scarce, wrote them in diminutive little notes, which often extend into -the following bar; but the second time they occur, and in the overture, -they are duly written down. The allegro is exclusively suggestive of the -main features of the story; and an eager, irrepressible force, "which -is intoxicated with the lust for enjoyment, and in enjoyment pines for -lust," penetrates the whole, sometimes in accents of keen pain--[See -Page Images] and hot desire, sometimes with exultation and wild -delight.[147] The grave cry of warning which interrupts the eager -movement--is answered, as if in frivolous mockery, by an easy playful -passage--[See Page Images] - -and then the contrasting elements are worked out with a wealth of -harmonious and contrapuntal detail. Mozart is said to have borrowed both -the subject and its imitation from - -{DON GIOVANNI.} - -(170) - -a canon by Stölzel.[148] But a glance at the bars which are adduced to -prove this--[See page Image] - -will show what a keen hunt after plagiarism is required to find any -borrowed idea in this imitative disposition of parts, common to many -old church compositions. But here again Mozart has turned one of the -resources of musical construction into a development of a psychological -idea. How deeply suggestive it is that the warning cries should be -heard woven into the imitations, dying into tender, almost melancholy -entreaty, and finally, as the mocker seems determined to treat it all -as a jest, rising into an awful call to repentance, sounding again and -again with a force that penetrates into the very marrow of one's bones! -Again, how truly conceived is the harmonic transition at the close, -by means of which this warning motif cuts short with the seventh the -jubilation at its very highest pitch, then dies away into gentle notes -of remonstrance, and so gradually calms the hearer, and prepares him for -what is to follow![149] - -The opera begins by introducing us to the only really comic character it -contains, and thus in a measure fulfils the anticipations excited by -the overture. The typical character of the comic servant, which in "Don -Juan" had passed through the successive stages of Gracioso, Arlecchino, -Sganarelle, Hanswurst, and Kasperle, here attained to perfection as far -as opera buffa is concerned. Leporello is a creation unique of its kind; -but since in every branch of art gifted minds, however original, draw -from a common source, so Leporello, - -{LEPORELLO.} - -(171) - -striking as is his individuality, is developed out of the traditions -of opera buffa. The distinctive character of the opera depends upon -his intimate connection with all the situations and all the persons. It -would not suffice for the due blending of the contrasting elements that -Leporello should scatter jests in season and out of season on every -conceivable topic; it was only by rendering all his acts and expressions -consistent with his character that they could be made to react upon -the situations and persons which brought them forth. He has a distinct -personality, with his own way of thinking and feeling, and his own way -of expressing himself. The boldness with which his essentially comic -nature is brought into conflict with passions and events which sound the -very depths of the human heart transports us to the highest province of -humour. This is especially observable in his relations to his master, -with whom he is at once in sympathy and in striking contrast. - -He has the same desire for enjoyment and display, the same laxity of -moral judgment, the same tendency to treat serious matters in a mocking -spirit; he does not want ability either, but fails altogether in just -those qualities which keep alive our interest in Don Giovanni--in -strength and courage: his cowardice betrays itself on every occasion. -While Don Giovanni is on the look-out for every adventure, however -daring, and extricates himself from every peril, however imminent, -Leporello is always pressed into the service, is utterly helpless in any -contingency, and escapes finally only by virtue of his cowardice. This -contradiction between his nature and his surroundings is all the more -entertaining since he himself is perfectly aware of it. We learn his -character from the very first. He is in high dudgeon at being forced -to mount guard outside while his master is enjoying himself within, and -marches impatiently up and down; but as he marches, proud thoughts -of future grandeur take possession of his soul. "Voglio far il -gentiluomo"--he might almost be taken for a cavalier. Suddenly he hears -a noise. He is no longer the grand gentleman, but gives vent to abject -fear in his terrified babble, as Don Giovanni wrestles with Donna Anna. -When the danger grows serious, and the Commendatore falls, he is seized -with horror, but - -{DON GIOVANNI.} - -(172) - -although the moral shock is great it is with actual physical fear that -his teeth chatter. The whole sequence of characteristic expression -in the scene receives its full significance only by contrast with -Leporello's cowardice. Donna Anna's passion, which Don Giovanni is -constrained to oppose with a force equal to her own; the dignified -bearing of the Commendatore, forcing Don Giovanni at length reluctantly -to draw the sword;[150] the duel[151] with its horrifying result--all -these afford a rapid succession of exciting and harrowing points, -scarcely leaving room for the comic element, which nevertheless is -there, and kept actively before us without doing injury to the harmony -of the whole. What a force of artistic expression is displayed in the -eighteen bars of andante which close the introduction! The death which -ends the pain of the Commendatore, the mingled pity and triumph of -Don Giovanni, the horror and fear of Leporello, are blended into such -harmony as to leave the mind--relieved from suspense--full of true -emotion. The unusual combination of three bass voices seems as though -expressly chosen for the serious tone of the situation; the stringed -instruments accompany the voices in the simplest manner, with a few -sustained notes for the horns and bassoons, and only in the concluding -symphony do the oboes and flutes enter with a plaintive chromatic -passage. Here burns truly the inextinguishable flame of genius![152] - -To return to Leporello. The various ways in which his timorous nature -expresses itself in different situations give occasion for the most -interesting characterisation. He has least to do in the first finale, -but he stands close by his master, who shields him in their common -danger; in the - -{THE SESTET--LEPORELLO.} - -(173) - -sestet, however, he shows himself in his full proportions. Willing as he -is to take his master's place with Elvira, his fears do not suffer him -to do it; and when he finds himself alone in the dark with her, in spite -of her entreaties not to be left alone, his one anxiety is to escape. -The contrast is excellently expressed between the bashfulness of Elvira -and the terror of her cowardly interlocutor. Just as he is making off, -Don Ottavio and Donna Anna enter, and he conceals himself. A rapid -transition to another key, emphasised by the unexpected entry of drums -and trumpets, transports us to a higher region, and an affectingly -beautiful expression is given to the sorrow of a noble mind and the -consolation of a loving heart. Elvira again takes part in the situation; -she is full of anxiety for the supposed Don Giovanni, and the expression -of her fear becomes more material, lowering her to the level of -Leporello, who seeks anew to escape, and repeats his former motif, but -more despondently, and in the minor key. Then Zerlina and Masetto enter -and run against him, Don Ottavio and Donna Anna also become aware of his -presence; and, to their intense surprise, Elvira interposes a petition -for Don Giovanni. Her former motif expressive of anxiety is taken up and -maintained by the orchestra, becoming the nucleus of the situation, the -surprise of the other serving only to give light and shade. When her -petition is finally rejected, Leporello throws off his disguise. His -timidity has become mortal fear, he knows that his insignificance alone -can shield him, and he cannot reiterate too strongly that he is in very -truth Leporello, and not Don Giovanni. The general surprise at this -discovery is of course expressed in far stronger fashion than that at -Elvira's sudden change of mind. What is to be done? At first they are -all at a loss. With regard to Leporello, though he has more or less -injured some of them, their position is in common; he is not the Don -Giovanni on whom they have vowed vengeance; their indignant amazement -at the deceit practised on them unites them into a compact body, more -occupied with their own feelings than anxious to punish Leporello. The -latter thinks only of the - -{DON GIOVANNI.} - -(174) - -danger which threatens him, and, try as he may to collect himself, fear -gets possession of him; he mumbles to himself, cries aloud, and makes a -final appeal for mercy before he runs away. The perplexity which seizes -them all at the discovery of Leporello is the point of union of the -situation; the truth and energy with which the nature of each person -is expressed giving it the stamp of life and power.[153] Leporello's -position is totally different when Don Giovanni arrogantly orders him to -invite the statue of the Commendatore to sup with them (Act II., 9). -The mysterious sounds which he has just heard, and the marble figure, -terrify him; but his master threatens with drawn sword; one fear -overmasters the other, and he now persuades himself to address the -statue--now turns in terror to his master. The musical expression of -fear by means of intervals of sevenths--[See Page Image] - -but how characteristic is the difference between this cringing appeal -for pity, and the former energetic cry extorted, as it might be, on the -rack! The terror increases at each successive attempt to address the -statue, while the energy of each address decreases, and dies away at -last into a plaintive parlando. The orchestra at the same time adds the -expression of insolent mockery, which is not less characteristic of the -situation, in a playful but sharply accented - -{DUET--LEPORELLO} - -(175) - -passage, wherein the flutes are made especially effective. - -As soon as Leporello's fears are verified and the statue actually moves, -he succumbs to his terror, and Don Giovanr^ steps forward. Fear is a -stranger to him; he sees the statue nod its head, and demands a more -distinct answer; he puts his question plainly and decidedly; the statue -answers by "Si." Leporello behaves as though struck by a thunderbolt, -and has no idea but flight; even Don Giovanni is affected, and feels -the supernaturalness, but he retains his self-possession; and, in the -expression of trembling haste with which it hurries on the conclusion, -the orchestra mingles something of the humorous impression which is -given by the unexpected _dénouement_ of the situation. The harmonic -construction is here masterly in the extreme. From the beginning ^ to -this point only the principal key and the one next related to it have -been used; but now the interrupted cadence upon C major transports us -to another atmosphere, and the altered movement of the orchestra is -expressive of energetic activity. - -A few chords, however, lead Don Giovanni's questions at once back to the -dominant of the principal key, and the forcible "Si" of the Commendatore -answers with the tonic, the clear calm of which is destroyed at once by -Leporello's C: the real conclusion is only arrived at circuitously. Very -different in effect on both occasions is the occurrence of the same C in -the bass. The first time, when C major follows decidedly on B major, it -makes a fresh, elevating impression; the second time, when C follows the -sustained E as the third below, and forms the basis for the chord of the -third, fourth and sixth, it gives a shock to the ear. The vivid reality -with which the two contrasting individualities are made to express -themselves in so unusual a situation has necessitated the free form of -the duet. Detached musical phrases, complete in themselves, follow the -play of the emotions without the elaboration or repetition of any of -the subjects; only Leporello's cry of terror recurs several times, and -serves to a certain extent as a connecting link. Mozart has judiciously -refrained from bringing the horror of a spectral apparition objectively -before his hearers. Their imagination has been sufficiently worked upon -by the - -{DON GIOVANNI.} - -(176) - -awful and imposing words of the Commendatore,[154] and their attention -ought not to be diverted from Don Giovanni and Leporello. The freedom -which permits of a playful treatment of Leporello's double fear and of -Don Giovanni's consternation reposes mainly on the half-light in which -the ghostly element is viewed. The spectator is impelled to accept the -mixture of the horrible as a flavouring to the humorous; he is not in -the least absorbed by horror. As soon as the ghost appears bodily, he -comes to the foreground and gives tone and colour to all the rest; it -is of advantage to the effect that none of the resources of musical -delineation are employed to heighten this point. The true economy of an -artist not only concentrates his resources on one point, but finds its -truest expression in his appearing to disdain their use at another. The -main point here was the audible voice of the statue, and Mozart gave -it no support but the vibration of the horn note; this necessitated the -greatest simplicity in the whole musical rendering of the situation. - -The appearance of the Commendatore in the last finale is led up to -in truly masterly fashion. First we have the display of the luxurious -living which has erased from Don Giovanni's mind all remembrance of what -has passed. Leporello's greediness, with the jests upon it which were -customary in this part of the piece, are made subservient to the more -delicate humour of the table music. The entrance of Elvira heightens -the situation, and the contrast of her deeply moved feelings and Don -Giovanni's frivolous excitement introduces a new turn, and prepares for -the catastrophe. Leporello feels, indeed, that Elvira is in the right, -but dares not oppose his master, and so introduces no dissonant -tone into the strongly marked character of this scene. But when the -catastrophe draws near it is Leporello who, as he opened the action at -the beginning of the opera, now announces the dread apparition at its -close. All the - -{THE COMMENDATORE.} - -(177) - -terror he has hitherto been a prey to is as nothing compared with -his mortal anguish at the sight of the marble guest, and even to the -commands of his master he answers only with cries of terror; we feel -that, ludicrous as the gestures of the cowardly fellow may be, something -must have happened that would have alarmed any one, however courageous. -Then there enters the Commendatore, accompanied by! soul-harrowing -sounds.[155] No human passion, no anger, no pity speaks from his awful -tones: the inflexible decree of an eternal law is embodied in all its -sublimity in music. The warning words pursue their measured course, -now tarrying upon one note with varied chords, now moving in forcible -intervals, the heavy weight accumulating till it threatens to annihilate -the culprit. The orchestra is calmer and quieter even than before, but -adds many finely shaded touches to the image of the apparition. At one -time it strengthens the weighty tread of the sustained sounds by the -sharp rhythm of dotted notes--then again it falls in dissonant chords -upon strongly accented notes, or gives expression to the curdling horror -which seizes the hearer, by means of rapid ascending and descending -scales. In face of this dread apparition Don Giovanni summons all -his strength together. At first, indeed he is consternated, and the -orchestra gives expression to his horror; but he soon collects himself, -becomes more and more decided as the Commendatore continues to urge him, -the call to repentance serving merely as a challenge to his defiance: -his fall is inevitable. Again, as at the first, the two stand opposite -each other in deadly struggle, but now it is Don Giovanni who is forced -to yield, powerless against the forces of the unseen world. Mozart has -endued the awe-struck sublimity - -{DON GIOVANNI.} - -(178) - -of this scene with noble beauty and force of climax, and has even -ventured to invest it with something of a comic tone. Leporello's abject -fear during such a conflict was a matter of course, but it would be -foreign to his nature even under these circumstances, to be altogether -silent. When, with chattering teeth and shaking limbs, he sings his -triplets when, upon the Commendatore's question "Verrai?" he calls in -deadly fear to his master--[See Page Image] - -every one must feel how wofully in earnest the poor wretch is, and how -he is ludicrous not of his own free will, but because he cannot help it. -Every-day life shows how easily the sublime or the awful passes into -the ridiculous, and how the incongruous emotion thus produced only -strengthens the impression of horror; the blending of these contrasting -elements into a true and living representation in art can only be -accomplished by a great genius. There is scarcely anything in dramatic -music which can compare in this respect with this scene of "Don -Giovanni." - -Leporello is not conscious of the ridicule he incurs by his cowardice, -and in truth it forms but one feature in his character. His air (Act -II., 7) following the sestet, in which he seeks to justify himself on -all sides, looking out at the same time for an opportunity of escape, -makes his cunning more apparent than his fear. He has collected his -senses, and, convinced that once recognised he has nothing more to fear, -he only seeks to fortify himself with excuses until he can escape. -The air is therefore lighter and easier in tone, in strong contrasts, -varying according to the quarters to which he addresses himself, but in -no way elaborated, and coming to an end with a musical point charmingly -expressive of the words. The moderated tone of the piece is of very -good effect after the ponderous length of the sestet. Leporello is a -dissipated, insolent fellow, but, little as his principles can stand -before a threat or a bribe, he has not so completely emancipated himself -from all moral restraint - -{LEPORELLO--AIRS.} - -(179) - -as has his master. He has little scruple, however, in accepting his part -in the villainies planned by Don Giovanni, who makes use of him chiefly -to get rid of Elvira. In the celebrated air (Act I., 4) in which, -professedly by way of consolation, he unrolls the list of his master's -amours, he does not conceal the pleasure which the remembrance of the -love adventures and the thought of the trick he is playing on Elvira -afford him. In the first part the enumeration of the long list is made -parlando, only here and there the accent is somewhat raised for effect, -as at the famous "Ma in Ispagna son già mille e trè"; but the orchestra, -in lively motion all the time, betrays the reminiscence of jovial and -licentious adventures which is passing through the mind of the speaker. -He grows warmer over his description of his master's tastes and habits, -and gives full expression to every detail, until his final malicious -apostrophe, "Voi sapete quel che fa," is given with undisguised mockery. - -Those who have heard how Lablache sang--[See Page Image] - -Quel che fa under his breath, and a little through his nose, with an -indescribable side glance at Elvira, can have an idea of the comic -ill-nature which Mozart meant to throw into this conclusion. - -The characterisation, appropriate in every detail and inimitable in its -rendering of Leporello's secret complacency,[156] can only be rightly -appreciated with the Italian words; the German translation is most -faulty where the musical treatment demanded the strictest accuracy; -the mode of expression, too, is purely Italian, sometimes only -comprehensible in conjunction with Italian pantomime. When indeed he -extols "nella bionda la gentilezza, nella - -{DON GIOVANNI.} - -(180) - -bruna la costanza, nella bianca la dolcezza," the expression is -universally applicable, and the _grande maestoso_ rises plainly before -the minds of all; but when we come to--[See Page Image] - -the proper effect cannot be rendered in German. In the streets of any -town in Italy it may be observed how, when anything is to be described -as small, the person describing it repeats the word eight or ten times -with great rapidity, lowering the hand by degrees nearer and nearer to -the ground; and the action could not possibly be better indicated than -in this place by Mozart. There is a similar effect in the terzet (Act -II., 2) where Leporello cannot contain his laughter--[See Page Image] - -Se se-gui-ta-te ri-do, ri-do, ri-do, ri-do, ri-do, ri-do, ri-do, -ri-do, ri-do, ri-do, and the silent internal chuckle of the Italian -is musically expressed to perfection. More especially has the rapid -utterance, one of the principal devices of opera buffa, a totally -different signification in Italian and German. It is not natural to the -German, and appears either exaggerated or vulgar; it should therefore -be seldom and carefully employed as a means of characterisation. For -an Italian, on the contrary, rapid speech, for which his language is -so well adapted, is the natural expression of excitement, and the -only question for him is whether he shall give vent to his feelings or -exercise control over them. In Italian opera it is used without -scruple, and without in itself aiming at making a comic impression; the -circumstances, persons engaged, and manner employed give the character -of the piece. In the part of Leporello the rapid parlando has a -very different expression in different situations, and can always be -justified on psychological grounds. But it is by no means exclusively -the characteristic of comic persons. In the first finale (Act I., 13) -Masetto's rapid outpouring of jealous rage, Zerlina's fear and distress, -are not intended to move the - -{THE RAPID PARLANDO.} - -(181) - -audience to laughter; they merely give natural expression to their -feelings, and it is the situation which produces the comic effect. -These characters, it is true, belong to the lower classes, to whom some -indulgence might be accorded in respect of good manners; but even Don -Giovanni makes free use of his tongue when he ceases to exercise control -over himself. In his intercourse with Leporello especially he allows -much freedom to his servant, and lowers himself to the same level; this -is of course made apparent in the musical expression, and various -small indications of a free and easy tone of conversation have an -extraordinary effect on the free and vivid conception of the whole. In -the short duet (Act II., 1) in which he appeases the incensed Leporello, -he expresses himself altogether after the manner of the latter, but it -must be remembered that Leporello is really highly indignant, while Don -Giovanni is only in joke all the time; in this contrast consists the -comic point of the situation. Again, too, in the first finale, when he -loses presence of mind for a moment, he falls into this rapid utterance -with the words: "È confusa la mia testa," which, as soon as he has -collected himself, ceases again with the words "ma non manca-in me -coraggio." In the quartet (Act I.) the danger threatening him -through Elvira excites him so greatly that in counselling her to be -careful--"Siate un poco più prudente"--the rapidity of his address -betrays his own loss of self-control. There is something of a comic tone -in this, but the gravity of the situation does not allow it to go beyond -a mere shade, and even this rapid parlando ought not to assume a really -buffo character. Elvira herself, with the unbridled passion of her -nature, gives vent to her anger in winged words, which are certainly not -calculated to produce a comic effect. Donna Anna, on the other hand, -and Don Ottavio, persons of high birth and breeding, never so far lose -command over themselves as to fall into this hurried speech. The quartet -just mentioned is one of the finest instances of the quality and extent -of Mozart's genius. The conversation between Donna Anna, Don Ottavio, -and Don Giovanni is most unexpectedly interrupted by the warnings of -Elvira; the two first are amazed, and uncertain what to make of it, - -{DON GIOVANNI.} - -(182) - -while Don Giovanni, alarmed, seeks by deception to keep them in -uncertainty, and to silence Elvira. All this gives rise to a genuinely -musical variety of mood tinged with melancholy by the grief of Donna -Anna and Don Ottavio. A most prominent feature of the whole is the -skilful grouping. Donna Anna and Don Ottavio are inseparable, and form -the nucleus of the piece; Elvira and Don Giovanni, though in opposition, -are sometimes together, and sometimes in conjunction with the other two. -The situation demands that Elvira shall be most frequently isolated, -in contrast with the three remaining characters; and as her passionate -excitement keeps her in the foreground, she gives the tone to the whole -piece, and Don Giovanni is constrained to follow her, while Don Ottavio -and Donna Anna only occasionally emerge from their mood of anxious -contemplation. A touch of dramatic truth is the adoption by the -orchestra and other voices of Elvira's motif to the words--[See Page -Image] - -so that it seems to be the key to the riddle forcing itself on the -ear and betraying Don Giovanni's guilt. The motif recurs after all the -reproaches, questions, and appeals, and dies away in gentle but pained -reproach when the true position of affairs is left unexplained. The -suspicion which here enters the mind of Donna Anna prepares the way for -the conviction which forces itself upon her that Don Giovanni is the -murderer of her father. The grouping of the voices is treated primarily -as a means of psychological characterisation. The entrance of Elvira -in the second finale gives Leporello a moral shock which brings him -musically _en rapport_ with Elvira, and their parts are therefore in -correspondence; indeed, towards the end they are in close imitation[157] -and opposed to that of Don Giovanni. In the - -{DON GIOVANNI.} - -(183) - -terzet again (Act II., 2), Leporello is first associated with Don -Giovanni and afterwards with Elvira, whom he begins by reviling, but -who later arouses his sympathy, while Don Giovanni holds aloof from -them both. This power of grouping the parts so that they shall serve the -purposes of psychological and dramatic characterisation as well as of -musical construction, is observable in every one of the ensemble pieces. - -L. Bassi (1766-1825), who is described as an excellent and well-trained -singer, and as a man of fine exterior and pleasing manners,[158] was, we -are told, very much annoyed that, as the chief personage of the opera, -he had no grand air to sing; this was probably felt by others as a -blemish in the work. If the nature of Don Giovanni had at all resembled -that of Faust, he could not have failed to give some expression to the -mental conflict between sensuality and misanthropy on the one hand, -and the impulses of his higher moral nature on the other; and such a -conflict would have lent itself readily to musical representation. -But Don Giovanni has no scruples of the kind; the gratification of his -desires is his sole object, and to this he devotes himself in all the -consciousness of his own strength. Danger entices him as calling forth -his powers; he delights in jests which demonstrate his superiority to -his victim, and sensual enjoyment is his only real object in life. He -pursues it neither with the lust of a fiend nor with the passion of -a strongly moved nature, but with a reckless abandonment to sensual -impulses taking absolute possession of all his faculties, and so coming -into momentary contact with the nobler capabilities which exist in every -soul. Imposing strength, external refinement, a jovial and even humorous -manner are, indeed, far from ennobling or dignifying such a character; -but they render it less despicable, and reflect line for line the -manners of the age which produced Tirso's "Don Juan" and Da Ponte's -"Don Giovanni." Music, which in its very nature gives preference and -expression to the emotional element of the human mind, - -{DON GIOVANNI.} - -(184) - -was the only fitting exponent of such a creation in the world of -art.[159] A nature such as that of Don Giovanni does not express itself -in monologue, but in action, and we learn to know him almost exclusively -in his relations to others. It is only when he is directing Leporello to -prepare a costly banquet, and abandoning himself to the anticipation of -the enjoyment it will afford him, that he gives musical expression to -his excitement in an air, or rather in a _Lied_ (Act I., 11). His mind -is engrossed with the idea of the ball, and he predicts the situation -which actually occurs in the finale; even the three different dances are -mentioned by name:-- - - Senza alcun ordine - La danza sia - Chi l' minuetto - Chi la follia - Chi 1' alemanna - Farai ballar. - -Starting with this idea, Mozart has given him a simple and very lively -dance song to sing, in which nothing of the higher passions and still -less either of demoniacal lust or noble sentiment can be traced, but -only a very powerful expression of sensual impulse in a sort of fleeting -paroxysm. The very pleasing and impressive melody, the simple harmony, -the marked rhythm, and especially the instrumentation, all combine to -produce a happy effect. The flutes and violins, which lead the melody -almost without interruption, maintain the dance-like character of the -song, and the uniformly rapid movement of the accompaniment produces -a singular degree of excitement, enhanced by the strong accents of the -wind instruments. So again, the digression into the minor key, making -the sting of - -{DON GIOVANNI--AIRS.} - -(185) - -unbridled passion to be felt in the very indulgence of it, is of very -striking effect. The serenade (Act II., 3) is of a totally different -character; Mozart has written _Canzonetta_ against it. Don Giovanni here -pours out the whole warmth of his feelings towards the fair one whose -heart he hopes to win. The Italian version of the song has a national -character both in rhythm and language; it is of little consequence -whether Don Giovanni is supposed to be singing a well-known song, or -improvising one. The irresistible, insinuating flattery of this song, -the state of voluptuous longing which it expresses, have the same sort -of effect upon us as the dazzling colour and intoxicating perfume of -some rare exotic flower; there is nothing, even in Mozart, which can -be compared to it. The effect of the charming melody, and of the -well-chosen harmonies, is much enhanced by the _pizzicato_ mandoline -accompaniment supported by the stringed instruments. The tender, -curiously vibrating tone of the metal strings of the mandoline seems -inseparable from the sweet gracefulness of the song; the instrument was -then in common use (Mozart has written several songs to the mandoline, -Vol. II., p. 371, note), and its effect was thus all the more -characteristic.[160] - -The only real air which Don Giovanni sings, he sings not as Don -Giovanni; disguised as Leporello, he is giving Masetto and his -companions directions for catching himself, and the musical -characterisation must therefore approach burlesque. This air (Act II., -4), "Metà di voi qua vadano," belongs undoubtedly to those original -conceptions which one admires without exactly understanding how they -have been brought about. The situation in itself affords no proper -musical impulse; it treats merely of the posting of scouts, of -communication by signals, the speaker himself being thrown into a -dubious light by reason of his disguise, and none - -{DON GIOVANNI.} - -(186) - -but a great genius could have found in this place a nucleus round which -to develop a musical masterpiece. The character of the piece is of -course buffo, not only because Don Giovanni is playing the part of -Leporello, but because he is himself thoroughly enjoying the trick he -is playing Masetto; these motives must therefore be blended. It is only -necessary to compare this song with those of Leporello (Act I., 4; II., -7), to appreciate the essential difference in their style. The -rapidly spoken passages give a tone of vulgarity, which is relieved by -occasional involuntary expressions of greater dignity; passages such -as--[See Page Image] - -could not have been sung by Leporello; they show us the cavalier -beneath his disguise. In accordance with the situation the voice is -kept parlando; and the orchestra to which the constructive detail is -intrusted is so independently treated that it might without injury -dispense with the voice, although each is in fact the necessary -complement of the other. The mysterious importance and the apparent -confidence of Don Giovanni, which form the fundamental motif of the -situation when contrasted with the earnest attention and curiosity of -the country people, are humorously conceived and the orchestra renders -every turn of what is passing in the minds of all concerned. But, in -spite of this, the musical characterisation can only be made fully -effective by suitable pantomime on the part of all the characters, even -of those who do not speak, except through the orchestra. Don Giovanni's -true character, however, is not displayed until he comes in contact with -the other, and more especially with the female, characters of the -opera. His seductive powers are first practised towards Zerlina. She is -represented as a simple village - -{ZERLINA.} - -(187) - -maiden; and the little duet (Act I., 5) which she sings with her -affianced lover amid the joyful acclamations of their friends, expresses -innocent gladness in the simplest possible manner and with quite a -popular tone.[161] Don Giovanni is the first to arouse sentiments which -have hitherto slumbered unsuspected in her bosom. The simple peasant -girl becomes an easy prey to the elegant man of the world; her vanity -is flattered by his condescension, and his way of expressing the tender -emotions excited in him by sensual gratification impresses Zerlina's -innocent mind with a conviction of truthfulness, and rouses so -irresistible a love towards him that all other considerations are cast -into the shade. This is the main idea expressed in the duet (Act I., -6), wherein Don Giovanni makes speedy conquest of Zerlina's heart. The -feeling of mutual satisfaction to which they both yield, as it has -been preceded by no strife of passions, gives rise to an expression of -unalloyed happiness cradled in softest, warmest sunlight. The second -part was indeed required to contain more of fire and passion, but the -truth of the characterisation has probably suffered thereby. Zerlina's -nature is neither deep nor passionate, but light and impressionable; and -Don Giovanni's chief weapon is his power of assimilating himself to the -woman whom he designs to attract. This point has been made admirable use -of by Mozart.[162] Such a broad psychological fact is, however, easy -to represent; that which can neither be analysed nor reproduced is the -effect of the tender intensity of the simple notes, which penetrate the -soul like the glance of a loving eye. - -At the second interview between the two the state of affairs is -considerably modified. Zerlina has been warned by Elvira; she has just -calmed Masetto's jealousy with some difficulty, and is aware that he -overhears; she seeks, therefore, to repel - -{DON GIOVANNI.} - -(188) - -Don Giovanni, though conscious that he has lost none of his old -attraction for her. He knows this, and answers her petition for -mercy with her own motif, whereby the love-making is as delicately -characterised as immediately afterwards his astonishment at finding -Masetto in ambush, and the quick presence of mind with which he -ceremoniously greets him, whereupon Don Giovanni's own phrase is -mockingly repeated by Masetto. The orchestra, after accompanying the -lovers with strains as tender as their own, here gives inimitable -expression to suppressed scorn and resentment. The dance music is heard, -however, and relieves the strain; all except Zerlina feel the relief, -and hasten within. As the festivities proceed, and Zerlina, watched by -Masetto's jealous eyes, endeavours to elude Don Giovanni's pursuit of -her until he leads her to the dance and then carries her off,[163] -the complicated situation is characterised, as a whole, with firm and -distinct touches, and the individual points are allowed to fall into the -background. When she has been delivered from Don Giovanni's hands her -feelings for him have undergone a revulsion, and henceforward she is -found among the number of his pursuers. Her passing inclination for the -libertine has, however, roused into life a germ which is fostered and -developed by her relations towards Masetto. At first her intercourse -with her lover is unreserved and entirely happy. Masetto is represented -as a course, jealous, but good-natured clown, and appears at a -disadvantage when compared with Zerlina, Don Giovanni, or even with -Leporello. Mozart has sketched his figure for us in simple graphic -lines, never bringing him to the foreground, but always giving him his -right place in the ensemble movements, to which he contributes his share -of life and colour. He only asserts himself once in an air, when Don -Giovanni is sending him away in order to be alone with Zerlina. This is -of a decidedly buffo character, and, compared with the - -{MASETTO--ZERLINA.} - -(189) - -airs of Don Giovanni and Leporello, affords a totally distinct but -equally faithful picture of character; His indignation, only restrained -from respect for the great man, which would fain vent itself in ironical -bitterness, his coarse sarcasm, which he intends to be so delicate -and biting, are admirably characterised. The very first motif of the -orchestra, where the ominous horns are again distinctly heard--[See Page -Image] - -at which he exclaims, "Ho capito, signor si," shows by the monotonous -repetition of increasingly emphatic bars how engrossed he is in the one -idea which has taken possession of his mind. The two motifs with which -he sarcastically addresses Zerlina and Don Giovanni are also admirably -characteristic; and equally so the conclusion, where he does not know -how to stop; and the syncopated rhythm adds not a little force to the -expression of his perplexity. - -Zerlina's two airs are in vivid contrast to the coarse and boorish, -but honest character of her lover. They express neither affection nor -tenderness, but rather the consciousness of her own superiority, which -her intercourse with Don Giovanni has revealed to her. Hers is one of -those easy natures which are volatile without being actually untrue, -whose feelings are the children of the passing moment, and whose charm -is enhanced by the excitement of the moment. The master has inspired -this lovely and graceful form with a breath of warm sentiment, without -which she would be cold; and her roguish smile saves her from the -reproach of mere sentimentality. The first air (Act I., 12) takes its -tone from Zerlina's desire to pacify Masetto; but there is no trace of -a need for forgiveness--of the consciousness of an unlawful love; she -disarms her lover's wrath with caressing tenderness, and gives him -glimpses of bliss which he is far too weak to resist. - -It would be impossible to conceive a more charming love-making, and no -false note of sentimentality mars the graceful picture. The obbligato -violoncello lends itself in a singular degree to the individual -characterisation, its restless - -{DON GIOVANNI.} - -(190) - -movement and soft low sound standing in happiest contrast to the clear -fresh voices; the accompaniment completes what the singer leaves unsaid. -It portrays the anxious hesitation in the minds of both the lovers; and -not until the second part does the motion flow free and full, till all -resentment dies away in gentle murmurings. The second air (Act II., -5), corresponds to a different situation. Masetto has been beaten, -and Zerlina tries to console him; if she were to put on an air of -sentimental gravity it would appear absurd; the roguish playfulness with -which Mozart has endowed the broader merriment indicated by the words is -far more appropriate here, and gives the expression of pure and tender -grace, which renders this one of the most attractive of songs. The -clearness and brightness of the instrumentation compared with that of -the first air is very striking. - -Very different is Don Giovanni's behaviour towards Elvira. - -This ungrateful part of a deserted mistress has for the most part been -neglected. If a great artist, such as Schroder-Devrient, had conceived -the idea of embodying on the stage the dignified character of Elvira -as Mozart created it, the representation of the opera would have been -placed on an altogether different footing. Elvira is in an outward -position of equality with Don Giovanni. She is his superior in nobility -of mind, and she has been deeply injured by him. Her first air (Act I., -3)[164] shows her as a woman of strong character and passionate feeling, -as far from the ladylike reserve of Donna Anna as from the youthful -grace of Zerlina. As unreservedly as she had given her love to Don -Giovanni does she now yield to her thirst for revenge, and even this -proceeds not so much from injured pride as from disappointed love, -ready to burst in new flames from its ashes. The tone-colouring of the -instrumentation in this air is in very striking contrast to that of -the previous songs; clarinets are used for the first time, and with the -horns and bassoons (no flutes) give a full and brilliant effect. Don -Giovanni overhearing her, and sympathising with her while - -{ELVIRA.} - -(191) - -not recognising her, together with the running comments he makes on her -to Leporello, add a mixture of humour to the scene which could not -be more gracefully expressed. The laugh is unsparingly turned against -Elvira, and is occasioned by the passionateness with which she has -compassed her own discomfiture. The musical rendering clearly shows that -in her proper person she remains unaffected by it. Resolved to pursue -Don Giovanni, and defeat his machinations, she intercepts him as he -is hastening into his casino with Zerlina, and exclaims to the deluded -maid:-- - - Ah! fuggi il traditor! - Non lo lasciar più dir; - Il labbro è mentitor - E falso il ciglio! - Da' miei tormenti impara - A creder a quel cor - A nasca il tuo timor - Dal mio periglio! - -This air, unlike the rest of the opera, retains the form of the older -school, then still frequently heard in church music.[165] Apparently -Mozart made use of the severe, harsh form which at once suggests the -idea of sacred music to the hearer, in order to give the impression of a -moral lecture, and to emphasise the contrast with the "gay intoxication -of self-forgetfulness" of the rest of the scene.[166] This mode of -address was appropriately and suggestively employed towards the peasant -maid; but Elvira adopts quite another tone when she returns and finds -Don Giovanni in close converse with Donna Anna. In the quartet (Act I., -8) (likely 9, DW) her warning, in accordance with the exalted rank of -the mourners, takes a plaintive tone, and her passion only flares up -again when roused by Don Giovanni's duplicity. Then she comes forward, -and her energetic tone predominates in the ensemble movements, although -the silent power of true nobility and grief exerts a moderating -influence on her expressions of passion. She makes a similar impression - -{DON GIOVANNI.} - -(192) - -in the first finale (Act I., 13). She has explained herself to Donna -Anna and Don Ottavio, and they are leagued together to watch and to -expose Don Giovanni. When they appear masked in front of the casino she -encourages them to act boldly; Don Ottavio chimes in with her, but Donna -Anna is seized with maidenly fears face to face with such an adventure. -All this is expressed in the most admirable manner, and a few touches -suffice to place the two women before us in all the dissimilarity of -their natures. The accompaniment, too, is unusually characteristic. -In sharp contrast to the cheerful excitement in which Don Giovanni, -Zerlina, and Masetto make their exit stands the mournful accompaniment -to Elvira, while Don Ottavio's powerful tenor notes are infused with -additional energy by the accented passage? for the wind instruments. The -accompaniment, without altering its essential character, adopts at Donna -Anna's entrance an anxious plaintive tone expressive of the purity -and elevation of her mind. After a short colloquy with Leporello, who -invites them to enter, the three, confident in the justice of their -cause, prepare for their difficult enterprise. After the restless energy -of the previous scene this clear and composed expression of a deeper -emotion diffuses a sense of calm beneficence. The construction of the -movement places Donna Anna and Don Ottavio in close juxtaposition; -Elvira is placed in opposition to them and, in accordance with her -character, she is more animated and energetic. Here again the desired -effect is much strengthened by the support of the orchestra. It was -unusual to make use of the wind instruments alone in accompaniments; and -in addition to this the full soft sound of the extended chords contrasts -strikingly with the deep tones of the clarinets, heard now for the -first time. What a contrast it forms, too, to the tone-colouring of -the preceding movement; one feels for the moment transported to another -world. Scarcely have the last echoes died away when the sharp attack of -the orchestra on the following movement brings us down to earth again. -In the scene which follows it is Elvira who is ever on the watch--who -with Don Ottavio intercepts and - -{ELVIRA--TERZET.} - -(193) - -unmasks Don Giovanni; after that she falls into her place with the rest. -Implacable as Elvira shows herself in her pursuit of revenge on Don -Giovanni, her love for him has taken such deep root in her heart, his -personality exercises such a magic power over her, that she is ready to -forget all that is past, and to trust herself to him again. Poetry could -only make this visible by means of a chain of connecting links; music -is happier in its power of rendering the most hidden springs of human -action; once let the right key be struck, and the state of mind to be -represented is there. And seldom has a frame of mind incapable of verbal -description been so truly and beautifully expressed as in this terzet -(Act II., 2). A short ritomello places the hearer in a frame of mind -which enables him to give credence to what he is about to learn. Elvira, -alone in the twilight, comes to the window; old memories awaken old -feelings, which, while she deplores them, she cannot escape. Don -Giovanni, who is present, resolves to turn this softened mood to -account; he wishes to drive Elvira away, and a fresh triumph over her -affections is a satisfaction to his arrogant vanity. Leporello in his -master's hat and cloak is made to advance, and Don Giovanni, concealed -behind him, addresses Elvira tenderly in the very notes which have just -issued from her mouth. Don Giovanni's appeal comes to her like an echo -of her own thoughts. She interrupts him with the same lively reproaches -which she has already uttered to herself, while he prays for her pity -with the most melting tenderness. Elvira is overcome, and thereupon very -appropriately the motif occurs with which Leporello first expressed his -consternation at Elvira's appearance. Don Giovanni persists all the more -urgently in the same tone, and the turn of expression just alluded to -is developed, with a startling impetus produced by the transition to the -key of C major, into a cantilene of entrancing beauty.[167] - -{DON GIOVANNI.} - -(194) - -He answers Elvira's violent reproaches ("con transporto e quasi -piangendo," Mozart has noted them) with exclamations of increasing -passion, and threatens to kill himself if she does not grant his prayer. -The feeling that Elvira must yield to so passionate an outburst of -the love towards which her heart impels her is mingled with a sense of -Leporello's ludicrous situation, and we feel no incongruity in his fit -of laughter. But when Elvira actually yields, even Leporello cannot -withhold his sympathy from her, while Don Giovanni mockingly triumphs -in his victory. In a certain sense the two have exchanged their parts as -well as their clothes. This terzet may safely be cited as an example of -how simplicity of design and regularity of construction may unite with -perfect beauty and truth of expression into a piece of genuine dramatic -characterisation; but who can express in words the tender fragrance of -loving desire which breathes from the music like the perfumes from an -evening landscape? If we are to infer Don Giovanni's character from -the duet with Zerlina (Act I., 6), the serenade (Act II., 3), and this -terzet, we have the picture of an engaging and amiable personality which -strikes every tone of affection and desire with bewitching grace and -delicacy, and with an accent of such true feeling that it is impossible -for the female heart to withstand him. This is not the whole of Don -Giovanni's character, however. When Elvira's weakness has betrayed her -into an equivocal position, Don Giovanni's heartless insolence places -her in a situation which only Leporello's comic character prevents from -becoming an exceedingly painful one. The fear which takes undisputed -possession of him during the interview reflects a comic light upon -Elvira, but without interfering with her preconceived character. Mozart -has succeeded admirably in the sestet (Act II., 6) in maintaining -Elvira's dignity of deportment both towards the craven Leporello and her -former allies; she never sinks below herself; but the consciousness of -her weakness and of the dastardly trick played upon her has broken -her spirit. There is no trace of the energetic, flaming passion of the -earlier Elvira; Donna Anna's pure - -{ELVIRA--INSERTED AIR--FINALE.} - -(195) - -form rises high above her, and she no longer takes the lead in the -expression of astonishment and indignation. After the sestet, when -Leporello had escaped from the hands of Zerlina, there was inserted -in Vienna an air for Elvira, in which the violence of her passion is -moderated to a degree almost incredible. The softened mood in which the -feeling of her inextinguishable love is expressed no longer as anger -against the traitor, but as pity for the lost sinner, is, when rightly -delivered,[168] most admirably represented; but the dignity and -nobleness which have stilled the waves of sorrow and revenge are not -really consistent with the fire and force of the true Elvira. Then, -also, the accents of disappointed love, which Mozart knew how to evoke -with such masterly insight, are scarcely present at all in this air. -Nevertheless, considered musically it is of great beauty, and the voices -are most effectively supported by obbligato solo instruments, which are -never elsewhere used in exactly the same way by Mozart. This charming -piece is not inappropriate in its own place, but it does not render -either situation or character with the same breadth or accuracy which -Mozart elsewhere displays in "Don Giovanni." Any idea of a closer -connection with Don Giovanni being now out of the question, Elvira, -feeling also that her own existence is rendered worthless, resolves to -enter a convent. But her character and her undying affection forbid her -to part for ever from Don Giovanni without calling him to repentance and -amendment. Her entrance in the second finale interrupts the merriment of -Don Giovanni and Leporello at table, and, like a landscape in changing -lights, the whole tone of the music is altered at a stroke.[169] Her -warning here is very different to that which she addressed to Zerlina. -A stream of glowing words comes from the very depths of her love-tossed -heart, and beats in vain against the overweening pride of her heartless -betrayer. At first he seeks to treat her appeal as a jest, which may be -humoured; and when her prayers, her tears, her dismay are thereby - -{DON GIOVANNI.} - -(196) - -redoubled, he mocks at her with all the frivolity of his -pleasure-seeking nature. This is too much even for Leporello: he -sympathetically approaches Elvira; and the effect is very fine, when -the same notes which seemed to threaten annihilation by their weight at -Elvira's entrance are heard from the mouth of Leporello. Don Giovanni's -overbearing insolence increases and calls down upon him the fate to -which, now that even Elvira has left him, he is doomed to hasten. -This scene is again a very masterpiece of high dramatic art. A flow of -passionate emotion, like a lava stream down the mountain side, succeeds -to the loosely connected musical jests of the supper-table. The very -change of tone-colouring is of the greatest significance. The first -noisy and brilliant movement, with its trumpets and drums and lively -passages for the stringed instruments, is succeeded by the arranged -harmony music, against which the full orchestra, with the combined -strength of wind and stringed instruments, stands in bold relief. Don -Giovanni and Elvira are here for the first time opposed on equal terms. -Her passionate emotion is purified and ennobled without any loss of -strength or reality; and he displays an energy and keen enjoyment of -life which would have something great in it if it were directed to -higher aims, but which here excites only horror. It prepares us for -the resistance which he is to make to the spectral apparition; but the -insolent scorn with which he hardens himself against Elvira's prayers -is more shocking to the feelings than his determined resistance to -the horrors of the nether world, wherein we cannot but grant him our -sympathy. Sharply accented as are the mocking tone of mind and the -sensuality of Don Giovanni, we never find him vulgar or revolting. This -is due to the combination of strength and boldness with beauty of form -in the music allotted to him. What can be more impressive than the -oft-repeated motif given to Don Giovanni:--[See Page Image] - -{DON GIOVANNI'S CHARACTER.} - -(197) - -with no support but a simple bass, in strong contrast to the rich -accompaniment elsewhere employed? His good breeding is as characteristic -of him as his love of enjoyment, and is shown at his first entrance -in his behaviour towards Donna Anna and the Commendatore. There is no -roughness in his struggle with her, and he would fain avoid violence, as -also in the combat with her father; not until his honour as a cavalier -has been touched to the quick does he draw his sword, and the result of -the duel causes him genuine emotion. True, his nobler impulses are not -of long duration; he is destitute of generosity or nobility of mind, and -his highest quality is mere brute courage. In the churchyard scene, when -his arrogance has brought matters to a crisis, and Leporello has -made his terrified exit, the horror of his situation rouses all Don -Giovanni's determination, and he passes the bounds of foolhardiness in -his defiance of the spectre. This scene, however, in which the defiance -of a mortal is forced to yield to the higher powers, is a necessary -sequel to the preceding one with Elvira, in which the moral conflict has -just been fought out. Its pathos redeems it from burlesque, and spreads -an impression of horror which overmasters human reason. Mozart's success -in the combination of these qualities into a whole of harmonious beauty -has already been admired by us as the work of a genius. Gracious and -winning manners and overflowing strength and animal spirits, combined -with the refinement of good birth and breeding and the frankness of a -jovial temperament, produce a picture of a man richly endowed by nature, -but requiring to bend to moral restraint before he can be called great -or noble. He attracts liking, he rouses sympathy, but he is doomed to -final overthrow. - -Donna Anna,[170] as the representative of intellectual elevation and -moral purity, is placed in strong contrast to this seductive being, who -attracts and degrades all with whom he comes in contact. She triumphs -over him from the first, - -{DON GIOVANNI.} - -(198) - -the magic of his presence being powerless to affect her pure spirit. -But her maidenly pride resents his unworthy advances; the idea that an -insult so great should remain unpunished rouses such passion within her, -that she loses sight of all save her just revenge. The music gives a -tone of nobility and elevation to her passionate excitement, stamping -her at once as the superior nature to which Don Giovanni yields, not -only that he may escape recognition, but because he cannot help himself. -Her relation to him preserves this tone throughout, and there is no -subsequent suggestion of any closer or more personal interest. - -Hoffmann's infelicitous idea that Donna Anna had been dishonoured by Don -Giovanni is contradicted by Da Ponte's libretto, which emphasises -her affection for Don Ottavio as repeatedly and decidedly as does the -high-pitched ideality of the music. It is a grievous error to suppose -that her "high-tragedy manner" towards her betrothed arises from the -consciousness of shame and from falsehood and hypocrisy, and not rather -from an elevated sense of pride and pure morality and from filial -grief for her murdered father. Hoffmann's conception of the two -chief characters, and their; relations to each other, though often -quoted,[171] is in many respects a misleading one. A Don Giovanni, a -very demon, who seeks in sensual love to satisfy his cravings for the -supernatural; who, weary and satiated with earthly pleasures, despising -mankind, and in utter scorn against nature and his Creator seeks to -compass the ruin of every woman he meets, is as foreign to the age, -the character, and the music of Mozart as a Donna Anna who, loving -the greatness which originally existed in Don Giovanni, yields to him -without resistance, only to feel doubly conscious of her abasement and -absorbed in the desire for revenge. - -Upon her return with Don Ottavio she finds her father a corpse, and, -after making the most pitiful lamentations, she becomes insensible. -Coming to herself her first - -{DONNA ANNA.} - -(199) - -half-unconscious exclamation is for her father; she imagines that the -murderer is before her, and beseeches him to slay her also. When the -dread certainty has brought her to full consciousness, she collects -all her forces for revenge. She makes Ottavio swear vengeance on the -murderer, and her excitement rises to an unnatural joy at the prospect -of the fulfilment of their gloomy task. The musical rendering of -this state of mind is perfect. The high-pitched mood of Donna Anna is -characterised with so much precision and delicacy, and the continuous -climax is so consistent and well connected, chiefly by virtue of the -musical construction, that we feel ourselves taken captive and prepared -to accept what we hear as the involuntary outbursts of passion.[172] -Even Don Ottavio's consolatory words, sharply as they contrast in their -cantilene-like delivery with Donna Anna's broken interjections, betray -in their restless accompaniment and changing harmonies the inner -disquiet from which he cannot free himself. As soon, however, as the -thought of revenge has been grasped, the two go together, and the voices -are in close connection, while the orchestra (a chief factor in the -musical rendering of the whole scene) contrasts with them in sharpest -accents, now urging, now restraining; the long suspense of the detached, -disconnected phrases is relieved by the stream of passion which seems to -raise the weight from the hearts from which it flows. Don Ottavio, owing -partly to the libretto, has acquired an unfavourable reputation that -can scarcely be entirely overcome, even if the exaggerations which have -become customary in his part should be discarded.[173] In real life we -feel the highest esteem for a character which preserves calmness and -clearness in the midst of heaviest trials, - -{DON GIOVANNI.} - -(200) - -and stands loyally and tenderly by the side of the afflicted; but we -seldom find a poetic or passionate side to such a nature. Such an one -is Don Ottavio. He preserves his composure amid the whirlwind of -passion around him; his love imposes upon him the task of consoling and -supporting his beloved one under the loss of her father, and he performs -it in a manner at once tender and manly. He rises to greater strength -in the summons to vengeance, when he shows himself in no way inferior -to Donna Anna; and when the two next come upon the scene, it is he who -exhorts Donna Anna to stifle her grief and to dream only of revenge. The -unexpected appearance of Elvira, and Don Giovanni's behaviour inspire -him with some degree of suspicion; but he and Donna Anna preserve in the -quartet (Act I., 8) a dignified reserve towards the strangers, which -has a depressing effect when united with their mournful contemplation of -their own sorrow. Here they are entirely at one with each other, and so -the music renders them; their superiority of birth and demeanour has its -effect on the other two characters, and gives the tone to the whole. Don -Giovanni's entrance, his glance and tone, inspire Donna Anna with the -certainty of his being her father's murderer; the memory of that fearful -event flashes across her, and the tumult of feeling which it arouses is -expressed by the orchestra in pungent dissonances by means of opposing -rhythm and harsh sounds produced especially by the trumpets, which have -been silent since the overture until now. It is with difficulty that she -composes herself sufficiently to acquaint her lover with the cause of -her agitation. - -When she has told him all, she urges him again to revenge her father's -death, in an air (Act I., 10) of which the delicate characterisation -completes the perfect image of Donna Anna. This air, in comparison with -the preceding recitative and with the duet, is temperate in tone. The -renewed appeal for revenge is not the same involuntary outburst of -passion which it was; it is the expression of conviction, and is -therefore more composed, though not less forcible than before. A high -and noble pride speaks in the first motifs (Vol. 11., p. 428)--[See Page -Image] - -{DONNA ANNA--OTTAVIO.} - -(201) - -with inimitable dignity and force, while the plaintive sextoles of the -violins and violas, the urgent figure for the basses, which turns to -imitation at the second motif, and the gentle admonitory dialogue of the -wind instruments represent the restless anxiety which has called forth -her determination.[174] - -Donna Anna's elevation of mind raises the man of her choice, and her -maidenly bashfulness gives her confidence a lover-like character. -Ottavio, who has not been inspired with the same instinctive certainty -of Don Giovanni's guilt, finds it hard to convince himself that a -nobleman, and his friend, can be capable of such a crime; but he is -quite ready to acknowledge the necessity for closely observing him. It -was at this point that the air composed in Vienna was inserted (Anh. 3) -to express Ottavio's devoted love for Donna Anna. It depicts exclusively -the tender lover, and the heroic impulses which might be supposed to -belong to the situation will be sought for in vain; the contrast with -Donna Anna's high-spirited air is very striking. No doubt the insertion -of the song was, in some measure at least, a concession to the -individual singer and to the preference of the public for sentimental -lovers. Granting this, however, it is simple and true in sentiment, -tender without sickliness, and of purest melody. Besides the clear and -lovely chief melodies, parts here and there, such as the transition to B -minor and the return to D major at the words, "E non ho bene s' ella non -l' ha," have a very striking effect. But the song - -{DON GIOVANNI.} - -(202) - -is below the level of the situation, and, for want of a counterbalancing -force, it injures the conception of Don Ottavio's character. The masque -terzet expresses in a very pure and noble manner the contrast between an -affection based on moral constancy, such as that of Donna Anna and Don -Ottavio, and the unwholesome passions of the other characters. Donna -Anna, entering masked to play the spy on Don Giovanni, is seized -with alarm at the danger which threatens them all, especially her -lover--"Temo pel caro sposo" she sings with her own melting, plaintive -tones--and she calms her fears with difficulty. In the ball-room, where -noisy merriment is at its height, their dignified appearance gives the -assembly a certain air of solemnity. Leporello and Don Giovanni greet -them respectfully; they answer somewhat ceremoniously, and join in -the cry: "Viva la libertà!" but with a sort of dignified reserve which -stamps them as of superior rank to the crowd of country people round -them. This is a faithful reflection of the manners of the time; so also -is the subordination of the chorus in this scene: it was customary for -country people to keep at a respectful distance before persons of -rank. When the dance recommences, it is Donna Anna again who finds her -feelings so hard to master that she almost betrays herself. Zerlina's -cry for help is the signal for an outbreak of general excitement; -and henceforth they are all avowedly ranged against Don Giovanni. Don -Ottavio acts as the mouthpiece and champion of the women, and calls Don -Giovanni to account for the murder of the Commendatore. But he makes no -attempt to take the punishment of the crime into his own hands, and Don -Giovanni is allowed to beat a retreat from the presence of his former -friends and now determined opponents. No chorus is introduced in the -last movement of the first finale, and indeed none is conceivable.[175] -What would be gained in material sound-effects would be lost in true -dramatic effect. The "buona gente" do not presume to take part in the - -{DONNA ANNA--OTTAVIO} - -(203) - -dispute of their lords; and, as the affair grows serious, the dancers -and musicians leave the ball-room hastily, and the principal characters -remain in possession of the scene.[176] - -Hitherto Don Ottavio has shown himself as a man deserving of Donna -Anna's affection and confidence, loyal and devoted, cautious and -determined, and preserving throughout the lofty demeanour which -distinguishes him from Don Giovanni. But from this point we are in -expectation that he will put his resolutions into action, and that the -second act gives him no opportunity of doing so is a serious blemish. - -The loose and disconnected plot of the second act sacrifices Donna Anna -and Don Ottavio in especial; Elvira, Zerlina, and Masetto are woven not -unskilfully into its intricate meshes, but the other two are altogether -left out. In the sestet (Act II., 6) the earlier motif of consolatory -assurance is repeated without any definite occasion, and only the -exalted purity of the music can cover this defect. Their presence is in -no way necessary either to the exposure of Leporello's trickery; it is -amply justified from a musical point of view, however, for the noble and -dignified tone, which contrasts with Leporello's comic fright and gives -the character of the ensemble, is the result of their participation. - -Don Giovanni's new villainy having removed all doubt of his guilt -from Don Ottavio's mind, the latter no longer hesitates to call him to -account. His conduct has rendered him unworthy of giving the ordinary -satisfaction of a nobleman, and Ottavio resolves to deliver him over -to justice, taking upon himself the risk of encountering so bold and -formidable an adversary. As he turns to depart his thoughts naturally -turn to Donna Anna, who has left the scene after the sestet, and he -entreats his friends to console her during his absence, until he shall -return with the tidings of a completed revenge. This feeling is natural -and true, and the air (Act II., 8) expressing it is in every way -appropriate. - -His appeal for the consolation of Donna Anna is made in one of the -loveliest cantilene which has ever been written for a tenor voice; but -the second part is not quite on the - -{DON GIOVANNI.} - -(204) - -same level. Mozart has rightly refrained from expressing the desire for -revenge in a grand heroic movement, which would have introduced a false -tone, but has limited it to a middle movement, rendered characteristic -mainly by the rapid and forcible motion of the orchestra. The purely -musical effect of this part is excellent, but the voice part has not -force or brilliancy proportionate to the sweetness and fulness which it -has just displayed. The idiosyncracies of the singer Baglione may, in -some degree, have occasioned this treatment; he was specially celebrated -for his artistic and finished delivery.[177] - -The course of the plot justifies Don Ottavio in his conduct towards Don -Giovanni, and when the reprobate has been called before a higher than -any earthly tribunal, Ottavio claims Donna Anna's hand, not as a tender -lover, but as a faithful protector summoned by fate to her side. Donna -Anna's postponement of their union until the year of mourning for -her father shall have expired is a realistic trait, and reflects -the ordinary rules of society and mode of thought then in vogue too -faithfully to be at all poetic. But there can be no doubt of the -intention to represent the love of Donna Anna and Don Ottavio as deep -and sincere; and it argues a misapprehension of tragic ideality to -consider the postponement either as an excuse to conceal her aversion -to her lover, or as the result of her determination to renounce earthly -love and seek refuge in a convent or the grave.[178] It is to the -disadvantage of Don Ottavio, however, that he is made to re-enter -and entreat Donna Anna to consent to an immediate union, without any -previous intimation that he has carried out his design of bringing Don -Giovanni to justice. This is uncalled for, and shows him in the light -of an amorous weakling destitute of energy.[179] The scene was probably -inserted later in order to separate the - -{DONNA ANNA--OTTAVIO.} - -(205) - -churchyard scene from the supper, and chiefly, no doubt, to supply -Donna Anna with another air; the characterisation of Don Ottavio and -the natural progress of the plot are sacrificed to these objects. On -the other hand, the air itself (Act II., 10) is a grateful task for -the singer; and affords important aid to the musical-dramatic -characterisation of Donna Anna. Hitherto grief and revenge have inspired -her utterances; her affection to Don Ottavio has been indicated by her -intrusting to him her most sacred interests and duties. Here, at last, -her love breaks forth without reserve, and although she still rejects -his petition, it is with a maidenly coyness and an expression of regret -which add a new and individual interest to her character. The air is -introduced by a recitative, and consists of two independent movements in -different tempi. In form and treatment, especially in the employment of -wind instruments almost solo, and in the bravura voice passages, it more -closely resembles the traditional Italian aria than any other of the -original songs in Don Giovanni; but, in spite of this, it renders -important service to the characterisation.[180] The regularity of the -musical form corresponds very well to the refined and not only noble but -well-bred demeanour of Donna Anna. Deep and sincere emotion is expressed -with maidenly tenderness, infused with just the tinge of melancholy -which invests the whole representation of her character. - -The characters which have been occupying our attention are so accurately -and minutely delineated, and every detail is so admirably blended into -the conception of the whole, that though a comparison with "Figaro" -may doubtless show many superficial points of resemblance, a closer -examination reveals the complete independence of the two works. No one -figure resembles another even distantly; each has its own life, its own -individuality, preserved in the minutest particulars, as well as in the -general conception. Not less remarkable than this is the art with which -the different - -{DON GIOVANNI.} - -(206) - -elements, in all their force of energy and truth, are combined into an -harmonious and comprehensive whole. - -As regards the dramatic force and reality of the situations, especially -in the ensembles, "Figaro" has the advantage over "Don Giovanni." The -introduction to the first act is admirably planned, both musically and -dramatically; in the quartet (Act I., 8) and terzet (Act II., 2) the -situation and prevailing tone are simple, but well chosen and sustained; -and the idea of giving Don Giovanni and Leporello a share in Elvira's -first air (Act I., 3), is productive of excellent effect. The sestet -(Act II., 6), on the other hand, is very loosely put together; the -characters are grouped round Leporello suitably enough, it is true, -but their encounter is not the natural result of the situation, and -the climax is a purely external one. The finales in "Don Giovanni" are -indeed far superior to the ordinary run, which even in good operas often -consist of loosely strung scenes which might just as well be spoken -as sung, but they are inferior to the well-combined, consistent* -development of the plot which delights us in the finales in "Figaro." -The first finale begins in lively style with the quarrel between -Masetto, whose jealously is newly awakened, and the terrified Zerlina, -who seeks to avoid an outbreak. The insidious ever-recurring motif for -both voice and orchestra--[See Page Image] - -in contrast with the quickly uttered notes and sharp accents of anger, -is highly expressive of suspicion. Suggestive in another way are the -beating notes for the trumpets-- - -which are interposed in Masetto's speech, and afterwards taken up by the -flutes-- - -{FIRST FINALE.} - -(207) - -when Zerlina asserts herself, rising gradually to impatient quavers for -the violin--[See Page Image] - -while the principal subject pursues its quiet course. They are -interrupted by the noisy merriment of Don Giovanni and his companions, -who are repairing to the merry-making in the casino; the gradual dying -away of the song of the retreating guests prepares us for the singularly -tender and lovely scene between Zerlina and Don Giovanni, which, -contrasted with the preceding duet with Masetto, first clearly shows -the dangerous fascination of the seducer. After the inimitably expressed -start of surprise at Masetto's reappearance the music alters altogether -in character, and Don Giovanni assumes a cordial hospitality and -cheerful gaiety which is partly accounted for by the sound of the dance -music from the casino; this is made also a musical prophecy of what is -to ensue, for the eight bars that are heard are taken from the second -of the dances afterwards combined, and Mozart has omitted the two first -bars, in order to put the hearer at once in the midst of the dance (Vol. -II., p. 154 note). A lively figure for the violin expresses the desire -of the three to join in the merriment. The figure is continued when -Elvira, Donna Anna, and Don Ottavio appear, and several accompaniment -figures are also retained, with important modifications. The minor key -for the first time occurring, and the totally different treatment of the -orchestra give an impression of a mysterious and gloomy shadow cast upon -the noisy merriment of the scene. Leporello, opening a window by chance, -sees the masks, and is ordered by his master to invite them to enter. -The open window causes the dance music to be more plainly heard, and -prepares for what is to follow; this time a minuet is played, which is -heard entire, for as long as the window remains open the orchestra is -silent, and conversation is carried on parlando. The unusual treatment -of this scene prepares the way for the ball; but it is quite as -consistent with the adagio which intervenes with surprising and profound -effect. - -{DON GIOVANNI.} - -(208) - -The grave and elevated tone betokening the presence of higher moral -forces is additionally impressive after the unquiet, passionate activity -which precedes it. For the first time in this finale the voices put -forth all their power and beauty, and they receive powerful assistance -from the accompanying wind instruments. The voices seem to stand out -from the dark background of the peculiarly deep notes of the clarinets, -but the chords which follow are like gleams of light cast upon them, and -the whole movement appears transfigured in the glory of a higher region. -The scene changes, as was not unusual in finales, and we find ourselves -in the ball-room. The dance ended, the guests disperse for refreshment, -and Don Giovanni and Leporello, as hosts, Zerlina unable to escape Don -Giovanni's observation, and Masetto, jealously watching her, come to the -front. The orchestra plays the principal part in the lively movement, -6-8, which portrays this situation. Rhythm, melodies, and instrumental -colouring, all are stamped with voluptuous excitement, and we seem to -breathe the heated air of the ball-room. The voices move freely, either -joining in the orchestral subjects or going their own way in easy -parlando or prominent melodies, grouped according to the requirements -of the situation. The entrance of the masks gives, as has already -been observed, a different tone to the scene; the stranger guests are -courteously greeted, and Don Giovanni's summons to the dance places -fully before the spectators the ball-room scene, which has so often -been suggested. The real motive of the scene being musical, the dramatic -representation is skilfully made the object of the musical construction. - -The company is a mixed one, and different dances are arranged to suit -the taste of all; thus also Don Giovanni is provided with the means of -freeing himself of those persons who come in the way of his design. His -distinguished guests tread a minuet, he himself joins in the country -dance with Zerlina, while Leporello whirls Masetto in the giddy waltz. -The musical representation of the situation in the three different -dances is thus made the chief point of the scene, the plot moving -rapidly onward; none of the characters - -{DANCES.} - -(209) - -are in a position to express themselves fully, and the dance alone -preserves the continuity of the whole. The combination of three dances -simultaneously in varied rhythm and expression, offered to Mozart a -task in counterpoint which he has accomplished with so much ease and -certainty, that the untechnical listener scarcely believes in its -difficulty. The arithmetical calculation that three bars in 2-4 are -equal to two bars in 3-4, and one bar 3-8 represents a crotchet in a -triplet, is easily made, and the system presents no difficulty. But the -problem really consists in concealing the system beneath the melody -and rhythm, and in causing the necessary coincidence of the phrasing -to appear a natural and unstudied one, dependent on the individual -character of each dance. One dance follows another as a matter of -course. The minuet begins--the same which has been heard before. At the -repetition of the second part, the second orchestra prepares to strike -up, the open strings are struck in fifths, touched _pizzicato_, and -little shakes tried, the violoncello joins in in the same way--and all -falls naturally into the minuet, as it pursues its even course.[181] At -last a gay country dance (2-4) strikes up, as different in melody and -rhythm from the minuet as can be, although it is of course constructed -on the same fundamental bass. At the second part, the third orchestra -proceeds to tune up as the second had done before, and falls in with -a fresh and merry waltz (3-8).[182] Before the minuet recommences, -Zerlina's cry for help is heard, both dances and music break off -suddenly, and the orchestra, which has hitherto been silent, strikes -in with full force.[183] Zerlina's cry for help brings about a complete -change of - -{DON GIOVANNI.} - -(210) - -mood and tone. All present, except Don Giovanni and Leporello, are -inspired by one sentiment, and form a compact and solid mass opposing -the two, either in unison or by means of a purely harmonious treatment -of the voices. Only pit particular points, such as the unmasking, do the -different characters stand out, and the imitation by means of which the -parts are again united emphasises the impression of strict connection -between them. This kind of grouping requires a broad, grand treatment, -and a more forcible one both for the voices and the orchestra. Mozart -has nevertheless happily avoided the adoption of a tragic tone, which -would have been unsuited to the situation. The case is not, after -all, too grave to allow of Don Giovanni and Leporello expressing their -confusion and dismay comically, after their manner, and the humorous -character of the opera is thereby preserved.[184] Still more simple is -the construction of the second finale. The introduction of table music -taken from different operas renders the supper scene a very masterpiece -of musical fun; but the episode has no direct connection with the -action.[185] This begins with the entrance of Elvira, with a gravity and -an impulse which have been wanting since the beginning of the opera. -In opposition to Elvira's glowing passion, to which her higher resolves -lend nobler impulse than before, so that even Leporello is carried away -by her energy, Don Giovanni's sensuality stands out in stronger -relief, until it outrages man's noblest and most sacred feelings; the -contradiction develops a depth of pathos - -{THE SECOND FINALE.} - -(211) - -which prepares for the approaching catastrophe. The force and fulness of -musical expression in this scene are as remarkable as the deep truth of -its characterisation. Compare the passionate expressions of Donna Anna -with this outbreak of Elvira, and the fundamental difference of the two -characters is clear; so also it is plain that, inimical to each other -as they may be, Elvira and Don Giovanni are creatures of the same -mould, having the same easily excited sensual impulses. Leporello's -terror-stricken announcement of the Commendatore's approach comes as a -relief to this highly wrought scene. In point of fact, the comic tone -increases the suspense more than even Elvira's piercing cry; ludicrous -as is the fear of Leporello, the main impression it produces is one -of horror at its cause. The first fear-struck tones of the orchestra, -collecting their forces for what is to come, the first simple, firm -tones of the spectre's voice[186] transport us to the sphere of the -marvellous. This sense of the supernatural is preserved by Mozart -throughout the scene, and the hearer seems to himself to be standing in -breathless suspense at the very verge of the abyss. It is produced by -an uninterrupted climax of characteristically shaded movement; and the -object which the master has kept steadily before him has been to produce -at every point the expression of a grandeur and sublimity surpassing -that of earth. To accomplish this, external means, such as the -disposition of harmonies and instrumental colouring are employed with -equal boldness and skill, but the true conditions of its extra-ordinary -effect are the high conception and powerful inspiration which animate -the whole. When to this it is added that Don Giovanni and Leporello, -although under the spell of the supernatural apparition, act freely, -each according to his individual nature, without for an instant -prejudicing the unity of tone, it must be acknowledged that the union -of dramatic truth and lofty ideal is here complete. After this prolonged -and painful suspense the breaking of the storm - -{DON GIOVANNI.} - -(212) - -which is to deliver Don Giovanni into the power of the internal spirits -comes as a long-expected catastrophe. The spirits themselves Mozart has -wisely kept in the background. Invisible in the darkness, they summon -their victim in few, monotonous, but appalling notes. This allows of -a more animated expression to the torture of despair which seizes Don -Giovanni, and to the terror of Leporello; while the orchestra depicts -the tumult of all the powers of nature. This scene can only attain to -its full effect when theatrical managers can make up their minds to -allow the music to work on the imagination and feeling of the audience, -unimpeded by a display of fireworks and demoniac masks.[187] This -finale, after all that has preceded it, does not certainly produce a -calming effect, but it relieves the suspense, and virtually brings the -plot to an end. The entrance of the other characters to learn the fate -of Don Giovanni from Leporello, and to satisfy the audience as to their -own fate, is chiefly a concession to the custom of assembling all the -chief persons on the stage at the close of the opera, which in this case -seems justified by the necessity of concluding with a composing and -moral impression. It is not, however, the true close of the plot, and -the audience have already been quite sufficiently informed as to the -fate of the characters. - -Regarded from a musical point of view, Leporello's -narrative--interrupted by exclamations of astonishment from the -others--is very fresh and spirited, and the surprise well and delicately -expressed; the movement would be most effective in another place, but -here it falls decidedly flat. The larghetto in which the duet between -Don Ottavio and Donna Anna, with the short remarks of the others, is -brought to a close is lovely, but not so weighty in substance as the -situation demands. The closing movement is very fine, and Mozart has -imparted such a clear and tender radiance to the church-music sort of -form in which he has embodied the moral maxims, that a flush like that -of dawn seems to rise - -{THE SECOND FINALE.} - -(213) - -from the gloomy horror which has buried the gay life of the drama in -deepest night. It was soon felt that to preserve the interest of -the audience after the spirit scene was impossible. An attempt at -abbreviation was annexed to the original score, omitting the larghetto -so far as it referred to personal circumstances. Whether this experiment -was made in Prague or Vienna,[188] it appears not to have sufficed, and -at the performance in Vienna the opera closed, as it almost invariably -has later, with Don Giovanni's descent into the lower regions. At -his fall all the characters enter and give a cry of horror, which is -inserted in the score on the chord of D major. A few attempts have been -made later, either on theoretical or practical grounds, to restore the -original closing scene.[189] Attempts at a modification such as -have been made are very objectionable. At a performance in Paris Don -Giovanni's disappearance was followed by the entry of Donna Anna's -corpse borne by mourners, and the chanting of the "Dies iræ" from -Mozart's Requiem.[190] This idea suggested to Kugler[191] the further -one of changing the scene after Don Giovanni's fall to the mausoleum -of the Commendatore, and introducing the funeral ceremonies, the chorus -singing from Mozart's Re-queim, "Lux perpetua luceat ei" (not _eis_, -"because it is only for one person"), "Domine, cum sanctis tuis quia -pius es," to be followed by the "Osanna in excelsis" as an appropriate -conclusion. It is as difficult to comprehend how these two movements -can be thus combined, as how reverence for the master can allow of his -sacred music being thus tacked on to an opera without any regard to -unity of style and workmanship. Viol, supported by Wolzogen, -adopted this idea so far as, instead of the usual conclusion, to insert -the funeral service in the mausoleum, and have the closing movement of -the opera sung there; but it appears - -{DON GIOVANNI.} - -(214) - -altogether out of place. Nothing can be more objectionable than to make -use of separate parts of a work of art in a different sense to that -intended by the master; omission is, on the whole, a less hurtful -proceeding. - -A consideration of the finale proves what is borne out by the whole -opera, that, though inferior in artistic unity of plot to "Figaro," it -excels that work in the musical nature of its situations and moods. In -"Figaro" we are amazed to find how, within the narrow limits of emotion -presented to us, seldom rising to passion, never to a higher pathos, our -minds are entranced by the grace and spirit of the representation. -In "Don Giovanni," on the contrary, there is scarcely a side of human -nature which is not expressed in the most varied shades of individuality -and situation; through the checkered scenes of daily life we are led to -the very gates of the spirit world, and the light of original wit and -humour shines upon the work from beginning to end. The difficulty for a -dramatically gifted author lay in moderation. Da Ponte having placed his -"Don Giovanni" in the present, Mozart with ready wit draws upon reality -where-ever possible for matters of detail and colouring. This freshness -and fulness of realism distinguishes "Don Giovanni" from "Figaro," -without entailing any loss of ideality, for every subject drawn from -real life is turned to the service of the artistic conception of the -whole. The statues of the Parthenon or the figures of Raphael teach how -the great masters of the formative arts follow nature in all and each -of their creations; they teach, too, how the treasure which the eye of -genius descries in the depths of nature must be first received into a -human heart, thence to emerge as a complete and self-contained whole, -appealing to the sympathies of all mankind. Nor is it otherwise with -the great masters of sound, whatever be the impulse which urges them to -expression, whether the words of the poet, the experiences of life, the -impressions of form, colour, or sound; - -the idea of the whole, which inspires it with life and endows it with -form and meaning, must come from the depths of his own spirit, and is -the creative force, which is unceasingly active until the perfect work -of art is produced. The ideal - -{WORKS IN VIENNA, 1788.} - -(215) - -of such a work is the perfection which is conceivable and visible to -mankind in art alone; in it that which elsewhere appears as contrast or -opposition rises to the highest unity. This once attained, we experience -the satisfaction which for mortals exists in art alone. But our delight -and admiration rise still higher when this harmony is maintained -throughout a varied and many-sided composition, containing a wealth of -interests and motives appealing to our most opposite sympathies, and -stirring the very depths of our being--then it is that we feel the full -and immediate inspiration of that Spirit Who looks upon the universe as -the artist looks upon his work. - - - - -FOOTNOTES OF CHAPTER XXXVIII. - - -[Footnote 1: Da Ponte, Mem., I., 2 p. 98.] - -[Footnote 2: Mozart wrote the beautiful air "Non sö d'onde viene" for him on -March 18 (512 K., Vol. I., p. 422).] - -[Footnote 3: Cramer, Mag. Mus., 1788, II., p. 47.] - -[Footnote 4: His naïve and highly entertaining autobiography appeared in Leipzig -in 1801.] - -[Footnote 5: Dittersdorf, Selbstbiogr., p. 228.] - -[Footnote 6: Gerber, A. M. Z., I., p. 307; ibid, III., p. 377. Cf. Biedenfeld, -Die Komische Oper, p. 60.] - -[Footnote 7: Berl. Mus. Wochenbl., 1791, pp. 37, 54, 163.] - -[Footnote 8: Müller, Abschied, p. 277.] - -[Footnote 9: Cramer, Magaz. f. Musik, 1788, II., p. 53.] - -[Footnote 10: "Mozart auf der Reise nach Prag" is the title of a novel by Eduard -Möricke (Stuttgart, 1856), written with the author's usual grace and -delicacy. At the same time it is to be regretted that he has laid so -much stress on the lighter, more worldly side of Mozart's character; and -it is scarcely conceivable that a poet could have ascribed to Mozart a -manner of composition which was as far as it was possible to be from his -nature as an artist.] - -[Footnote 11: Particulars concerning this visit to Prague are given by J. R. -Stiepanek in the preface to his Bohemian translation of "Don Giovanni" -(Prague, 1825, German translation by Nissen, p. 515)* The Prague -reminiscences are revived also in the "Bohemia" (1856, Nos. 21-24). -Heinse gives some details communicated by L. Bassi (Reise--u. -Lebensskizzen, I., p. 208), and J. P. Lyser draws from the same source -in his Mozart-Album (Hamburg, 1856). These accounts are, however, -wanting, not alone in aesthetic culture, but in the discernment of what -is historically true. On a lower level still must be placed Herib. Rau's -"Cultur-historischer Roman" "Mozart" (Frankfort, 1858), which has little -in common either with culture or history; his description of the visit -to Prague is in especial a more appalling calumny on Mozart's moral and -artistic character than has been ventured on by any of his opponents.] - -[Footnote 12: Ost und West, 1839, No. 42, p. 172. A memorial tablet was -afterwards placed on this house.] - -[Footnote 13: The vineyard is called Petranka (Smichow, No. 169), and belongs, -according to the "Bohemia" (1856, p. 118), to the merchant Lambert -Popelka.] - -[Footnote 14: In the autograph score the duet is written on smaller paper, and -somewhat more hastily than the other numbers, as was the case with -Masetto's air.] - -[Footnote 15: Castil-Blaze has accepted these professional fables as literal -truth (Molière Musicien, I., p. 310).] - -[Footnote 16: Da Ponte, Mem., I., 2, p. 103.] - -[Footnote 17: The recitative and these two passages are omitted from the -autograph score, which prevents any identification of the alterations. -In "Idomeneo" the Oracle is accompanied only by trombones and horns. -Gugler throws doubt on the anecdote (Morgenbl., 1865, No. 33, p. 777).] - -[Footnote 18: At the wedding festivities in Vienna, on October 1, Martin's -"Arbore di Diana" was performed (Wien. Ztg., 1787, No. 79, Anh.), and -was repeated nine times in the same year.] - -[Footnote 19: Wien. Ztg., 1787, No. 84. "Don Giovanni" was to have been played -for the first time on this occasion, and Sonnleithner informs me that -a book of the words had actually been printed, with the title-page, -"Da rappresentarsi nel teatro di Praga per l'arrive di S. A. R. Maria -Teresa, Archiduchessa d' Austria, sposa del Ser. Principe Antonio di -Sassonia l'anno 1787." Here the first act closes with the quartet -(8); the second act is intact. The performance did not take place, the -Princess leaving Prague on October 15.] - -[Footnote 20: Niemetschek, p. 87.] - -[Footnote 21: In Mozart's Thematic Catalogue the subject of the overture is -entered under date October 28, with the title, "Il Dissoluto Punito, -o il Don Giovanni: Opera buffa in 2 Atti--Pezzi di Musica 24." The -overture is, as usual, written as a separate piece, hastily, but with -scarcely any alterations.] - -[Footnote 22: A very unfavourable account of his greed for gain and -unscrupulousness is given in the A. M. Z., II., p. 537.] - -[Footnote 23: Da Ponte, Mem., I., 2, p. 103. The fee which he received was fifty -ducats.] - -[Footnote 24: Wien. Ztg. (1787, No. 91): "On Monday, October 29, Kapellmeister -Mozart's long-expected opera, 'Don Giovanni, das steinerne Gastmahl,' -was performed by the Italian opera company of Prague. Musicians and -connoisseurs are agreed in declaring that such a performance has never -before been witnessed in Prague. Herr Mozart himself conducted, and -his appearance in the orchestra was the signal for cheers, which were -renewed at his exit. The opera is exceedingly difficult of execution, -and the excellence of the representation, in spite of the short time -allowed for studying the work, was the subject of general remark. The -whole powers, both of actors and orchestra, were put forward to do -honour to Mozart. Considerable expense was incurred for additional -chorus and scenery, which has been generously defrayed by Herr -Guardasoni. The enormous audience was a sufficient guarantee of the -public favour."] - -[Footnote 25: So the story was told on the authority of Mozart's son, in the -Berl. Musikztg. Echo (1856, No. 25, p. 198).] - -[Footnote 26: L. de Loménin, Beaumarchais et son Temps, II., p. 399.] - -[Footnote 27: Da Ponte, Mem., I., 2, p. 98. Mosel, Salieri, pp. 98, 128.] - -[Footnote 28: Wien. Ztg., 1788, No. 3. Müller, Abschied v. d. Bühne, p. 277] - -[Footnote 29: Da Ponte, Mem., I., 2, p. 108. A. M. Z., XXIV., p. 284. In 1788 -"Axur" was performed twenty-nine times.] - -[Footnote 30: Mus. Korr., 1790, p. 30.] - -[Footnote 31: Berlin. Musik. Wochenbl., p. 5.] - -[Footnote 32: Wien. Ztg., 1788, No. 38. My friend Gabr. Seidl informs me that -in the accounts of the theatre for 1788-1789 is the entry (pp. 45,127): -"Dem da Ponte Lorenz fur Componirung der Poesie zur Opera il Don -Giovanni, 100 fl."; and pp. 47, 137: "Dem Mozart Wolfgang fur -Componirung der Musique zur Opera il Don Giovanni, 225 fl."] - -[Footnote 33: Da Ponte, Mem., I., 2, p. 104.] - -[Footnote 34: "Don Giovanni" was performed fifteen times during this year. -Lange's assertion, therefore, that it was withdrawn after the third -representation rests upon an error. But after 1788 it was removed from -the stage, and did not reappear until November 5, 1792, in a miserable -German adaptation by Spiess. According to Da Ponte the Emperor -exclaimed, after hearing "Don Giovanni": "The opera is divine, perhaps -even more beautiful than 'Figaro.' but it will try the teeth of my -Viennese." To which Mozart answered, on hearing the remark, "We will -give them time to chew it." Joseph went into head-quarters on February -28, 1788, and did not return to Vienna till December 5 (Wien. Ztg., -1788, No. 18); he can only, therefore, have been present at the last -performance of the year, on Dec. 15.] - -[Footnote 35: A. M. Z., XXIV., p. 284.] - -[Footnote 36: The different pieces are numbered in the same order in the -announcement of the pianoforte score (Wien. Ztg., 1788, No. 42, Anh.).] - -[Footnote 37: Cramer, Magazin d. Mus., July, 1789, p. 47.] - -[Footnote 38: Cavalieri wished to sing it in E major instead of E flat -major, and Mozart therefore made a transition into E at bar 19 of the -recitative, and wrote over the air itself, "in E."] - -[Footnote 39: He first appeared at Easter, 1788, in the "Barber of Seville" -(Wien. Ztg., 1788, No. 34, Anh.).] - -[Footnote 40: Journal der Moden, 1790, p. 50.] - -[Footnote 41: Schink, Dramaturgische Monate (1790), II., p. 320.] - -[Footnote 42: Schneider, Gesch. d. Berl. Oper, p. 59. A notice from Berlin in the -Journal der Moden (1791, p. 76) says: "The composition of this opera is -fine, although here and there it is very artificial, heavy, and overladen -with instruments."] - -[Footnote 43: Chronik v. Berlin, IX., p. 132. Cf. XI., p. 878.] - -[Footnote 44: "Don Giovanni" was given five times within ten days.] - -[Footnote 45: Chronik v. Berlin, IX., p. 316.] - -[Footnote 46: Mus. Wochenbl., p. 158.] - -[Footnote 47: Mus. Monatsschr., p. 122.] - -[Footnote 48: Mus. Wochenbl., p. 19.] - -[Footnote 49: Jacobi wrote to Herder, in July, 1792: "We were terribly bored by -yesterday's opera; it is an insupportable affair, this 'Don Juan'! A -good thing that it is over." (Auserl. Briefw., II., p. 91.)] - -[Footnote 50: Briefw., 403,1., p. 432. Schiller had written (402, I., p. 431): -"I have always had a certain amount of hope that the opera, like the -choruses of the old hymns to Bacchus, would be the means of developing a -nobler conception of tragedy. In the opera, a mere servile following of -nature is forsaken, and the ideal, disguised as indulgence, is allowed -to creep on the stage. The opera, by the power of music and by -its harmonious appeal to the senses, attunes the mind to a higher -receptivity; it allows of a freer play of pathos, because it is -accompanied by music; and the element of the marvellous, which -is suffered to appear in it, makes the actual subject a matter of -indifference."] - -[Footnote 51: Bohemia, 1856, No. 23, p. 122.] - -[Footnote 52: A. M. Z., XXXIX., p. 800.] - -[Footnote 53: A. M. Z., XL., p. 140.] - -[Footnote 54: A. M. Z., XXXIX., p. 810.] - -[Footnote 55: Castil-Blaze, L'Acad. Impér. de Mus., II., p. 98.] - -[Footnote 56: Castil-Blaze, Molière Musicien, I., p. 321. Cf. Siever's Càcilia, -IX., p. 208. A. Schebest, a. d. Leben e. Künstlerin, p. 202.] - -[Footnote 57: Castil-Blaze, Molière Musicien, I., pp. 268, 323. L'Acad. Impér. de -Mus., II., p. 241.] - -[Footnote 58: Leipzig, A. M. Z., 1866, p. 192.] - -[Footnote 59: "Don Juan," opéra en 2 actes et 13 tableaux. Édition du Théätre -Lyrique.] - -[Footnote 60: Pohl, Mozart und Haydn in London, p. 149.] - -[Footnote 61: A. M. Z., XIII., p. 524. Stendhal, Vie de Rossini, p. 6.] - -[Footnote 62: A. M. Z., XIV., p. 786; XV., p. 531.] - -[Footnote 63: A. M. Z., XVI., p. 859.] - -[Footnote 64: A. M. Z., XVIII., p. 232.] - -[Footnote 65: A. M. Z., XX., p. 489.] - -[Footnote 66: A. M. Z., XXVI., p. 570.] - -[Footnote 67: A. M. Z., XXV., p. 639.] - -[Footnote 68: Scudo, Crit. et Littêr. Mus., I., p. 121. For similar remarks on an -older Italian singer, see A. M. Z., XXV., p. 869.] - -[Footnote 69: Viardot, Manuscr. Autogr. du D. Giov., p. 10. It must be remembered -that Rossini's arrival in Paris, in 1823, was the signal for a party -warfare between the Mozartists and Rossiniists, similar to that waged -by the Gluckists and Piccinnists. Cf. A. M. Z., XXV., p. 829.] - -[Footnote 70: Da Ponte, Mem., III., p. 43. Scudo, Crit. Littér. Mus., I., p. 178.] - -[Footnote 71: Castil-Blaze, Molière Musicien, I., p. 329.] - -[Footnote 72: Da Ponte, Mem., III., p. 54.] - -[Footnote 73: Da Ponte, Mem., III., p. 58.] - -[Footnote 74: Rochlitz, A. M. Z., I., p. 51.] - -[Footnote 75: E. T. A. Hoffmann's "Don Joan, eine fabelhafte Begebenheit, die -sich mit einem reisenden Enthusiasten zugetragen," written in September, -1812 (Hitzig Hoffmann's Leben, II., p. 35), appeared in the first volume -of his "Phantasie-stücke in Callot's Manier" (Bamberg, 1813). The novel -and striking ideas contained in the article made a great impression at -the time, and to Hoffmann is due the merit of adducing from the music -the poetical and psychological truth of the opera.] - -[Footnote 76: I will here only mention H. G. Hotho, Vorstudien fur Leben und -Kunst (Stuttgart, 1835), p. 1; Victor Eremita, Det Musikalsk-Erotiske, -in Enten-Eller (Copenhagen, 1849), I., p. 25; and P. Scudo, Crit. -et. Littér. Music., I., p. 150. Others will occur later on; but a -compilation of all that has been written, to the purpose or not, on the -subject of Don Juan would be a very tedious and not a very profitable -labour.] - -[Footnote 77: The usual title of opera buffa is given to "Don Giovanni" by -Mozart in his Thematic Catalogue; in the libretto it is called "dramma -giocoso."] - -[Footnote 78: On the adaptations of this subject cf. Cailhave, De l'Art de la -Comédie (Paris, 1785), III., ix t.; II., p. 175; Kahlert, Die Sage -vom Don Juan (Freihafen, 1841), IV., 1, p. 113. Much serviceable -information, together with some nonsense, may be found in Castil-Blaze, -Molière Musicien, I., p. 189. A collection of Don Juan literature in the -Russian language, by C. Swanzow, has been sent to me by the author.] - -[Footnote 79: The name and arms of the family of Tenorio (once distinguished in -Seville, but long since died out) are given by Castil-Blaze (p. 276), -from Gonzalo Argole de Molina's Nobleza de Andaluzia (Seville, 1588), -p. 222. According to Favyn (Théätre d'Honneur et de Chevalerie, Paris, -1620) Don Juan Tenorio was the companion of King Pedro (1350-1369) in -his cruelties and lusts.] - -[Footnote 80: The legend is told by Castil-Blaze (p. 221), after Puibusque, Hist. -Comparée des Littér. Espagn. et Franç. (Paris, 1843). Schack asserts -that it is still current in Seville, and sold in the streets on loose -sheets, in the form of a romanze.] - -[Footnote 81: Castil-Blaze, p. 222. Arnold (Mozart's Geist, p. 298) says that -the true source is a political romance by a Portuguese Jesuit, entitled -"Vita et mors sceleratissimi principis Domini Joannis."] - -[Footnote 82: Schack, Gesch. der dram. Litt. u. Kunst in Spanien, II., p. 552. L. -Schmidt, Die vier bedeut Dramatiker der Spanier, p. 10. Tellez died -in 1648, seventy-eight years old; in 1621 he had already written three -hundred comedies.] - -[Footnote 83: An epitome of the piece, published in Eugenio da Ochoa's Tesoro del -Teatro Espaniol (Paris, 1838, IV., p. 73), was given by Cailhava, -II., p. 179. Kahlert and Castil-Blaze. It is now accessible in the -translations of C. A. Dohrn (Spanische Dramen, I., p. 1) and L. -Braunfels (Dramen aus u. n. d. Span., I., p. 1).] - -[Footnote 84: The part of Tisbea is very charmingly treated; Byron has made use -of this part of the subject.] - -[Footnote 85: When Don Juan swears to marry Aminta, he says, with ambiguous -mockery:--] - - "Wird mein Wort je im geringsten - Falsch befunden--nun so mag mich - Eine Leichenhrnd vernichten."] - -[Footnote 86: Schack (II., p. 569), quoting from a license to publish Tirso's -works, says that they contain nothing which could offend good manners, -and that they present admirable examples to youth.] - -[Footnote 87: Schack (II., p. 679).] - -[Footnote 88: Riccoboni, Hist. du. Théätre Ital., I., p. 47.] - -[Footnote 89: Castil-Blaze (p. 263) has a list of the editions.] - -[Footnote 90: Goldoni, Mém., I., p. 163. Eximeno, L'Orig. d. Musica, p. 430.] - -[Footnote 91: Cailhava, in an analysis of the Convitato (II., p. 186), remarks -that he has observed trifling alterations in different performances, -but that in essentials the piece is always the same. A more detailed -analysis of a later piece, differing somewhat in detail, is given by -Castil-Blaze (I., p. 192).] - -[Footnote 92: Castil-Blaze's piece omits this adventure, and begins with Donna -Anna and the murder of the Commendatore.] - -[Footnote 93: Castil-Blaze's sketch inserts the peasant wedding here.] - -[Footnote 94: This piece alone was in writing, all the rest was improvised.] - -[Footnote 95: Castil-Blaze, I., p. 243.] - -[Footnote 96: Dictionnaire des Théätres de Paris, II., p. 539.] - -[Footnote 97: The French pieces are enumerated in the Dictionnaire des Théätres -de Paris, II., p. 540.] - -[Footnote 98: This absurd title, arising from an error of translation (Convitato -Convié), not only held its ground in France, even after its exposure -by De Visé (Mercure Galant, 1677, I., p. 32), but it was rendered still -more nonsensical in its German form, "Das steinerne Gastmahl," which was -the usual title in the last century.] - - "Placatevi d'Averno - Tormentatori etemi! - E dite per pietade - Quando terminaran questi miei guai?"] - -[Footnote 99: In the same year, 1659, Tirso's drama was played in Paris by -Spanish actors (Castil-Blaze, p. 247).] - -[Footnote 100: Castil-Blaze, I., p. 246.] - -[Footnote 101: Goldoni, Mém., I., 29, p. 163.] - -[Footnote 102: Cailhava, II., p. 193.] - -[Footnote 103: Dictionnaire des Théätres, II., p. 542.] - -[Footnote 104: Dav. Erskine Baker, Biographia Dramatica (London, 1782), II., p. -188. Th. Shadwell, Poeta Laureatus under William III., lived 1640-1692.] - -[Footnote 105: Schack, III., p. 469.] - -[Footnote 106: Müller, Abschied, p. 63.] - -[Footnote 107: Meyer, L. Schroder, I., p. 153; Cf. II., 2, pp. 55, 144.] - -[Footnote 108: Meyer, II., 2, p. 44.] - -[Footnote 109: Meyer, II., 2, p. 179. Schütze, Hamburg. Theatergesch., p. 375.] - -[Footnote 110: [Oehler] Geschichte des ges. Theaterwesens zu Wien, p. 328.] - -[Footnote 111: Sonnenfels, Ges. Schr., III., p. 139. Pohl showed me a printed -table of contents, without date or place: "Das steineme Gastmahl, oder -die redende Statue sammt Arie welche Hanns-Wurst sin get, nebst denen -Versen des Ere-miten und denen Verzweiflungs-Reden des Don Juans bey -dessen unglücksee-ligen Lebens-Ende."] - -[Footnote 112: Three puppet plays from Augsburg, Strasburg, and Ulm have been -published by Scheible (Das Kloster, III., p. 699); they are very -mediocre. Molière's "Don Juan," as an opera for puppets, was played in -Hamburg in 1774 (Schletterer, Deutsch. Singsp., p. 152).] - -[Footnote 113: Dictionnaire des Théätres, II., p. 540.] - -[Footnote 114: Mém. sur les Spectacles de la Foire, I., p. 153.] - -[Footnote 115: Schmid, Gluck, p. 83. Castil-Blaze conjectures (I., p. 265) that -this ballet was written in Parma, in 1758. Sara Goudar, in her Remarques -sur la Musique Italienne et sur la Danse (Paris, 1773), writes about -Gluck: "Gluck, Allemand comme Hasse, l'imita [Jomelli]; quelquefois -même le surpassa, mais souvent il fit mieux danser que chanter. Dans -le ballet de Don Juan, ou Le Festin de Pierre, il composa une musique -admirable" (Ouvr. Mèl., II., p. 12). Printed before Wollank's pianoforte -score, and in Lobe's Flieg. Blàtt. f. Mus., I., p. 122.] - -[Footnote 117: A ballet, "II Convitato di Pietra," was given in Naples in 1780 -(Signorelli, Stor. Crit. d. Teatri, X., 2, p. 172).] - -[Footnote 118: This opera was also performed in Braunschweig in 1782 (Cramer, -Mag. f. Musik, I., p. 474).] - -[Footnote 119: The book of the words printed in Vienna has on the title-page "da -rap-presentarsi ne' teatri privilegiati di Vienna l' anno 1777.] - -[Footnote 120: Castil-Blaze, I., p. 267.] - -[Footnote 121: Goethe, Briefw m. Zelter, II., p. 160.] - -[Footnote 122: Musik. Monatschr., p. 122.] - -[Footnote 123: Da Ponte, Mem., II., 1, p. 28.] - -[Footnote 124: The manuscript (perhaps autograph) in the archives of the Society -of Musicians in Vienna bears the title, "ü Convitato di Pietra, Atto -solo del Sgr. Giuseppe Gazaniga. In S. Moisè, 1787." The greater part of -the recitative, five pieces in score, and four airs with voice part and -bass, are preserved.] - -[Footnote 125: Recensionen, 1860, No. 38, p. 588.] - -[Footnote 126: The fact of her non-reappearance is proved by the same singer -taking the part of Maturina.] - -[Footnote 127: Here, doubtless, was inserted the quartet, "Non ti fidar o -misera," composed by Cherubini for the performance in Paris in 1792 -(Scudo, Crit. et Litt. Mus., I., p. 181). Not. de Manuscr. Autogr. de -Cherubini, pp. 12, 101.] - -[Footnote 128: For a performance at Ferrara, Ferrara is substituted for Venezia.] - -[Footnote 129: _Atto solo_ is on the title-page instead of secondo, which is -struck out; on the second scene is _Atto secondo_, and the finale -is superscribed _Finale secondo._ On the other hand, the scenes are -continuously numbered from 1 to 24. I can only suppose that an earlier -version has been abridged for representation.] - -[Footnote 130: A "Don Giovanni" ascribed to Cimarosa is the result of a mistake; -his opera, "ü Convito," composed in 1782, is an adaptation of Goldoni's -"Festino," and has nothing to do with Don Juan (Castil-Blaze, p. 267).] - -[Footnote 131: When Sonnleithner had succeeded in obtaining the books of the -words printed for the first performances in Prague and Vienna, he -published a reprint of the first with the alterations and omissions of -the second, together with all the scenic remarks written by Mozart on -his score. "ü Dissoluto Punito, ossia il Don Giovanni. Dramma giocoso. -Poesia di Lorenzo da Ponte." Leipzig, 1865.] - -[Footnote 132: I have, unfortunately, been unable to obtain Zamora's drama.] - -[Footnote 133: Eckermann, Gespräche mit Goethe, I., p. 64.] - -[Footnote 134: The scenic order, for which the books of the words give important -data, has been the subject of much recent controversy. Cf. Recensionen, -1859, No. 25. A. von Wolzogen über d. seen. Darstellung von Mozart's -"Don Giovanni" (Breslau, 1860). Bitter, Mozart's "Don Juan," p. 62. -Sonnleithner, Recensionen, 1865, No. 48. Woerz, Wien. Ztg., 1866, No. -293, &c.] - -[Footnote 135: Gazzaniga's "Eximena" is wisely omitted.] - -[Footnote 136: Zerlina owes to Goldoni's "Elisa" a strong tinge of frivolity; and -the credulity and inexperience of the peasant maid are not without an -alloy of sensuality. She is, however, at the same time endowed with a -natural charm that enables Mozart to represent her with full consistency -as a very lovable creature.] - -[Footnote 137: This shows the progress made upon Gazzaniga's work. That which -was a mere comic by-play is here used as a motive for giving a common -interest to the characters, and leads to the recognition of Don -Giovanni, and to the climax of the finale.] - -[Footnote 138: At Hamburg, members of noble families required that minuets should -be played alternately with the country dances, "that they might not be -obliged to mix with the crowd" (Meyer, L. Schroder, I., p. 150).] - -[Footnote 139: Gugler's idea (Morgenbl., 1865, p. 775) that Don Giovanni feigns -his alarm, as if saying to his captors, "Your unexpected and unfounded -accusations have altogether upset me," has not convinced me.] - -[Footnote 140: The air is given in the Niederrhein. Mus. Ztg., II., p. 413. -Mozart has changed the original key (A major) and somewhat condensed the -whole, to its decided advantage.] - -[Footnote 141: How far superior to the senseless toasts in Righini's and -Gazzaniga's versions.] - -[Footnote 142: O. Gumprecht, Deutsch. Theater-Archiv, 1859, Nos. 2, 3.] - -[Footnote 143: The earliest translation is that by Bitter, mentioned by E. G. -Neefe (1789). Don Giovanni is called Herr von Schwänkereich; Leporello, -Fickfack. It circulated in manuscript, and was the foundation of most -of the earlier German versions, as well as of those by Schroder and -Rochlitz (Leipzig, 1801), which cannot be adjudged free from the faults -of their predecessors. Kugler showed by his own attempt how difficult a -task it was (Argo, 1859, p. 353). A great advance has been made in the -recent versions of W. Viol ("Don Juan": Breslau, 1858); L. Bischoff, in -Simrock's pianoforte score (Cf. Niederrh. Mus. Ztg., 1858, p. 397; 1859, -p. 88); A. von Wolzogen (Deutsche Schaub., IX., 1860); C. H. Bitter -(Mozart's "Don Juan" u. Gluck's "Iphigenia in Tauris," Berlin, 1866). -Lyser's announcement of a translation by Mozart himself (N. Ztschr., -XXI., p. 174), of which he quoted fragments, was unquestionably the -result of a mystification, in spite of Lyser's repeated declaration that -he had copied from the autograph original in the possession of Mozart's -son (Wien. Mus. Ztg., 1845, p. 322), where Al. Fuchs did not find it -(Ibid., p. 343).] - -[Footnote 144: G. Weber makes a statement with regard to Mozart's autograph -score (Cäcilia, XVIII., p. 91) which places the question of the inserted -pieces in a very clear light. The treasure, which could find no place -in any public collection of Germany, came into the possession of -Madame Pauline Viardot; a new account of it is given by Viardot in the -"Illustration" of the year 1855 (Deutsch. N. Wien. Mus. Ztg., 1856, V., -No. 9). He relates at the close that Rossini called upon him saying: "Je -vais m'agenouiller devant cette sainte relique"; and after turing over -the score exclaimed: "C'est le plus grand, c'est le maître de tous; -c'est le seul qui ait eu autant de science que de génie et autant de -génie que de science."] - -[Footnote 145: The character and meaning of this remarkable and much-discussed -piece of music are so distinctly marked that they cannot fail to be -apprehended. CL Hoffmann's suggestions (Fantasiestücke, I., 4, -Ges. Schr., VII., p. 92), Ulibicheff (Mozart, III., p. 105), Krüger -(Beitrage, p. 160), and the elaborate analysis by Lobe (A. M. Z.t XLIX., -pp. 369, 385, 417, 441), where the effort to trace everything back to a -conscious intention has led to some singular mis* apprehensions.] - -[Footnote 146: In the overture to "Cosi fan Tutte" also, Mozart has made a -humorous use of a motif from the opera; and in both cases has made -it introductory to the principal subject of the overture, which is an -altogether independent composition. The superficial device of making -the whole overture an embodiment of different subjects from the opera, a -custom introduced by Weber, would not occur to artists whose aim was to -produce a consistent whole, working from within outwards.] - -[Footnote 147: In the printed score, the B of the last bar is B flat; the -original has this B flat only in the last bar but one. The position -of this chord with C sharp above B natural is unusual, but not -unprecedented. Mozart has left the chief melody undisturbed to the first -violins, the B flat of the second violins corresponding to the C of the -flutes. The repetition of the passage in the second part of the overture -is not written out.] - -[Footnote 148: Marpurg, Von der Fuge, II., p. 77. Kirnberger, Kunst des reinen -satzes, II., 2, p. 18. It will be found in the Kyrie of Stolzel's Missa -Canonica.] - -[Footnote 149: Nägeli, who finds great fault with Mozart's "exaggerated and -licentious contrasts" (Vorlesungen, pp. 157, 160), asserts that the -allegro of the overture contains a bar too much, and that the rhythm is -thereby destroyed; a reproach which was thoroughly refuted by Kahlert -(N. Ztschr. f. Mus., XIX., p. 97).] - -[Footnote 150: Mozart has suggested this train of ideas independently of Da -Ponte. To the Commendatore's reproach: "Cosi pretendi da me fuggir?" Don -Giovanni answers in the act of going, _sotto voce_, "Misero!" then to -the renewed exclamation, "Battiti!" he repeats, _piu voce_, "Misero!" -and not until the Commendatore has come close to him does he break out -with "Misero attendi!"] - -[Footnote 151: The duel is simply and appropriately rendered by the answering -_whizzing_ passages for the violins and bass; very similar to Gluck's -ballet, only more elaborated.] - -[Footnote 152: Gazzaniga has made a tolerably long piece of it, not without -expression, and the best in his opera--but how far apart from Mozart!] - -[Footnote 153: Schaul (Briefe üb. d. Geschmack in der Musik, p. 51) cites this -sestet as an instance of Mozart's sins against sound sense, because it -is written in tragic instead of melodramatic style.] - -[Footnote 154: The musical treatment of the words of the Commendatore has been -visibly influenced by Gluck's "Alceste." A comparison of the two will -show how skilfully Mozart introduced more delicate touches of detail -without injuring the imposing effect of the whole.] - -[Footnote 155: A force and brilliancy are given to the wind instruments by means -of the trombone such as was never before dreamed of. Mozart's sheet with -the wind instruments is lost, but an old copy has the trombones. -They are not used in the overture, because he meant it to be merely -suggestive, and wished neither to lessen the impression of the actual -apparition, nor to disturb the tone character of the overture. Gugler -seeks to prove that the trombones were added later by Süssmayer -(Leipzig, A. M. Z., 1867, No. 1-3), which I am not prepared to allow.] - -[Footnote 156: An instance is Leporello's confidential whisper to Elvira -(intensified in effect by the interrupted cadence on B flat and -the wonderful bassoon notes): "Sua passion predominante è la giovin -principiante] - -[Footnote 157: The distinguishing form of imitation appears to be always -justified psychologically by its appropriateness to the particular -character; in the quartet, for instance, Donna Anna and Don Ottavio have -the imitation; in the first finale it is given to Zerlina and Masetto.] - -[Footnote 158: A. M. Z., II., p. 538.] - -[Footnote 159: Beethoven declared he could not write operas like "Figaro' and -"Don Juan"; they were repulsive to him (Rellstab, Aus meinem Leben, II., -p. 240. Cf. Beethoven's Studien, Anh., p. 22). The pure morality of -the great man, both in his life and his art, must be reverently -acknowledged; at the same time, without allowing art to stray beyond -the bounds of morality, we would not willingly see it excluded from the -representation of this phase of human nature.] - -[Footnote 160: There is no truth in the remark in the Fliegende Blättem f. Musik -(I., p. 184) that the song shows Don Giovanni as he wished to appear, -while the accompaniment indicates what he really was. Don Giovanni -expresses his real feelings, and the song is not mere hypocrisy. The -peculiar character of the accompaniment is brought about simply by the -nature of the instruments.] - -[Footnote 161: This little duet and chorus is written on different paper, like -Masetto's air (Anh. 2). The two were not inserted later, but written in -Prague, during the rehearsals, when the whole of this part seems to have -been revised.] - -[Footnote 162: In the autograph score the second part has no new tempo marked; -Mozart intended to denote the climax by the change of beat; not by -accelerated tempo. The chromatic interlude, which Ulibicheff looks -upon as a moral warning (Vol. II., p. 125), gives me the impression of -sensual longing.] - -[Footnote 163: The words which are given to Don Giovanni after the recommencement -of the minuet, "Meco tu dei ballare, Zerlina vien pur qua," are not in -the original score, nor in the libretto; later on, when he leads her to -the country dance, he says: "Il tuo compagno io sono, Zerlina vien pur -quà."] - -[Footnote 164: Mozart rightly calls the piece not terzetto, but aria, for Don -Giovanni's and Leporello's interruptions are only peculiarly constructed -ritornellos, and do not alter the very simple aria form of the piece.] - -[Footnote 165: The assertion that Mozart wrote above the air "Nello stile di -Haendel" (Rochlitz, A. M. Z., I., p. 116) is unfounded.] - -[Footnote 166: Ambros, "Grànzen der Musik und Poesie," p. 61.] - -[Footnote 167: In the Fliegenden Blättern fur Musik (III., p. n.) it is pointed -out that the beginning of this melody is identical with the serenade, -and this is adduced as an instance of refined characterisation, meant -to indicate Don Giovanni's treachery to Elvira, whom he is addressing, -while he is thinking of the waiting-maid; there is no foundation for the -idea, however.] - -[Footnote 168: Gumprecht's remarks on this are instructive (Klass. Sopran-album, -p. 8).] - -[Footnote 169: Gazzaniga places it in recitative before the finale.] - -[Footnote 170: It is an oft-repeated mistake that this part was written by Mozart -for Campi, who was born in Lublin, 1773, and had been a main support to -Guardasoni's company since 1791 (A. M. Z., II., p. 537).] - -[Footnote 171: Marx, Berl. Mus. Ztg., I., p. 319. Rellstab, Ges. Schr., VI., p. -251. Genast says (Aus d. Tageb. e. alten Schausp., III., p. 171) -that Bethmann rendered Donna Anna in this sense, and that upon his -representation Schröder-Devrient copied it. Cf. A. von Wolzogen, Wilh. -Schroder-Devrient, p. 163.] - -[Footnote 172: It is a great improvement on Gazzaniga's libretto that Donna Anna -does not disappear after her first entrance, but takes the place in the -plot of the meaningless Eximena; but to invent new motives for her was -beyond Da Ponte's power.] - -[Footnote 173: Ulibicheff (III., p. 113), Lobe (Flieg. Blätt. f. Mus., I., p. -221), Vincent (Leipz. Theat. Ztg., 1858. Cf. Deutsche Mus. Ztg., 1860, -pp. 222, 231), have taken a right view of Don Ottavio's character.] - -[Footnote 174: Marx considers the voice parts and the whole spirit of the aria -powerful and grand, but the instrumentation trivial (Kompositionslehre, -IV., p. 529); he conjectures that it may have been worked out by -Sussmayer. This conjecture is contradicted by the autograph score; and -we may rather believe that Mozart was actuated by consideration -for Saporiti's voice, and refrained from overpowering it by the -instrumentation.] - -[Footnote 175: Even at the beginning of the finale there is no chorus of -villagers. Don Giovanni enters with several servants, who echo his -greeting to the guests: "Su corraggio, o buona gente!"] - -[Footnote 176: Cf. Gugler, Morgenbl., 1865, No. 32, p. 749.] - -[Footnote 177: Da Ponte, Mem., III., i p. 80. A. M. Z., XXIV., p. 301. Cf. A. -Schebest, Aus d. Leben e. Kunstlerin, p. 203.] - -[Footnote 178: Bitter, Mozart's "Don Juan," p. 82.] - -[Footnote 179: The substitution of a letter in his stead, written by him to Donna -Anna, confuses the situation without helping out Don Ottavio. Gugler, -Morgenbl., 1865, No. 33, p. 780.] - -[Footnote 180: Whoever has heard this air sung by a true artist will have been -convinced that the often-abused second movement of it is a necessary -element of the characterisation.] - -[Footnote 181: The same jest has been introduced by Weber in the first act of -"Der Freischütz," when the village musicians fall into the ritornello -after the mocking chorus.] - -[Footnote 182: The second and third orchestra consist only of two violins and -bass, the wind instruments of the first doing duty for all; Mozart -apparently wished to avoid a multiplication of effects.] - -[Footnote 183: It is remarkable that there is in the music of "Don Giovanni" no -trace of national characterisation. In this dance-music, where it -might have occurred, in the table music of the second finale and in -the serenade, Mozart has drawn his inspiration from his immediate -surroundings, and has reproduced this directly upon the stage.] - -[Footnote 184: The first idea which must occur to them on the breaking out of the -storm: "How differently this fête began," is humorously suggested in -the words--[See Page Image] an echo of Don Giovanni's exclamation: "Sù -svegliatevi da bravi!"] - -[Footnote 185: It has been said that the whole of the table music was inserted in -Prague during the rehearsal, and it bears all the traces of a happy and -rapidly worked-out inspiration.] - -[Footnote 186: A musical friend in 1822, forestalling Meyerbeer, proposed to -sing the part of the Commendatore through a speaking-trumpet behind the -stage, while an actor was going through the gestures on the stage. A. M. -Z., XXIV., p. 230.] - -[Footnote 187: At Munich the close of the finale was formerly followed by the -chorus of Furies from Vogler's "Castor und Pollux," which is in the key -of A flat major! (A. M. Z., XXIII., p. 385.)] - -[Footnote 188: Gugler conjectures that the abbreviation proceeds from Sussmayer -(Leipzig, A. M. Z., 1866, p. 92), which appears to me improbable.] - -[Footnote 189: Gugler, Morgenbl., 1865, No. 32, p. 745.] - -[Footnote 190: Castil-Blaze, Molière Musicien, I., p. 338.] - -[Footnote 191: Argo, 1854, I., p. 365. Cf. Gantter, Ulibicheff, Mozart, III., p. -361. Viol, "Don Juan," p. 25.] - -=== - - - - - -MOZART 39 - -BY DAVID WIDGER - - - -CHAPTER XXXIX. OFFICIAL AND OCCASIONAL WORKS. - - -FROM a practical point of view, Mozart's "Don Giovanni" did no more -than his "Figaro" towards improving his position in Vienna. His painful -pecuniary circumstances may be gathered from his letters to Puchberg -in June, 1788. A glance at the catalogue of his compositions after his -return from Prague is sufficient to indicate the fact of their having -been produced at the pleasure of pupils or patrons:-- - -1787. December 11. Lied, "Die kleine Spinnerin" (531 K.). - -1788. January 3. Allegro and andante for pianoforte in F major (533 K.). - -January 14, 23, 27. Tänze (534-536 K.). - -February 24. Pianoforte concerto in D major (537 K., part 20). March -4. Air for Madame Lange, "Ah se in ciel" (538 K.). March 5. Teutsches -Kriegslied for Baumann (539 K.). - -March 19. Adagio for pianoforte, B minor (540 K.). - -March 24, 28, 30. Pieces for insertion in "Don Giovanni" (525, 527, 528 -K.). - -In May. Arietta for Signor Albertarelli, "Un bacio di mano" in the opera -of "Le Gelosie Fortunate" (541 K.). - -June 22. Terzet for piano, violin, and violoncello, E major (542 K.). - -{OFFICIAL AND OCCASIONAL WORKS.} - -(216) - -1788. June 26. Symphony, E flat major (543 K.). - -A short march for violin, flute, viola, horn, and violoncello, in D -major, unknown (544 K.). - -A short pianoforte sonata for beginners in C major (545 K.). - -A short adagio for two violins, viola, and bass, to a fugue in C minor -(546 K.). - -July 10. Short pianoforte sonata for beginners, with violin, F major -(547 K.). - -July 14. Terzet for piano, violin, and violoncello, in C major (548 K.). - -July 16. Canzonette a 2 soprani e basso, "Più non si trovano" (549 K.). - -July 25. Symphony in G minor (550 K.). - -August 10. Symphony in C major (551 K.). - -August 11. Ein Lied beim Auszug ins Feld, unknown (552 K.).[1] - -September 2. Eight four-part and two three-part Canoni (553-562 K.). - -September 27. Divertimento for violin, viola, and violoncello, in E flat -major (563 K.). - -October 27. Terzet for piano, violin, and violoncello, in G major (564 -K.). - -October 30, December 6, December 24. Tänze (565, 567, 568 K.). - -1789. January. German air, "Ohne Zwang aus freiem Triebe" (569 K.). - -February. Pianoforte sonata in B flat major (570 K.). - -February 21. Tänze (571 K.). - -The symphonies in E flat major, G minor, and C major, written in the -three summer months of 1788, show that the inner strength was not -slumbering; but Mozart's appointment as chamber-composer to the Emperor -gave him no impulse to composition, and his official duties were -limited to the preparation of music for the masked balls in the imperial -Redoutensale.[2] - -These Redoutensale are situated in the wing of the Hof-burg, which forms -the right side of the Josephsplatz, and originally contained a theatre, -where, upon festive occasions, operas and ballets were performed before -the court; after the erection of the Burgtheater, in 1752, the old -Hoftheater was - -{MASKED BALLS.} - -(217) - -converted into the large and small Redoutensaal now existing, and -concerts, balls, and other entertainments given there. The balls were -masked, and took place on every Carnival Sunday, on Shrove-Tuesday, and -on the three last days of Carnival. Joseph II. favoured them as a means -of drawing different classes together, and frequently appeared at them -with his court; all ranks mixed freely, and considerable license was -allowed. The usual dances were minuets, country dances, and waltzes, -in the last of which only the lower classes joined, on account of the -crowding--just as is the case in "Don Giovanni" (p. 163). The -management of the Redoute was generally in the same hands as that of the -Opera-Theatre, the two being farmed out together. The court monopolised -the Opera-Theatre in 1778 and the Kàrnthnerthortheater in 1785, and kept -the control over them until August, 1794. Thus it came about that the -court theatrical-director ordered the dance music, and although the -pay was only a few ducats for a set of dances, the services of good -composers were claimed for the purpose; Haydn, Eybler, Gyrowetz, Hummel, -and Beethoven all composed for the Redoute, as well as Mozart.[3] During -the years succeeding his appointment--1788, 1789, 1791--Mozart composed -a number of different dances for the masked balls:-- - -1788. January 14. Country dance "Das Donnerwetter" (534 K.). - -January 23. Country dance, "Die Bataille" (535 K.). - -January 27. Six waltzes (536 K.). - -October 30. Two country dances (565 K.). - -December 6. Six waltzes (567 K.). - -December 24. Twelve minuets (568 K.). - -1789. February 21. Six waltzes (571 K.). - -December. Twelve minuets (585 K.). - -Twelve waltzes. N.B.--A country dance, "Der Sieg vom Helden Coburg" -(against the Turks, October, 1789) (586, 587 K.). - -1791. January 23. Six minuets for the Redoute (599 K.). - -January 29. Siz waltzes (600 K.). - -February 5. Four minuets and four waltzes (601, 602 K.). - -Two country dances. (603 K.). - - -{OFFICIAL AND OCCASIONAL WORKS.} - -(218) - -1791. February 12. Two minuets and two waltzes (604, 605 K.). - -February 28. Country dance, "II. Trionfo delle Donne" (607 K.). - -March 6. Country dance, "Die Leyer" (610 K.).[4] - -Waltz with Leyer-trio (611 K.).[5] - -No dances are chronicled in 1790, the illness and subsequent death of -the Emperor (February 20) having doubtless put a temporary stop to such -entertainments. Those in the list are for the most part composed for -full orchestra, and those with which I am acquainted make no claim to be -considered otherwise than as actual dance music, with pleasing melodies -and fresh rhythm--innocent recreations, betraying the master's hand in -touches here and there.[6] As the only musical task imposed upon him -by virtue of his office, they might well give rise to his bitter remark -that his salary was too high for what he did, too low for what he could -do (Vol. II., p. 276). - -A commission more worthy his fame was intrusted to him by Van Swieten, -who, having brought with him from Berlin an enthusiastic admiration for -Handel's oratorios, sought to introduce them in Vienna. He not only gave -frequent concerts at his residence in the Renngasse, for the exclusive -performance of classical music, but he arranged grand performances of -Handel's oratorios, supported by all the vocal and instrumental forces -at his command. He induced several art-loving noblemen (among them the -Princes Schwarzen-berg, Lobkowitz, and Dietrichstein, Counts Appony, -Batthiany, Franz Esterhazy, &c.) to cover by a subscription the cost of -these performances. They took place generally in - - -{ARRANGEMENT OF HANDEL'S ORATORIOS.} - -(219) - -the great hall of the Court Library (of which Van Swieten was chief -director); sometimes at the palace of one or other of the patrons, and -always in the afternoon, by daylight. There was no charge for admission, -the audience being invited guests. The performances were arranged -according to circumstances, taking place generally in the spring, before -the nobility left Vienna for their country estates. The performers were -principally members of the Court-Kapelle and of the operatic orchestra, -and the preparation was undertaken entirely by Van Swieten, in whose -house the rehearsals took place. He himself arranged "Athalia," and very -probably also "The Choice of Hercules," for a performance after Mozart's -death. The conductorship was at first intrusted to Joseph Starzer, who -had arranged "Judas Maccabæus";[7] after his death, on April 22, -1787, Mozart took his place, and young Joseph Weigl accompanied on the -pianoforte.[8] - -"Acisand Galatea" was first performed, Mozart's arrangement of it -appearing in his own catalogue, in November, 1788; Caroline Pichler -retained in her old age a lively recollection of the impression made on -her by this performance.[9] It was followed by the "Messiah," in March, -1789.[10] Great expectations were excited by this oratorio, by reason -of the magnificent performances of it which had been given at the London -Handel festivals in 1784 and 1785,[11] at the cathedral - - -{OFFICIAL AND OCCASIONAL WORKS.} - -(220) - -in Berlin, by Hiller, on May 19, 1786 (with Italian words),[12] at the -University Church in Leipzig,[13] on November 3,1786, and May 11,1787, -and at Breslau[14] on May 30,1788. Finally, in July, 1790, Mozart -arranged the "Ode for St. Cecilia's Day" and the "Feast of Alexander." -It was considered necessary, in order not to distract the attention of -the public by the unusual effects of Handel's orchestra, to modify -the instrumentation.[15] Even Hiller remarks (Nachricht, p. 14), "Many -improvements may be made in Handel's compositions by the employment of -the wind instruments, according to the fashion of the present day. In -the whole of the 'Messiah,' Handel appears never to have thought of the -oboes, flutes, or French horns, all of which are so often employed to -heighten or strengthen the effect in our present orchestras. I need not -remark that the alterations must be made with care and discretion." But -he went far beyond these "innocent" views; he shortened and altered the -composition itself, especially in the airs and recitatives, and wrote -"an entirely new score, as far as may be what Handel would himself have -written at the present day" (Betracht-ungen, p. 16). He was convinced -that "only a pedantic lover of old fashions, or a pedantic contemner -of what is good in the new ones" would find fault with this proceeding -(Betracht-ungen, p. 18). The object with which Mozart undertook to -rearrange the instrumentation of Handel's works was the strengthening -and enriching of the orchestra to enable it to dispense with the organ -or harpsichord, to which the working-out of the harmonies had originally -been intrusted. This was principally effected by the introduction of -wind - - -{ARRANGEMENT OF HANDEL'S ORATORIOS.} - -(221) - -instruments. Mozart's autograph scores of "Acis and Galatea" (566 K.), -of "The Ode for St. Cecilia's Day" (592 K.),[16] and of the "Feast of -Alexander" (591 K.),[17] preserved in the Royal Library in Berlin, show -how he set about his task. The voice parts and stringed instruments have -been transferred to his score, and left as Handel wrote them, with the -exception that where Handel has provided a violin part, Mozart -employs the second violin and viola to fill in the harmonies. The wind -instruments have been altogether omitted by the copyist in order -to leave Mozart free play. Wherever Handel has employed them -characteristically, they are so preserved, but when, as often happens, -the oboes are the sole representatives of the wind instruments, Mozart -has proceeded independently, sometimes replacing them by other single -instruments, frequently clarinets--flutes only very occasionally, -sometimes introducing the whole body of wind instruments. This he does -also in some places where Handel has not even employed oboes, if it is -needed to give force or fulness to the whole. - -The frequent introduction of the clarinets replaced the full and -powerful organ tones, but without any express imitation of that -particular sound-effect by Mozart. The whole character of the -instrumentation was necessarily modified, and even the portions which -were literally - - -{OFFICIAL AND OCCASIONAL WORKS.} - -(222) - -transcribed from Handel's original have a very different effect in their -altered surroundings. Mozart has proceeded quite as independently in -dealing with the harpsichord parts. Not content with filling in the -prescribed or suggested harmonies and regulating the due succession of -chords, he has also made an independent disposition of the middle -parts and given them free movement. The subjects employed by Handel are -further developed, and sometimes a new motif has occurred to him as -an enlivenment to the accompaniment, in which case the additional wind -instruments are employed to advantage. The harpsichord is treated, in -the main, as might be expected from a first-rate organist of that time, -and it is difficult at the present day to reproduce what so much depends -upon the free co-operation of the performer.[18] The objection -which may be raised against the alteration and partial remodelling of -a carefully thought-out and finished work by a strange hand is -unanswerable. The most loving and intelligent treatment cannot avoid -inequality and incongruity; compared with what has been literally -transmitted, every modification reflects, both in kind and degree, the -individual learning and taste of the adapter. On the whole, however, -Mozart's arrangements evince the greatest reverence for Handel, combined -with a masterly use of all available resources, and they afford a -proof as interesting as it is instructive of the study which Mozart had -bestowed upon Handel, of the spirit in which he undertook his task, and -of his thorough and delicate apprehension of foreign creations. - -Mozart had heard the "Messiah" in 1777 at Mannheim, but apparently it -had made no more lasting impression upon him than upon the public. Now, -however, he approached the masterpiece with far other predilections, -and the adaptation opened to him many points of interest. The three -oratorios already mentioned were so moderate in length as to be suited -for performance entire, but the greatly - - -{THE "MESSIAH."} - -(223) - -disproportionate length of the "Messiah" made its curtailment a -necessary part of its adaptation (572 K.). Several pieces were omitted, -and others were shortened; but a proof that other and more important -alterations were contemplated is afforded by a letter from Van Swieten -to Mozart (March 21, 1789), given by Niemetschek (p. 46): "Your idea -of turning the words of the unimpassioned air into a recitative is -excellent; and in case you should not have retained the words, I have -copied and now send them to you. The musician who is able to adapt and -to amplify Handel's work so reverently and so judiciously, that on -the one side he satisfies modern taste, and on the other preserves the -integrity of his subject, has appreciated the great master's work, has -penetrated to the source of his inspiration, and will doubtless draw -from the same well himself. It is thus that I regard what you have -accomplished, and I need not therefore again assure you of my entire -confidence, but only beg you to let me have the recitative as soon as -possible." Nevertheless, this idea, judging from the published score, -was not carried out. In the arrangement of the orchestra, Mozart has -gone further than in the previous works. Sometimes there has been an -external necessity for altering even characteristic instrumentation, -as in the air, "The trumpet shall sound" (No. 44). There were no solo -trumpeters such as existed in Handel's time, and an attempt was made to -preserve the effect as far as possible by rearrangement. He has altered, -however, even without such occasion as this, and many instances of -instrumental arrangement might be cited as far transgressing the bounds -within which interference with a work of art is justifiable.[19] -In themselves these same portions are admirable alike in their -sound-effects and musical treatment, and in the delicate discrimination -with which Mozart has made his additions appear as the natural -development of Handel's ideas; we can see how the fascination of -continuing the weaving of the threads from the master's hands has -tempted - - -{OFFICIAL AND OCCASIONAL WORKS.} - -(224) - -him to overstep the boundary. In doing so, however, the connection of -the parts has been lost, and the unity of the whole has been disturbed. -One of the most remarkable examples is the air, "The people that walked -in darkness," in which the wind instruments added by Mozart are foreign -to Handel's purpose, but nevertheless of very fine effect, and certainly -not deserving of the reproach of "doleful sound-painting" ("betrübter -Malerei").[20] It was to be expected that Mozart's adaptation should -attract both praise[21] and blame,[22] while those, such as Rochlitz[23] -and Zelter,[24] who went deeper into the subject found much that was -excellent and also much that was faulty in the work, at the same time -that they gave due consideration to the occasion that called it forth -and the design with which it was undertaken. - -It must not be forgotten that these adaptations were undertaken by -Mozart solely for Van Swieten's performances, and that his individual -taste and the exigences of the representation must have exercised -considerable influence upon them. He must certainly not be credited with -the wish to improve upon Handel;[25] his intention has rather been so to -popularise his works as to bring them home to the - - -{ADAPTATIONS OF EARLIER WORKS.} - -(225) - -public, without altering any of the more important parts. That the -adaptations should have been published and accepted as regular improved -editions of the original was not his fault, though he has often had to -do penance for it. It must be remembered also that the historic theory -which holds that every work of art should be carefully preserved in the -form wherein its author has embodied it was then non-existent. - -The majority of compositions have been directly the result of -circumstances determining the direction of the artist's energies; they -laboured for the future while seeking to satisfy the present. They -therefore made free use of their works for subsequent elaboration, -altering what was needful, and adapting them to the particular occasions -on which they were performed by means of additions, omissions, and -alterations. The same freedom was thought allowable with the works of -other masters, especially those of an earlier time, so that the public -might the more easily and comfortably enjoy what was set before it. A -knowledge of what was then thought excusable in this direction[26] will -serve to increase our respect for the artistic spirit in which Mozart -performed his task.[27] The scientific and historic ideas which have -permeated the cultivation of our times require the enjoyment of a work -of art to be founded upon historical insight and appreciation, and to -this end it must be represented exactly as the artist has produced it. -But this principle, true as it is in itself, can only be applied with -considerable practical limitations, and it is doubtful how far the -general public is capable of apprehending and approving it; in any case -it is much to be desired that the fashion in such matters should not be -set by pedants.[28] - - - - -FOOTNOTES OF CHAPTER XXXIX. - - -[Footnote 1: Wien. Ztg., 1789, No. 69, Anh., advertises Frûhlingslied and -Kriegslied by Mozart.] - -[Footnote 2: In the grand pasticcio arranged by Da Ponte, "L'Ape Musicale," a -couple of airs by Mozart are inserted (Wien. Ztg., 1789, No. 23, Anh.).] - -[Footnote 3: I owe these particulars to the courtesy of Sonnleithner.] - -[Footnote 4: Wien. Ztg., 1791, No. 44, Anh., announces thirteen German -waltzes, thirteen trios and coda, among which are the "Leyer" and -"Schlittenlahrt."] - -[Footnote 5: André's Catalogue includes, besides five minuets signed "Di -Wolfgango Amadeo Mozart, Vienna, 1784" (461 K.), and the Prague -"Teutschen" (509 K.) already mentioned (Vol. III., p. 125), several -other dances, certainly belonging to an earlier date. Printed and -written collections of dances in the most varied arrangements have been -circulated under Mozart's name, although of very doubtful authenticity.] - -[Footnote 6: Under Mozart's name an "Anleitung soviel Walzer oder Schleifer -mit zwei Wurfeln zu componiren, soviel man will, ohne musikalisch zu -verstehen," was published in four languages by Hammel (Amsterdam, Berlin -and elsewhere). I am not aware whether he had any share in it.] - -[Footnote 7: The often-expressed opinion that Mozart arranged "Judas Maccabæus" -(A. M. Z., XXII., p. 30) has been corrected by Sonnleithner (Cäcilia, -XVIII., p. 242). "Judas Maccabæus" was performed as early as 1779, at -the Concert for the Pensionsinstitut (Wien. Mus. Ztg., 1842, p. 70).] - -[Footnote 8: These particulars, communicated to me by Sonnleithner, rest partly -on the testimony of the University Apparitor, Joh. Schönauer, who had -assisted at these performances as a boy.] - -[Footnote 9: Car. Pichler, Denkw., IV., p. 21. Schönauer said that Mozart gave -a benefit performance of "Acis and Galatea" in Jahn's Hall, at which -Mdlle. Cavalieri, Adamberger, and Gsur sang the solo parts.] - -[Footnote 10: Carpani mentions a performance of the "Messiah" in the -Schwarzenberg Palace; perhaps a later one (Hayd., p. 64).] - -[Footnote 11: Burney's "Nachricht," translated by Eschenburg (Berlin, 1785). The -first time there were over 500, the second time over 660 performers. In -consequence of this the "Messiah" was performed in Copenhagen in March, -1786. (Cramer, Mag. f. Mus., II., p. 960.)] - -[Footnote 12: J. A. Hiller, Nachricht von der Auftuhrung des Händelschen Messias -(Berlin, 1786, 4), with Hiller's portrait. There were about 300 -performers.] - -[Footnote 13: This again gave rise to some explanatory pamphlets from Hiller: -Fragment aus Handel's Messias; Ueber Alt und Neu in der Musik; Der -Messias von Handel nebst angehängten Betrachtungen darûber. On this -occasion there were more than 200 performers; the enthusiasm of the -audience was great, as was testified by a then youthful member of it -(Reichardt's Mus. Ztg., I., p. 126. Cf. Rochlitz, Für Freunde der Tonk., -I., p. 22. A. M. Z., XXX., p. 491).] - -[Footnote 14: Hiller gave explanatory comments on the words. They were published -in the Schles. Provinzial-Blätter, 1788, p. 549. Particulars are given -by Baumgart, Abh. d. Schles. Ges. Phil. hist. Abth., 1862, I., p. 46.] - -[Footnote 15: The pastoral, "Acis and Galatea," was composed by Handel at Cannons -in 1720 (Chrysander, Handel, I., p. 479).] - -[Footnote 16: In pursuance of an old custom of celebrating St. Cecilia's Day by -music, a musical society had been founded in London, which instituted -a grand performance on that day; the music and words were expressly -written for the occasion, and the praise of music formed the subject. A -long list of celebrated poems and compositions by the first masters was -the result. W. H. Husk (An Account of the Musical Celebrations on St. -Cecilia's Day, London, 1857. Chrysander, Handel, II., p. 412. Pohl. -Mozart u. Haydn in London, p. 12). Dryden's Song for St. Cecilia's Day, -"From harmony, from heavenly harmony, this universal frame began," was -written in 1687, and set to music by Draghi; Handel composed the same -poem in the autumn of 1739. (Chrysander, Handel, II., p. 430.)] - -[Footnote 17: Dryden's "Alexander's Feast" was written in 1697, and performed -with Jer. Clark's music. Handel composed it in 1736; at the second -performance in 1737, a duet and chorus, the words by Newburgh Hamilton, -were added, but are not included in Mozart's arrangement. (Chrysander, -Handel, II., p. 413).] - -[Footnote 18: The excellent pianoforte arrangement, which is published by the -German Handel Society with the score of "Acis and Galatea," shows -throughout a similar working-out and arrangement.] - -[Footnote 19: Mozart is not answerable for all that stands in the printed score. -The air, "If God is for us" (No. 48), with bassoon accompaniment, is, as -Baumgarten has proved (Niederrh. Mus. Ztg., 1862, No. 5, p. 35), taken -from Hiller's arrangement.] - -[Footnote 20: Thibaut, Ueb. Reinheit d. Tonk., p. 66.] - -[Footnote 21: In Fr. Th. Mann's musik. Taschenb. for 1805, we read (p. 3): "Der -genielle Mozart erhob jene bis zur Manier getriebene Simplicitat, jene -lang-weilige ermüdende Leere durch Ausfullung der Begleitung. Göttliche -Zierden sind es, die Mozart aus der Fülle seiner Harmonie hier zusetzte, -die aber bei diesem fur solche Schönheit unorganisirten Werk so isolirt -stehen, dass sie einen zweiten Bestandtheil ausmachen!"] - -[Footnote 22: A notice from Hamburg (Reichardt's Mus. Ztg., I., p. 197) says -of Mozart's arrangement: "Michel Angelo's Gemälde muss kein David -über-malen wollen." Setzte doch Handel zu Mozart's Opern keine Orgel u. -s. w. oder vielmehr strich keine--weg"; whereupon Reichardt remarks that the -omitted word is illegible in the "esteemed correspondent's" handwriting.] - -[Footnote 23: Jen. Allg. Litt. Ztg., 1804, I., p. 601. Rochlitz names himself as -the author of the detailed review (Fur Freunde der Tonk., I., p. 259). -Cf. A. M. Z., IX., p. 476; XV., p. 428; XXIX., p. 692.] - -[Footnote 24: Reichardt's Mus. Ztg., I., p. 41. Zelter, who owns to this review -to Goethe (Briefw., II., p. 302; III., p. 418), used to perform the -"Messiah" in Mozart's version, with alterations and omissions (Berl. -Allg. Mus. Ztg., 1824, p. 427).] - -[Footnote 25: Cf. Parke, Mus. Mem., II., 76.] - -[Footnote 26: Thus Hiller not only rearranged the instrumentation of Pergolese's -"Stabat Mater," but adapted it partially as a four-part chorus; J. A. -Schulze turned six instrumental adagios, by J. Haydn, into a cantata, -"Der Versöhnungstod," for chorus and orchestra. And how was Mozart's -church music treated! (App. 2.)] - -[Footnote 27: Gerber undertook, in all seriousness, to perform the choruses of -the "Messiah" in Mozart's version, but to have all the airs recomposed -by approved composers (A. M. Z., XX., p. 832).] - -[Footnote 28: The conclusion to Gluck's overture to "Iphigenie in Aulis," which -has been, without proof, ascribed to Mozart, is, according to Marx -(Gluck, II., p. 71), by J. P. Schmidt.] - - -=== - - - - -MOZART 40 - -BY DAVID WIDGER - - - -CHAPTER XL. A PROFESSIONAL TOUR. - -MOZART'S unsatisfactory position in Vienna, both from a pecuniary and a -professional point of view,[1] doubtless inclined him for a professional -tour, to which the immediate inducement was an invitation from Prince -Karl Lichnowsky, husband of the Countess Thun, a zealous musical -connoisseur and a pupil and ardent admirer of Mozart. His estates -in Schleswig and his position in the Prussian army necessitated his -residence from time to time in Berlin; and, being on the point of -repairing thither in the spring of 1789, he invited Mozart to accompany -him. The musical taste and liberality of Frederick William II. augured -well for the expedition, and Lichnowsky's support was likely to prove a -valuable aid. Accordingly on April 8, 1789, they set out.[2] At Prague, -where they remained only one day, a contract with Guardasoni for an -opera to be written in the autumn was "almost settled"; unfortunately -only _almost_, for it does not appear to have gone further. Mozart was -especially delighted with the news brought to him from Berlin by his old -friend Ramm, that the King, having been informed of his intended visit, -had asked repeatedly if the plan was likely to be carried out. - -At Dresden, where they arrived on April 12, Mozart's first care was to -seek out his friend Madame Duschek, who was visiting the Neumann family; -he was soon quite at home with these "charming people." Joh. Leop. -Neumann, Secretary to the Military Council, was highly esteemed for his -literary and musical activity. He translated for his intimate friend -Naumann the operas "Cora" and - -{DRESDEN, 1789.} - -(227) - -"Amphion," and in 1777 he founded a musical academy;[3] his wife was -considered a first-rate pianoforte-player.[4] Through them Mozart was -introduced to the musical world of Dresden--among others to Körner, -an interesting proof of whose friendship remains in a crayon sketch -of Mozart drawn by Komer's sister-in-law, Dora Stock, in 1789. -Kapellmeister Naumann--a Mass composed by whom he heard and thought very -"mediocre"--inspired him with instantaneous dislike; and the feeling -appears to have been mutual, if, as tradition reports, Naumann used to -call Mozart a musical _sans culotte_.[5] - -A summons to play before the court on April 14 was regarded as an -unusual honour, and was followed by a present of 100 ducats.[6] -Elsewhere he played with his usual readiness and good nature; and the -interest which was felt in him was increased by a competition in which -he came off with flying colours. His rival was Hàssler of Erfurt,[7] who -happened to be in Dresden at the time, and was considered a pianoforte -and organ-player of the first rank. Much was said in praise of his -astonishing executive powers, of his brilliant and fiery delivery,[8] -of his singular gift "of putting expression into the most rapid -prestissimo--so that in softness and pathos it was equal to an -adagio"[9]--and of his wonderful memory, enabling him to play the -most difficult compositions without the notes. As an organ-player his -dexterity with the pedal was specially admired.[10] He had an - -{A PROFESSIONAL TOUR.} - -(228) - -excellent opinion of himself; and when in the summer of 1788 he was in -Dresden, "exciting the liveliest astonishment in all who heard him -by his inexpressibly affecting playing," he let it be known that he -intended to proceed to Vienna, "in order to prove to the Vienna public -in competition with the great Mozart, that strong as the latter may be -upon the pianoforte, he cannot play the clavichord."[11] To Mozart he -appeared no formidable antagonist; he gave him credit for his dexterity -in the use of the pedal, but placed him below Albrechtsberger as an -organ-player, and compared him to Aurnhammer as a pianist. - -Mozart's visit to Leipzig left behind a strong and pleasant impression. -Fr. Rochlitz, then a young man, became intimate with him at the house -of their common friend Doles,[12] and preserved a number of interesting -traits, characteristic both of the man and the artist. He was cheerful -and amiable in society, outspoken in his judgments of art and artists, -and responsive to any display of interest in music; "not niggardly of -his art, as so many musicians are." Almost every evening during his stay -in Leipzig he took part in musical entertainments at different houses, -and when quartets were played he took the piano or tenor part. The -violinist Berger, who was generally of the party, used, as an old man, -when any of these pieces were brought forward, to whisper to a friend -with tender emotion, "Ah, I had once the honour of accompanying the -great Mozart himself in that piece."[13] An ear-witness gave the -following account:-- - -On April 22 he played the organ of the Thomaskirche, without previous -notice, and gratuitously. He played very finely for an hour to a large -audience. The then organist, Gorner, and the cantor, Doles, sat near -him and pulled the stops. I saw him well; a young, well-dressed man -of middle height. Doles was quite delighted with the performance, and -declared that his old master, Sebastian Bach, had - -{LEIPZIG--POTSDAM, 1789.} - -(229) - -risen again. Mozart brought to bear all the arts of harmony with the -greatest ease and discrimination, and improvised magnificently on every -theme given--among others on the chorale, "Jesu meine Zuversicht."[14] - -Doles in return made his Thomaner scholars sing for Mozart Bach's -motett, "Singet dem Herrn ein neues Lied," and we have already seen -how intensely delighted he was, and how eagerly he at once set about -studying Bach's other motetts (Vol. II., p. 416). Shortly after this, -and apparently without having given a concert, Mozart continued his -journey to Berlin, and thence immediately proceeded to Potsdam, where -Lichnowsky presented him to the King. Frederick William II. possessed -remarkable talent and love for music. He played the violoncello -well, not only as a soloist, but frequently also in the orchestra -at rehearsals.[15] Even before his accession to the throne he had -maintained a well-appointed and excellent Kapelle under the leadership -of the violoncellist Duport senior (1741-1818); concerts were regularly -performed before him, and he was fond of hearing foreign virtuosi.[16] -Reichardt credits him with great universality of taste,[17] which was -of special advantage to music after Frederick the Great's bigoted -prejudice. It was at the King's instigation that Reichardt organised his -Concerts Spirituels, at which the older Italian music was principally -performed; he esteemed highly both Handel and Gluck, and both at his -concerts and on the stage showed equal favour to Italian, French, and -German music; the improved instrumental music called into being by Haydn -found a sympathetic patron in him. After his accession, in 1786, musical -enterprise had still more cause to rejoice in the royal favour. -He united his own with the royal Kapelle and placed Reichardt as -Kapellmeister at their head. The grand Italian opera given at the -Carnival was brilliantly appointed, and Naumann's services as a composer -were retained, together with those of Alessandri - -{A PROFESSIONAL TOUR.} - -(230) - -and Reichardt. The hitherto little-esteemed German drama was elevated to -the rank of a national theatre, and a regular support was secured to it, -which had great weight in the elevation of German opera. Nor were opera -buffa or the French opera neglected; on one evening, during a court -festival, in the summer of 1789, Cimarosa's "Falegname," Dalayrac's -"Nina," and Reichardt's "Claudine von Villa-bella" were performed. The -King's concerts were conducted in the same manner as before, remaining -under Duport's leadership. - -The King welcomed foreign artists not only liberally in point -of payment, but with the utmost kindness and freedom of personal -intercourse, so that it is not surprising that they should have held -him in great reverence, and approached him with large expectations.[18] -Mozart's best introductions to the King's favour were his instrumental -compositions, especially his quartets, and the very successful -performance of his "Entführung" which had taken place in Berlin; there -can be little doubt that he confirmed the good opinion conceived of him -by his accomplishments as a virtuoso and by his general demeanour. But -he found a powerful opponent in the haughty and intriguing Duport.[19] -At Mozart's first visit he insisted on speaking French, which Mozart, -although familiar with the language, decidedly declined doing. "The -grinning mounseer," said he, "has been long enough making German money, -and eating German bread, to be able to speak the German language, or to -murder it as best he may, with his French grimaces."[20] Duport did not -forgive him, and did all he could to prejudice the King against him, -although Mozart paid him the compliment of composing variations (573 -K.) to a charming minuet of Duport's (April 29, 1789), and of performing -them himself. But the King was proof against - -{OFFER OF THE KING OF PRUSSIA.} - -(231) - -Duport's ill-nature, invited Mozart regularly to his concerts, and -was fond of hearing him play. When he asked him what he thought of the -Berlin Kapelle, Mozart answered frankly, that it contained the best -performers in the world, but that if the gentlemen would play together -it would be an improvement.[21] This implied disapprobation of the -Kapellmeister Reichardt, whose direction had indeed been found fault -with by others.[22] We hear of no intercourse between the two artists; -perhaps some such sharp expressions as the above were the cause of -the grudging notices of Mozart by Reichardt and the journals under his -influence, which we cannot fail to remark.[23] No two natures could well -be more dissimilar. Reichardt was undoubtedly a distinguished man; he -had musical talent, a keen intellect, varied cultivation, and great -energy; but ambition, vanity, and a passionate temper seldom allowed him -to arrive at a calm judgment, and he was in continual search of some new -way in which to bring himself forward. The journalist and the musician, -the critic and the composer, trod close on each other's heels; and while -always seeking to gain credit for originality of style, his greater -compositions are in truth uncertain and unequal, and seldom produce the -desired effect. No wonder that he failed to understand a nature such as -Mozart's, which, undisturbed by external considerations, followed its -creative impulses from sheer inner necessity; no wonder, either, that so -failing, he should have sought to justify his aversion to his rival on -polemical grounds.[24] Mozart's remark must have made some impression -on the King, since he soon after offered him the post of Kapellmeister, -with a salary of 3,000 dollars. This offer, however, consideration for -the Emperor Joseph induced Mozart to decline.[25] - -{A PROFESSIONAL TOUR.} - -(232) - -During his stay in Potsdam, Mozart resided in the house of the -well-known hom-player Thùrschmidt, with whom he had become acquainted in -Paris; he was a constant guest also of the hospitable and music-loving -Sartory, an artist of architectural ornament, who had been much in -Italy, and welcomed all who took interest in his favourite art; Mozart's -playing and sociability made him, as may be imagined, the centre of this -cheerful society.[26] Another of his friends was the charming singer -Sophie Niclas, sister to the Kammer-musikus Semler, who had made a very -successful appearance as Constanze in the "Entführung" in 1784:[27]-- - -On one occasion, at her house, he was asked to improvise something. -Readily, as his custom was, he complied, and seated himself at the -piano, having first been provided with two themes by the musicians who -were present. Madame Niclas stood near his chair to watch him playing. -Mozart, who loved a joke with her, looked up and said, "Come! haven't -you a theme on your mind for me too?" She sang him one, and he began the -most charming fantasia, now on the one subject, now on the other, -ending by bringing them all three together, to the intense delight and -amazement of all who were present.[28] - -Arrangements were made during Mozart's stay in Berlin for a return visit -to Leipzig, where in the meantime a concert for his benefit was being -organised; he arrived there on May 8. At the rehearsal for this concert -he took the tempo of the first allegro of his symphony so fast that the -orchestra was very soon in inextricable confusion. Mozart stopped, told -the players what was wrong, and began again as fast as before, doing all -he could to keep the orchestra together, and stamping the time with his -foot so energetically that his steel shoe-buckle snapped in two.[29] He -laughed at this, and as they still dragged, he began a third time; the -musicians, - -{CONCERT IN LEIPZIG, 1789.} - -(233) - -grown impatient, worked in desperation, and at last it went right. "It -was not caprice," he said afterwards to some musical friends, whom he -had lectured only a short time before on the subject of too rapid tempo, -"but I saw at once that most of the players were men advanced in years; -there would have been no end to the dragging if I had not worked them up -into a rage, so that they did their best out of pure spite." The rest -of the symphony he took in moderate time, and after the song had been -rehearsed he praised the accompaniment of the orchestra, and said -that it would be unnecessary to rehearse his concerto: "The parts are -correctly written out, you play accurately, and so do I"; and the result -showed that his confidence was not misplaced.[30] - -The concert[31] was poorly attended, and scarcely paid the expenses of -Mozart's journey to Leipzig. Almost half the audience had free tickets, -which, with his usual liberality, Mozart gave away to every one he -knew. He required no chorus, and the fairly numerous chorus-singers -were therefore excluded from their usual free admission. Some of them -inquired at the ticket-office whether this was really to be the case; -and as soon as Mozart heard of the inquiry he gave orders that the -good folks should all be admitted: "Who would think of enforcing such -a rule?" The poor audience had not the effect of damping his musical -enthusiasm or good humour. His own compositions only were performed; he -conducted two symphonies, as yet unpublished, and then Madame Duschek -sang the air composed for Storace with obbligato pianoforte (505 K.); he -himself played two concertos, one of them the great C major (467 K.), as -usual without notes. He complied with ready goodwill to the request for -an improvisation at the close of the concert; and after it was over, as -though he were then just warming to - -{A PROFESSIONAL TOUR.} - -(234) - -his work, he took his friend Berger into his room and played far into -the night.[32] - -Mozart returned to Berlin[33] on May 19, and his "Entführung" was -performed the same evening "by general desire."[34] He went to the -theatre, seated himself close to the orchestra, and attracted the -attention of his immediate neighbours by his _sotto voce_ remarks on -the performance. In Pedrillo's air at the words "nur ein feiger Tropf -verzaget," the second violins played D sharp instead of D, whereupon -Mozart angrily exclaimed, "Damn it, play D, will you!" Every one looked -round astonished, and the orchestra recognised him. Madame Baranius, who -was playing Blondchen, refused to make her exit until Mozart went on -to the stage, complimented her, and promised to study the part with her -himself.[35] This promise, according to old tradition in Berlin,[36] -involved him in a questionable adventure. Henriette Baranius (_née_ -Husen) made her appearance at a very early age in Berlin in 1784, and -became the darling of the public, more from her remarkable beauty and -grace than from her talents as an actress and a singer, although these -were by no means inconsiderable.[37] She was much talked of, and the -theatrical critics of the time were never tired of admiring her costly -and tasteful dresses, which in defiance of all precedent she insisted -upon wearing in parts to which they were unsuited.[38] She was accused -of making the most of her attractions in private as well as in public, -and Mozart, it was said, became so deeply involved with her that it -cost his friends much trouble to extricate him. His letters to his wife -during this period make the story almost incredible. - -Another and more innocent encounter took place in the - -{LUDWIG TIECK AND MOZART.} - -(235) - -theatre. Ludwig Tieck, as a youth, was frequently at the house of -Reichardt, and there first began "to divine the mysteries of music in -classical works":-- - -Led by his own inclination, and in opposition to the prevailing taste, -he addicted himself to Mozart's great compositions, uninfluenced by -contemporary critics, or even by so powerful an opinion as that of -Reichardt. Mozart's victorious rival was Dittersdorf, whose comic operas -were played in Berlin to crowded audiences. The "Doctor und Apotheker" -was preferred to "Figaro" or "Don Juan," and "Die Liebe im Narrenhause" -was in the public estimation the greatest of musical works. Ludwig's -veneration for Mozart was destined to receive an unexpected reward. One -evening during the year 1789, entering the theatre, as his custom was, -long before the performance began, and while it was still empty and -half-lighted, he perceived a strange man in the orchestra. He was -short, quick, restless, and weak-eyed--an insignificant figure in a grey -overcoat. He went from one desk to another, and appeared to be hastily -looking through the music placed on them. Ludwig at once entered into -conversation with him. They spoke of the orchestra, the theatre, the -opera, the public taste. He expressed his opinions without reserve, and -declared his enthusiastic admiration of Mozart's operas. "Do you really -hear Mozart's works often, and love them?" asked the stranger--"that is -very good of you, young sir." The conversation continued for some time -longer; the theatre began to fill, and at last the stranger was called -away from the stage. His talk had produced a singular effect upon -Ludwig, who made inquiries concerning him, and learnt that it was Mozart -himself, the great master, who had conversed with him, and expressed his -obligation to him.[39] - -Hummel, who, as Mozart's pupil, had played in Dresden on March 10 with -great success,[40] was giving a concert in Berlin, without being aware -of Mozart's presence. When the boy descried him among the audience, he -could scarcely contain himself, and as soon as his piece was ended, he -pushed his way through the audience and embraced him with the tenderest -expressions of joy at seeing him.[41] During this - -{A PROFESSIONAL TOUR.} - -(236) - -second visit to Berlin, on May 26, Mozart played before the Queen, which -was considered a politic step, without any expectation of a handsome -present in return. Following the advice of his friends, he did not -attempt a public concert, seeing that there was no chance of a large -profit, and the King was averse to it. The latter, however, sent him -a present of 100 friedrichsdor, and expressed a wish that Mozart would -write some quartets for him. This was the whole result of the tour, -diminished by a loan of 100 florins which Mozart thought it incumbent on -him to make to a friend; he might well write to his wife that she must -be glad to see him, not the money he was bringing. - -Very different was the career of Dittersdorf, who came to Berlin in July -of the same year. He had chosen the time when the visit of the Governess -of the Netherlands occasioned festivities of every kind, and he -refreshed the memory of the King, who had seen and invited him at -Breslau, by the presentation of six new symphonies. Immediately upon -his arrival he managed to ingratiate himself with Reichardt, was by him -presented to Madame Rietz, afterwards Countess Lichtenau, and was -very soon commanded by the King to put his "Doctor und Apotheker" in -rehearsal, and to conduct it at a court festival at Charlottenburg; -he also received permission to produce his oratorio of "Job" in the -opera-house (hitherto only used by the court), with the resources of the -royal Kapelle at his disposal. This, with additions from other sources, -increased his _personnel_ to 200, and the performance was highly -successful, Dittersdorf quitting Berlin rich in money and honours.[42] - -On May 28 Mozart set out on his homeward journey by way of Dresden and -Prague, where he made a stay of a few days. - - - -FOOTNOTES OF CHAPTER XL. - - -[Footnote 1: A proof of this is a note of hand for 100 florins, dated April 2, -1789. Cf. O. Jahn, Ges. Aufs., p. 234.] - -[Footnote 2: The principal sources of information for this journey are Mozart's -letters to his wife.] - -[Footnote 3: Heymann, Dresden's Schriftsteller u. Kunstler, p. 280. Meissner, -Biqgr. Naumanns, II., p. 267.] - -[Footnote 4: Cf. Goethe's Br. an Frau v. Stein, II., p. 280.] - -[Footnote 5: And yet Mannstein says (Gesch. Geist u. Ausübung des Gesanges, p. -89) that when Naumann heard the passage "Tu sospiri, o duol funesto" in -the air composed for Storace (505 K.), he exclaimed: "That is a divine -idea I Who has taught this man to express sympathy with the sorrows of -others as well as those of his own heart in these few notes?"] - -[Footnote 6: Wien. Abendpost, 1866, p. 835. Cf. Mus. Real-Ztg., 1789, p. 191.] - -[Footnote 7: Joh. Wilh. Hassler (1747-1822) has prefixed his autobiography to the -second part of his six easy sonatas (Erfurt, 1786).] - -[Footnote 8: Cramer, Mag. f. Mus., II., p. 404. Schiller, Briefw. m. Körner, I., -p. 154. Car. v. Wolzogen, Litt. Nachl., I., p. 203.] - -[Footnote 9: Meyer, L. Schroder, II., 1., p. 360.] - -[Footnote 10: Musik. Wochenbl., p. 71.] - -[Footnote 11: Mus. Real-Ztg., 1788, p. 56.] - -[Footnote 12: Doles dedicated his cantata "Ich komme vor dein Angesicht" (1790), -"to two of his most esteemed patrons and friends, Herr Mozart and Herr -Naumann, as a token of his distinguished regard."] - -[Footnote 13: Rochlitz, Fur Freunde der Tonk., III., p. 222..] - -[Footnote 14: Reichardt, Mus. Ztg., I., p. 132.] - -[Footnote 15: Naumann's Leben, p. 183. Meissner, Biogr. Naumanns, II., p. 199; -cf. 212.] - -[Footnote 16: Wolf, Auch eine Reise, Weim., 1784, p. 10.] - -[Footnote 17: Reichardt, Musik. Monatsschr., p. 70. Mus Ztg., I., p. 2. Cf. -Schletterer, Reichardt, I., p. 453. Schneider, Gesch. der Oper, p. 52.] - -[Footnote 18: The accounts of Dittersdorfs (Selbstbiogr., p. 248) and Naumann's -(Meissner's Biogr., II., p. 189; Naumann's Leben, p. 267) personal -intercourse with Frederick William II. are very interesting.] - -[Footnote 19: Mus. Monatsschr., p. 20. Cf. Schletterer, Reichardt, I., p. 457. -Schneider, Gesch. der Oper Beil., XXXVI., pp. 15, 16.] - -[Footnote 20: So says the Berlin musical Veteran (Neue Berl. Mus. Ztg., 1856, p. -35).] - -[Footnote 21: Rochlitz, A. M. Z., IM p. 22.] - -[Footnote 22: Dittersdorf, Selbstbiogr., p. 267.] - -[Footnote 23: Cf. Rochlitz, A. M. Z., XXX., p. 491.] - -[Footnote 24: Cf. Schletterer, Reichardt, I., p. 638.] - -[Footnote 25: My researches in the Royal Library and archives for some trace -of négociations accompanying this offer have proved fruitless. It must -therefore have been at once refused at Mozart's personal interview with -the King; the way in which Mozart writes to his wife, that she has cause -to be satisfied with the favour in which he stands with the King, seems -to refer to some definite proposal.] - -[Footnote 26: So ways the Veteran. The tradition, according to which Mozart wrote -the "Ave verum" in Potsdam, is quite untrustworthy.] - -[Footnote 27: Berl. Litt. u. Theal.-Ztg., 1784, II., p. 160.] - -[Footnote 28: So says Semler, Voss. Ztg., 1857, March xi; Beil., p. 7.] - -[Footnote 29: The scene made such an impression that a viola-player marked the -place on his part where Mozart stamped the time till his shoe-buckle -snapped. Griel, the old orchestra attendant at Leipzig, had picked it up -and showed it as a token.] - -[Footnote 30: A. M. Z., I., pp. 85, 179.] - -[Footnote 31: The notice in the Leipz. Ztg., 1789, Nos. 91 and 93 runs; "Heute -als den Mai wird Herr Capellmeister Mozart, in wirklichen. Diensten Sr. -K. K. Maj. eine musikalische Akademie in dem grossen Conzertsaale zu -seinem Vortheil geben. Die Billets sind fur 1 Gulden bei Hrn. Rost in -Auerbachs Hofe und bei dem Einlasse des Saales zu bekommen. Der Anfang -ist um 6 Uhr."] - -[Footnote 32: On May 17, at Leipzig, he composed the charming little Gigue (574 -K.) for the court-organist, Engel.] - -[Footnote 33: He stayed in the house at the Gensdarmenmarkt with Moser, to whom -he presented an elegant copy of the six quartets (421 K.).] - -[Footnote 34: Journ. d. Moden, 1789, p. 394.] - -[Footnote 35: Rochlitz, A. M. Z., I., p. 20.] - -[Footnote 36: N. Berl. Mus. Ztg., 1856, p. 36.] - -[Footnote 37: An enthusiastic description of her beauty is given by Rahel (I., p. -62).] - -[Footnote 38: Meyer, L. Schroder, II., 1, p. 93. Schletterer, Reichardt, I., p. -511.] - -[Footnote 39: Köpke, L. Tieck, I., p. 86. It is well known that in 1789 the -"Entfuh-rung," alone of Mozart's operas, was given in Berlin, "Figaro" -and "Don Giovanni" not appearing on the stage there until November and -December, 1790. This is a fresh proof of how youthful memories are -confounded with later reminiscences.] - -[Footnote 40: Mus. Real-Ztg., 1789, p. 156.] - -[Footnote 41: So Hummel's widow told me at Weimar, in 1855.] - -[Footnote 42: Dittersdorf, Selbstbiogr., p. 253. Cf. Mus. Monatsschr., p. 41.] - -=== - - - -MOZART 41 - -BY DAVID WIDGER - - - - -CHAPTER XLI. "COSÌ FAN TUTTE," - -UPON his arrival in Vienna on June 4, Mozart at once set to work upon a -quartet for Frederick William II.; the Quartet in D major (575 K.) was -completed in the same month, and in return for it, according to -the Berlin Veteran, he received a valuable gold snuff-box with -100 friedrichsdor, and a complimentary letter.[1] But this did not -materially affect his embarrassed circumstances; the precarious state -of his wife's health kept him in a state of perpetual anxiety, and the -expenses it involved brought him into serious difficulties: "I am most -unhappy!" he wrote on July 17 to his friend Puchberg. The confident -expectation of a permanent improvement in his outward position, which he -expressed in his letters to this constant friend, were grounded, as it -seems, upon the overtures which had been made to him in Berlin; he had -informed the Emperor of them, and thought himself entitled to look for -a compensation for his refusal. But circumstances were not then -favourable, and Mozart was not the man to push a claim of the kind. -The effect of his depression is clearly visible in the want of musical -productivity during this period. His own catalogue contains only the -following compositions belonging to this year:-- - -1789. June. A quartet for his majesty the King of Prussia, in D major - -July. Sonata for pianoforte alone, D major (576 K.). Rondo in my opera -of "Figaro" for Madame Ferraresi del Bene, "Al desio (577 K.). - -August. Aria in the opera "I Due Baroni," for Mdlle. Louise Villeneuve, -"Alma grande e nobil core" (578 K.). - -September 17. Aria in the opera "Der Barbier von Seviglien," for Madame -Hofer, "Schon lachtder holde Frühling" (580 K.). (575 K.). - -{COSÌ FAN TUTTE.} - -(238) - -September 29. Quintet for clarinet, two violins, viola, and violoncello, -in A major (581 K.); first played in public at the concert for the funds -of the Pension, December 22, 1789.[2] - -October. Aria in the opera "ü Burbero," for Mdlle. Villeneuve, "Chi sà, -chi sà quai sia" (582 K.). - -Ditto, "Vado! ma dove?" (583 K.). - -December, An air which was intended for Benucci in the opera "Cosi fan -Tutte," "Rivolgete à me lo sguardo" (584 K.). Twelve minuets (585 K.) -and twelve waltzes (586 K.). - -The prospect which was known to have been opened to him in Berlin may -have had some effect in causing "Figaro" to be again placed on the stage -in August. At the request of the prima donna, Madame Adriana Ferraresi -del Bene, who had made her first appearance on October 13, 1788, Mozart -wrote the grand air (577 K.).[3] For Louise Villeneuve he composed, -during the following month, three airs for insertion in different operas -(578, 582, 583, K.), perhaps with some view to his own new opera, in -which Mdlle. Villeneuve was to appear. The approbation with which the -revival of "Figaro" was received[4] no doubt suggested to the Emperor to -commission Mozart to write a new opera. "It was not in his power," says -Niemetschek (p. 43), "to decline the commission, and the libretto was -provided him without consultation of his wishes."[5] It was "Cosi fan -Tutte, osia la Scuola degli Amanti," by Da Ponte.[6] Mozart was busily -engaged on it in December, 1789; and in January, 1790, it is entered in -his catalogue as completed; it was first performed on January 26, with -the following cast:[7]-- - -{CHARACTERS AND PLOT.} - -(239) - -It appears to have been successful,[8] although it did not remain long -on the repertory.[9] Unfortunately, we have no detailed information as -to the preparation and performance of this opera. Da Ponte's achievement -as the writer of an original libretto[10] serves to show more clearly -than ever how much he had hitherto owed to his predecessors. Neither -invention nor characterisation are anywhere visible, only a certain -amount of dexterity in the handling of his subject. - -The plot in its main points is as follows:-- - -Two young Neapolitan[11] officers--Ferrando (tenor) and Guillelmo -(bass)--who are betrothed to the sisters Dorabella and Fiordiligi, are -discovered seated in a _café_ in lively dispute with their friend Don -Alfonso, an old cynic, who maintains that their two _fiancées_ would -fail under any trial of their constancy. Upon their challenge to -make good his words at the point of the sword he retorts with the old -proverb, that woman's faith is like the phoenix--never seen.[12] Each of -the lovers - -{COSÌ FAN TUTTE.} - -(240) - -declares his bride to be the phoenix. At last they agree to a wager. The -two lovers promise on their word as officers to do nothing during the -next four-and-twenty hours but what they are directed by Don Alfonso, -who thereupon undertakes within that time to prove the fickleness of the -two maidens. The young men, confident beforehand of victory, determine -on celebrating it by a grand banquet in honour of their mistresses. - -Fiordiligi and Dorabella are discovered in their garden by the seashore, -awaiting the arrival of their lovers and lovingly contemplating their -portraits; each declares her lover to be the handsomest and best. -Alfonso entering, brings the direful news that Ferrando and Guillelmo -have been ordered to proceed at once to the field with their regiment. -The lovers enter with melancholy mien to bid adieu, and the two ladies -give vent to heartrending expressions of grief and love. The lovers -express satisfaction thereat to Don Alfonso, who bids them wait for the -end. A military march with a lively chorus is heard in the distance;[13] -the lovers yield themselves to a last fond embrace with sobs and tears, -at which Don Alfonso can hardly keep his countenance. The march again -summons the officers to depart, and the two ladies join with Don Alfonso -in waving their adieux to the retreating bark. - -Despina, the waiting-maid of the two ladies, waits for them impatiently -with their chocolate.[14] She is amazed at their entrance in a condition -of violent sorrow, which is expressed by Dorabella more especially in -high tragic style. Her astonishment increases on hearing the cause, and -she advises her mistresses to take the matter easily, and do all they -can to divert their thoughts. The serious reproof with which this -advice is met is answered by her in a tirade on the fickleness of men -in general, and soldiers in particular, whom she declares to deserve no -better treatment. - -Don Alfonso, in pursuance of his design, now seeks to gain over Despina. -A few gold pieces and the prospect of a rich reward speedily gain her -promise to admit two friends whom he declares to be madly in love with -her mistresses. He at once introduces Ferrando and Guillelmo in the -garb of wealthy Albanians, and so disguised by great beards as to be -unrecognisable by Despina, who regards them as veritable "antidoto d' -amor." While they are ingratiating themselves with the waiting-maid the -two ladies enter. Their consternation at the presence of strangers turns -to violent indignation when the pretended Albanians proceed without -preface to fall on their knees and make declarations of - -{LIBRETTO.} - -(241) - -love. Don Alfonso, entering to prevent actual scandal, feigns to -recognise old friends in the Albanians, and endeavours to act as -mediator. The strangers continue their bold suit, but Fiordiligi proudly -declares her faith as firm as a rock, and is immovable. The consequence -is that upon Guillelmo renewing his entreaties the two ladies decline to -hear him out, and make their exit. No sooner are they gone than the two -break into loud laughter, which Don Alfonso with difficulty induces -them to moderate. The first attack, which was to carry all by storm, has -failed, and Don Alfonso retires to concoct a new plot with Despina. - -Fiordiligi and Dorabella are again discovered in the garden lamenting -bygone happy hours, when the two Albanians rush in. They declare their -resolution to take poison, spite of Don Alfonso's earnest dissuasions. -Before the eyes of the cruel fair ones they swallow the contents of two -vials, and sink in convulsions upon a bank of turf. The two horrified -ladies call for Despina, who hurries off with Don Alfonso in search of -a doctor, enjoining the ladies to support the sufferers during their -absence. This, however, they dare not do, but contemplate the men from -a distance in great agitation, which causes intense amusement to the -disguised lovers. They gradually come nearer, and begin to express an -interest which turns the amusement into disquiet. Don Alfonso returns -with Despina, disguised as a doctor, a charlatan of the latest fashion, -_à la_ Mesmer, who promises to work miracles by means of magnetism. The -terrified maidens are forced to submit to his behests, and to hold the -heads of the sufferers, while he magnetises them back to life. -Finding themselves in the arms of the fair ones, they begin to rave -ecstatically; the ladies, regarding this as the commencement of the -cure, allow it to continue, though not without uneasiness, until the -patients demand a kiss from them. This rouses the pride of the ladies, -and they break into a rage so violent in its demonstrations that the -others begin to be doubtful of their sincerity; the first finale closes -amid general confusion. - -At the beginning of the second act, Despina seeks to reason her ladies -out of their exaggerated ideas of constancy and their dread of a -love-adventure such as offers itself; she places before them the image -of a maiden who treats men lightly for her amusement, and remarks with -satisfaction that her words have made some impression. In fact, when -the sisters are left alone, Dorabella first declares her inclination to -hearken to Guillelmo's suit, and Fiordiligi pronounces herself ready to -put the new ideas into practice with Ferrando. In this favourable mood -Don Alfonso invites them to a garden-party, where the lovers receive -them with a serenade. They now show themselves as bashful and modest as -they were formerly urgent and bold; Don Alfonso has to speak for them, -Despina answers for the ladies, and reconciliation is sealed by a -pressure of the hand. After some general conversation Ferrando and -Fiordiligi go off together. Guillelmo expresses himself - -{COSÌ FAN TUTTE.} - -(242) - -more tenderly to Dorabella, and offers her a valuable gold heart as a -gift; she takes it without more ado, declares that she cannot offer -him her heart in exchange, since he already possesses it, allows him -to loosen Ferrando's portrait from her bosom, and gives way to the -tenderest endearments. Ferrando returns with Fiordiligi, who rejects him -with apparent severity, but lets it be felt that she is not altogether -indifferent to his suit; he ventures upon a tender declaration of love, -and, finding it still unheeded, goes out in despair. Left alone, she -declares her heart to be affected, but adheres to her resolve to resist -the temptation and keep faith with her lover. - -Ferrando joyfully communicates Fiordiligi's steadfastness to Guillelmo, -but is consternated to hear from him how easily Dorabella has been won, -and has to submit to some triumph on the part of his friend. He feels -all the acuter pain that his love to the faithless one is not yet -stifled. Guillelmo now regards the wager as lost, but Don Alfonso -demands that one more attack shall be made on Fiordiligi. - -Fiordiligi reproaches her sister in unmeasured terms for her -thoughtlessness, whereupon the latter with extreme frankness declares -that she neither can nor will control her inclinations. Horrified at -this, Fiordiligi determines upon escaping from her own weakness by -donning man's attire and following her lover to the wars. She has a -uniform brought in, puts on the helmet, takes the sword in her hand, -when Ferrando rushes in and conjures her to slay him rather than desert -him. This is too much; she cannot withstand his anguish, and sinks upon -his breast overcome. It is now Guillelmo's turn to be beside himself. -The two are bent upon forsaking their faithless mistresses, until Don -Alfonso gradually succeeds in making them regard the affair from his own -philosophical point of view: "Cosi fan tutte!" They decide therefore on -espousing their brides, but not before they have punished them for their -want of faith. Despina enters with the news that the two ladies have -determined to wed their new lovers the same evening, and have sent her -to fetch the notary. The two couples enter the gaily decorated room, and -are received by Despina and Don Alfonso and the congratulatory chorus -of friends and servants. Amid cheerful converse they place themselves at -table. Despina enters as a notary, and reads the marriage contract. It -is scarcely subscribed when the chorus and march of the first act are -heard in the distance. Don Alfonso enters terrified with the news -that the regiment has been suddenly recalled, and the old lovers -are approaching the house. The Albanians and the notary are hastily -concealed, and the ladies, in mortal fear and embarrassment, receive -their lovers returning full of joy. Don Alfonso, acting as mediator, -causes the notary to be discovered; but Despina declares herself, and -asserts that she is returning from a masked ball. But the marriage -contract falling into the hands of Guillelmo, the ladies are obliged -to confess their guilt to their enraged lovers, whereupon the latter -discover themselves as the Albanians, while Guillelmo returns the - -{PERFORMANCES OF THE OPERA.} - -(243) - -portrait to Dorabella, mockingly repeating the melody of the duet. -Confessions ended, Don Alfonso exhorts them to make peace, and brings -the couples together; finally, they all unite in the moral:-- - - "Fortunato l' uom, che prende - Ogni cosa pel buon verso, - E tra i casi e le vicende - Da ragion guidar si fà. - Quel che suole altrui far piangere - Fia per lui cagion di riso, - E del mondo in mezzo i turbini - Bella calma troverà." - -The opera was not again performed in Vienna in Italian until 1858, but -it was produced at the Theater an der Wien in a German translation by -Gieseke, in 1794, with the title of "Die Schule der Liebe"; in 1804 it -was played at the Imperial Hoftheater as "Màdchentreue"; again at -the Theater an der Wien in 1814, in Treitschke's adaptation, "Die -Zauberprobe"; in 1819 and 1840 at the Hoftheater in the earlier -translation, and in 1863 in Schneider's adaptation. In Berlin also, -where it was first given on August 6, 1792, with the title "Eine machts -wie die Andere,"[15] it was again attempted in 1805 in the translation -by Bretzner, "Weibertreue, oder die Mädchen sind von Flandem" (Leipzig, -1794),[16] followed in 1820 by Herklot's adaptation "Die verfängliche -Wette." Nevertheless the older adaptation was preferred for the revival -of the opera in 1826 at the Königstadt theatre;[17] this gave way to -one by an anonymous author in 1831,[18] which was employed for the -representations of 1832 and 1835, but abandoned for L. Schneider's -adaptation in 1846.[19] At Prague, Guardasoni at once placed "Cosi -fan Tutte" on his repertory; and in 1808[20] it was performed there -in German as "Màdchentreue," in 1823 as "Zauberprobe,"[21] in 1831 in -Bohemian,[22] and in 1838 in Italian by the - -{COS! FAN TUTTE.} - -(244) - -pupils of the Conservätorium.[23] Guardasoni also introduced the opera -at Leipzig, where it was several times performed in German during -1805,[24] and by the Dresden Italian opera company in 1830.[25] -Curiously enough "Cosi fan Tutte" was the first opera by Mozart -performed in Dresden, in 1791, and kept its place in the repertory, -although in 1812 it was still the only one.[26] In Italy it took no -firmer hold than the others, and was only given on single occasions at -Milan in 1808 and 1814,[27] and at Turin in 1816.[28] In Paris "Cosi -fan Tutte" was given by the Italian opera company at the Odéon in 1811, -1817, and 1820;[29] and in London it was first played in an English -translation by Arnold in 1811,[30] and again in 1828; in 1842 it was -included among the Italian operas, and received with great applause.[31] - -The wide-spread reputation of "Figaro" and "Don Giovanni" had prepared -the public mind to receive Mozart's music to this opera (588 K.)[32] -with the favour which it deserved;[33] but the libretto was universally -pronounced to be one of the worst of its kind;[34] nor has the judgment -of - -{ALTERATIONS IN THE LIBRETTO.} - -(245) - -posterity reversed the verdict passed upon it.[35] Two reproaches were -more especially brought forward. One was the extreme improbability -that neither the lovers nor Despina in their disguises would have been -recognised by the two ladies, and the other the outrage committed on the -moral sense by the frivolity of the test imposed, and if possible still -more by the ease with which, after the unfortunate issue of the trial, -the lovers all adopt a philosophic toleration towards each other. These -two blemishes, however, will scarcely account for the fact that, even -where attempts have been made to remove them by adaptation, the opera -has never maintained its place on the stage.[36] Unquestionably, -the device of the disguise is trivial, and in itself not at all -entertaining, but the number of popular comedies the main point of which -consists in disguise prove that the public in this respect is not hard -to please. It makes no undue call on the imagination of the spectators -to proceed on this supposition, although in every drama deviations more -or less important must thereby be made from reality. But the imagination -refuses to accept these improbabilities unless they are made to serve -as external manifestations of events and actions which seem thus to be -taking their regular course. If they are made the foundation for events -which are manifestly false to nature, the revulsion in the spectator's -mind is extended to the improbable representation itself. Treitschke -hit upon the most unfortunate device for obviating the difficulty, by -turning Alfonso into a magician and Despina into a sprite, and thereby -not only producing glaring inconsistencies, but completely nullifying -the musical characterisation. Another attempt was made by Krebel in -an adaptation called "Màdchen sind Màdchen," performed in Stuttgart in -1816, where the lovers return home after a lengthened absence and - -{COSÏ FAN TUTTE.} - -(246) - -before appearing to their brides undertake and carry out the trial of -their constancy; Despina undertakes the cure in her own person, and -in the last finale a real notary is brought on, whom she afterwards -declares to be her lover. The progress of the plot is completely -changed, almost all the songs are transformed and taken from their -proper connection. Herklot's alterations in "Die verhangnissvolle Wette" -went still deeper.[37] The ladies are not put to the test by their own -lovers, but, with the connivance of the latter, by two of their friends, -whose servant Pedrillo takes part in the intrigue as the doctor and the -notary. Not to mention the injury which the musical characterisation -suffers thereby, the clumsiness of the test imposed is made still -more apparent, and the final reconciliation becomes more unreal and -revolting. - -Da Ponte has made no effort to soften the awkwardness of the situation; -it is indeed very much increased by the exchange of lovers made during -the trial, as if the right choice was that which is then made. G. -Bernhard (Gugler), who has done honour both to words and music by -his excellent edition of the opera,[38] removed this obstacle in his -adaptation, "Sind sie treu?" (Stuttgart, 1858). Here each lover -proves his own mistress, and the plot and its development are modified -accordingly.[39] Da Ponte sacrificed the excuse this would have afforded -to the two ladies--who might be supposed unconsciously drawn towards -the true object of their affections--to the dramatic effect of the -embarrassing position of the men on either side. Attempts to remedy this -defect led to other and greater ones.[40] In an old adaptation, "Die -Wette, oder Màdchen-List und -Liebe," the author - -{CRITICISM OF THE LIBRETTO.} - -(247) - -(whose name is unknown to me) has hit upon the device of making the -waiting-maid betray Don Alfonso's plot to the sisters before the -entrance of the pretended friends, so that they are supposed to be -hoaxing their lovers all the time, and the latter have to sue for pardon -at the end. Despina's disguise as the doctor is retained, but a real -notary is brought in for the last finale. Arnold proceeded similarly in -his English version, "Tit for Tat."[41] L. Schneider, too, has made the -same alteration, with the difference that Despina does not betray to her -mistresses the plot against them until the second act, from which time -they feign the weakness with which they mean to chastise their lovers. -But this alteration implies a coarseness of conduct in the two sisters -which is scarcely less reprehensible than their fickleness. The musical -characterisation also is destroyed, since they are now supposed to feign -the sentiments which they were originally intended to express in all -seriousness; the inconsistency is sometimes unendurable. Added to this, -the second finale is nullified by the altered catastrophe, and the -charming part omitted where the men recall the characters assumed by -them.[42] - -It would have been necessary to bring the psychological interest of the -drama into the foreground in order to conceal what was objectionable in -the situations. Ingenuity and delicacy of invention might have turned -the subject into an interesting drama, with the guilt and mishaps so -evenly balanced that the whole might naturally come to a cheerful -and pacifying conclusion. Da Ponte's text in no way fulfils these -requirements; he takes his stand on the level of the ordinary opera -buffa, and demands to be measured by that standard. He makes some -attempt at more delicate characterisation in his Fiordiligi, in which -Ferrando partakes, but the remaining characters are all of the usual -opera buffa type, and only receive their individual stamp by virtue of -the music. Nor do the situations - -{COSÌ FAN TUTTE.} - -(248) - -display much more of original invention. The only animation afforded -to the play, consisting of the pretended poisoning and the entrance of -Despina as doctor, is neither new nor refined, and the plot proceeds -without exciting either interest or suspense. But it gives occasion for -a succession of musical situations which, considered apart, have been -skilfully treated by Da Ponte. The parting scene, the sestet, and -especially the first finale, are thoroughly musical in design, and -Da Ponte's verses are easy and flowing, often not devoid of wit. -Unfortunately his energies are almost all exhausted in the first act. -While this contains a wealth of ensemble movements and contrasting -situations scarcely to be found in any other opera, the monotony of the -second act is strikingly apparent. It does not seem to have occurred -to Da Ponte to develop his plot by means of an artistic arrangement of -ensemble pieces. His sole care has evidently been to apportion the airs -and duets indispensable to the chief characters in opera buffa with a -due regard to dramatic contrast.[43] - -Mozart therefore found himself once more engaged upon an opera buffa -in the strict sense of the term. The plot is without meaning, the -characters without individuality, deriving what effect they have by -means of the ordinary resources of low comedy and exaggeration. Passion -and feeling rarely assert themselves without the disturbing elements -of hypocrisy and deceit; and thus the source of Mozart's own peculiar -conception of musical representation is virtually closed to him. -Then, in addition, the demands of the artists had to be taken into -consideration. We can only wonder, under the circumstances, at Mozart's -power of seizing every point which could be turned to the service of his -artistic conceptions; the work reveals a side of his nature which has -not hitherto appeared.[44] - -The unreserved expression of emotions throughout the - -{THE MUSIC--ENSEMBLES.} - -(249) - -opera affords a not ungrateful field for musical representation. The -awkwardness of having three terzets for male voices following each other -disappears under Mozart's treatment, since he makes each the natural -outcome of the situation, and they serve as joint members of one -organism to produce a natural climax. The first terzet takes its tone -from the excited mood of the young officers, which Don Alfonso seeks -with easy playfulness to moderate. In the second, Don Alfonso comes to -the foreground with his old song about the phoenix and woman's faith, -which he sings in a tone of good-humoured irony, exceedingly well -supported by the orchestra, while the other two try mainly to interpose -and stop him; it is a most original piece of music, full of excellent -humour. The third terzet displays the high spirits of the lovers, raised -to a pitch of great excitement, and the music brings the merry feast -to which they are already looking forward vividly before the mind. The -light and cheerful, somewhat superficial tone which here prevails, fixes -the ground-tone of the opera. The young men are characterised generally, -without accentuating their individualities; they stand opposed to Don -Alfonso, whose contrasting character comes out all the more sharply. The -duet for the two sisters (4) is more elevated in tone, to accord with -the situation. They are melting in tender emotion as they gaze on the -images of their lovers, and the expression of the music is full of -life and sensuality, but more animated than warm, with no echo of those -gentle accents in which Mozart elsewhere so inimitably characterises -the hidden longings of the soul. The unanimity of sentiment here again -obscures individual character, and the modifications are more musical -than dramatic in their nature. Don Alfonso's - -{COSI FAN TUTTE.} - -(250) - -short air (5), where he appears to urge composure, characterises not -his true nature, for he is feigning all the time, but the situation, and -that with a degree of exaggeration which comes out in striking relief to -his otherwise calm and equable nature. The tone and delivery of the -air are correctly indicated by Don Alfonso's words: "non son cattivo -comico"; the deceit is conscious and evident throughout, and it is -rendered easy for the performer to let an ironical tone occasionally -peep through. The following quintet (6) carries us to a height hitherto -unsuspected. The grief of the sisters at the prospect of separation from -their lovers is expressed with ever-increasing passion, while conscious -dissimulation imposes a certain restraint on the men, though the emotion -they express is in itself genuine enough; the softer nature of Ferrando -betrays itself in his gradually increasing sympathy with the sorrowing -women. The ironical element introduced by Don Alfonso, just at the point -when the passionate lamentation of the sisters is making the greatest -impression on their lovers, prevents the situation from passing -altogether into the pathetic vein. This quintet undoubtedly belongs in -every respect to Mozart's highest achievements. The short duet (7) on -the other hand, in which Ferrando and Guillelmo seek to console -their trembling fair, ones is poor both in musical substance and -characterisation, being an easily constructed piece of the kind which -the general public loved. The march with chorus (8), which comes next, -is simple, but very fresh and pretty, well suited both to the situation -and the character of the opera. The farewell scene (9) takes place -at the same time--indicated in the autograph score as "Recitativo -coi stromenti"--and is a perfect masterpiece of beauty and delicate -characterisation. The broken sobs of the afflicted women have something -of the same comic effect as the infinite sorrow of childhood, and the -men seem, half involuntarily, to imitate them; but when the last adieux -have been exchanged they give vent to such a sweet and touching sound of -lamentation that even the lovers are touched by it, and Don Alfonso -is silenced. The repetition of the chörus interrupts the tender -leave-taking just at the right time, and endows the scene with fresh -life and animation. It finds an appropriate conclusion in the - -{TERZET.} - -(251) - -tones and gestures of the two maidens as they wave their adieux from the -shore, while Don Alfonso appears to share their feelings with a sort of -ostentation of sympathy. This terzettino (10) shows Mozart's power of -displaying endless shades of one and the same feeling. The farewells -wafted from the shore are more composed than the lamentations called -forth by the idea of separation, or even by the separation itself; they -are more pure also, more intense, and transfigure all that has gone -before with the light of a tender and harmonious grace finding its -expression in separate sharp suspensions, and especially in the -unexpected dissonance which occurs upon "desir--[See Page Image] - -The murmuring accompaniment of the muted violins, combined with the -soft full chords of the wind instruments, suggesting the idea of -the sea-voyage, contribute to the colouring of this gem of musical -expression. The instrumentation throughout this first division of the -opera is carefully and admirably managed. The first terzet is simple, -the lively figures for the stringed instruments denoting its character, -while the oboes, bassoons, and horns strengthen the lights and shades; -it is quite otherwise in the second, where the stringed instruments have -a gentle accompanying passage, while a flute and a bassoon carry on -the melody of the song; the third is brilliant with trumpets and drums, -shrill oboes and rapid violin passages. During the whole of the love -scene the clarinets are kept in the foreground, the combined orchestra -is full and soft, but milder and more sparkling in the last terzet, -where flutes come in; the contrasting clang of the lively and vigorous -march is highly effective. Thus far all has taken a natural course, and -we - -{COSÌ FAN TUTTE.} - -(252) - -have met with no unusual characters, no startling situations; the -emotions represented have been true and simple, and have been the -necessary consequences of the events composing the easily comprehended -plot. The musical depicting of such emotions is a grateful task; if it -is true in itself and a faithful rendering of the given situation -it cannot fail of its effect. And Mozart has here combined truth of -characterisation with a beauty of form and a charm of sweet sound which -almost overpower the ear, and are scarcely to be found in such fulness -in any other of his operas. The further development of the plot leads to -a sharper characterisation of individuals. Dorabella first unfolds her -grief in a grand air (n) introduced by an accompanied recitative. -It consists of one movement (allegro agitato) which receives its -distinctive character from the sextole passage for the violins--[See -Page Image] which does not cease for one bar until just before the end; -an unsteady trembling movement is imparted to it by varied harmonic -transitions, and an occasional sharper accentuation by the full chords -of the wind instruments. The simple sustained voice-part moves above -this accompaniment in short expressive phrases, rising now and then to -a tone of passionate appeal, and at the close to an unexpected pathos. -Both in musical treatment and emotional expression the air takes a high -rank; but none the less is it in striking contradiction to the character -of Dorabella as it is afterwards developed. It is she who proposes to -her sister to coquet with the new lovers, and in the duet (20) in which -they agree to do so it is she who takes the initiative. In the duet with -Guillelmo (23)[45] she shows herself so easily persuaded and so full of -amorous passion that it appears the revelation of her true nature. It -renders superfluous her subsequent expression of opinion in an air (28) -that love rules over all hearts, and it is but folly to resist his sway. -This air has a certain resemblance to the first in the simplicity of the - -{DORABELLA.} - -(253) - -voice-part and the moderation of the expression, although the feelings -inspiring it are of such a different nature. The accompaniment again -bestows upon the song its peculiar colouring; and the great prominence -given to the wind instruments adds an insinuating and specious tone to -the whole. But a closer examination reveals the evident contrast of -the two songs. Dorabella is a woman of lively but not deep feeling; -excitement is necessary to her, even though it may be of a painful -nature--she cannot live without it. Her expressions of sorrow increase -in intensity, and the orchestra is markedly toned down to allow her to -display her true, somewhat shallow nature. Besides this, the exaggerated -tone of her grief, displaying its want of perfect sincerity, is strongly -marked by the words, e.g.-- - - Esempio misero d' amor funesto - Darö all' Eumenidi, se viva resto, - Col suono orribile de' miei sospir-- - -and the music takes the cue therefrom. While borrowing the pathetic tone -and form of the opera seria, she turns them into a parody like that -of the text, invoking the furies with all the rhetorical apparatus of -tragedy; this is especially noticeable towards the close:--[See Page -Image] - -{COSÌ FAN TUTTE.} - -(254) - -The parody facilitates the difficult task of carrying the musical -expression of emotion to an exaggerated degree without making it ugly -and unnatural. The refined delivery of the vocalist, and the ready -apprehension of the audience, must always be presupposed. In the -character of Fiordiligi Da Ponte has unquestionably kept Ferraresi del -Bene in view; he was said to stand in tender relations towards her.[46] -According to him she had a fine voice and an original and affecting -delivery, and this opinion was confirmed by the London critics, although -she was never considered there as a true prima donna;[47] and Mozart -himself remarked that it was not saying much to pronounce Allegrandi -far superior to Ferraresi. She had not a good figure, and was but an -indifferent actress; but she had beautiful eyes and a charming -mouth, and was in great favour with the public. It is not surprising, -therefore, that Fiordiligi should have been placed on a higher level -than her sister, both musically and dramatically.[48] Her very first air -(14) places her in a far more favourable light. The disguised lovers, -after a decided repulse, renew their shameless attack. Fiordiligi's -condescending to answer them and to assert her inflexible constancy may -not, indeed, be a proof of fine feeling on her part, but it demands an -energetic and emphatic tone and strong and appropriate colouring. We -therefore have a bravura air in two movements, an andante and allegro, -closed by a long coda in accelerated tempo. The comic effect again rests -on the element of parody, which is even more strongly marked than in -Dorabella's air; the bravura passages, intervals of octaves, tenths and -twelfths, the roulades which she flings at her opponents, the bass-like -passages in the deeper register of the voice, all characterise -Fiordiligi's Amazon-like haughtiness in an exaggerated manner. -Afterwards, it is true, she - -{FERRANDO.} - -(255) - -is induced by her more thoughtless sister to coquet with the new lover, -but Dorabella's lover presents himself after a fashion calculated to -make a strong impression upon her. Guillelmo is always light-hearted and -cheerful; while, even in the parting scene, Ferrando has shown himself -to be a man of softer mould. His air (17), after the first repulse -of his suit, leaves no doubt as to his nature. It renders the vapid -sentimentality of the words with remarkable tenderness and delicacy, but -this kind of sentimentality being quite foreign to the southern nature, -the portrayal of it would rouse more ridicule than sympathy. Such a -character cuts a comic figure upon the 'stage--a circumstance which must -be borne in mind in considering this opera. Even in his feigned wooing -he expresses his feelings with warmth and animation, his eccentricities -being indeed heightened by the difficulties of the situation. This is -just the demeanour calculated to make an impression on Fiordiligi, and -she soon begins to waver. Perceiving this, he expresses his delight -with an extravagance which a man of calmer temperament would have been -incapable of dissembling;[49] it is evident that his fancy gets the -better of his excited feelings. So apprehended, this air (24) not only -entrances our minds by its continuous flow of lovely melody, but gives -us a sense of natural fitness for the situation and characters. It would -have been an impossible task for music to represent Ferrando as singing -this song with coolly calculated dissimulation; for the exaggeration -of caricature is only appropriate when no conviction is required to -be brought home to us, whereas here the impression experienced -by Fiordiligi must be shared by the audience before it can become -intelligible. The music must therefore express a feeling by which a man -of excitable nature would be likely to be carried away. - -In this way only can we justify the deep impression made upon the -equally excitable Fiordiligi, when, left alone, she reproaches herself -doubly for having coquetted with Ferrando, and been false at heart to -her lover. The feeling - -{COSÌ FAN TUTTE.} - -(256) - -of remorse, and of newly strengthened fidelity which the memory of her -absent lover inspires, is charmingly expressed in the lovely air (25), -"Per pietà, ben mio, perdona." This is genuine emotion, springing from -the heart, and the music expresses it with all the charm of pure -melody. This important air, in two elaborate movements--adagio and -allegro--gives ample opportunity for display to the singer and an -independent part to the wind instruments, especially the horns, without -doing injury to truth of expression. It is undeniably akin to the great -air in "Figaro" (p. 92) composed for the same Ferraresi, although they -differ both in tone and colouring. Probably the individuality of the -singer, distinctly recognisable in the three songs, exerted considerable -influence over their composition; and it may also be remarked that too -vivid a representation of such a mood as this would have exceeded the -limits of opera buffa; even as it is it suggests almost too serious a -complication and solution of the situation. Ferrando, on learning -the faithlessness of his Dorabella, breaks at first into violent -indignation; but this soon gives way to softer feelings, which he cannot -overcome. In his lovely cavatina (27)--so Mozart has entitled it--his -anger is only faintly suggested, while the memory of his still-loved -Dorabella shines forth from the darkness of the soul.[50] While he is -yet in this sentimental mood he is urged by Don Alfonso to make one more -attack upon Fiordiligi's heart. With this intent, he surprises her in -the act of putting into effect her romantic determination to escape from -her own weakness by donning man's attire and following her lover to the -wars. The duet which ensues (29) is of singular design and unusually -rich elaboration. In contrast with Fiordiligi's grandiloquent -sentiments, as she fancies herself again by the side of her lover, comes -the melancholy plaint, the urgent petition of Ferrando; her resistance -grows weaker as his entreaties grow more earnest--until at last she -sinks into - -{FERRANDO--GUILLELMO.} - -(257) - -his arms. This scene consists of a regularly worked-out duet in two -movements, but the long suspense requires a corresponding length of -reaction from it, and we have to all intents and purposes a second duet, -with two movements expressive of the happiness of the lovers. Here -again the expression of feeling is so direct and true that we cannot -but imagine Ferrando carried away by the impulse of the moment. In fact, -these two characters and their relations to each other are somewhat out -of keeping with the rest of the opera. Da Ponte failed in giving due -effect to the deeper psychological interest of the characters; Mozart -has clothed them in flesh and blood, but even he has failed to endow -them with the distinct and vivid personality which is to be found in -"Figaro" and "Don Giovanni." - -No doubt the idiosyncrasies of the performers, who were for the most -part more of singers than actors, and had apparently not much talent -for comedy, had considerable influence on the plan of the piece;[51] -the part of Guillelmo was written for the excellent buffo Benucci (Vol. -III., pp. 51, SS).[52] He first comes forward independently, when, in -his disguise as an Albanian, his first attack has been repulsed and, -Fiordiligi having expressed her haughty indignation, he boldly ventures -on a fresh declaration of love. Here he had originally an air (584 K.) -of the most decided buffo type, which opposed to the exaggerated pathos -of Fiordiligi an extravagance of a different kind, and expressed in -strong caricature the confidence of the new wooers in the ultimate -success of their - - (To Fiordiligi.) - - Rivolgete à lui lo sguardo - E vedete come stà; - Tutto dice, io gelo, io ardo, - Idol mio, pietà, pietà. - - - - -{COSÌ FAN TUTTE.} - -(258) - - - - (To Dorabella.) - - E voi, cara, un sol momento - Il bel ciglio à me volgete, - E nel mio ritroverete - Quel che il labbro dir non sà. - Un Orlando innamorato - Non è niente in mio confronto, - Un Medoro il sen piagato - Verso lui per nullo io conto. - Son di foco i miei sospiri, - Son di bronzo i suoi desiri. - Se si parla poi di merto, - Certo io son ed egli è certo, - Che gli uguali non si trovano - Da Vienna al Canadà. - Siam due Cresi per richezza; - Due Narcissi per bellezza; - In amori i Marcantoni - Verso noi sarian buffoni; - Siam più forti d'un Ciclopo, - Letterati al par di Esopo; - Se balliam, il - Pick ne cede, - Si gentil e snello è il piede, - Se cantiam, col trillo solo - Facciam torto al uscignolo, - E qualche altro capitale - Abbiam poi, che alcun non sà. - -Mozart has turned this into a comic air in the grand style, worthy -to rank with those of Leporello, although the delicate malice which -characterises the latter would be out of place here. The various points, -not only where the mention of dancing and singing suggest musical -freaks, but throughout, are made effective in the happiest musical -contrasts, without disturbing the flow and consistency of the whole -song. Towards the close especially, the climax is inimitable. After the -transition into D minor on "trillo" and "uscignolo"--[See Page Image] - -{GUILLELMO'S AIR.} - -(259) - -the wind instruments sound a mocking fanfare to the violin quavers on -"qualch' altro capitale"--[See Page Image] - -{COSÌ FAN TUTTE.} - -(260) - -whereupon Guillelmo, after the exit of the sisters, breaks out with the -whole strength of his voice into a triumphant allegro molto--[See Page -Image] - -but stops suddenly, as if afraid of being overheard, and sings his joy -sotto voce to Don Alfonso. This air, which afforded abundant opportunity -for the display of voice and art to the happiest advantage, was laid -on one side, no doubt with the conviction that so evident a caricature -could not be maintained throughout the love-test without wedding -internal to external improbabilities, and displaying Guillelmo in -two distinct characters. Another air (15) was therefore substituted, -expressing Guillelmo's character as a cheerful man of the world who -takes serious matters lightly, and comports himself with ease and -freedom. He turns half confidently, half jokingly to the ladies, the -secret pleasure which their rejection of his suit affords him increasing -his cheerfulness, and even giving it a tinge of irony. The music is -quite simple, tuneful, light and pleasing, in direct contrast to the -previous grand air. His second air (26) in which, after his adventure -with Dorabella, his good opinion of women is considerably modified, is -in perfect harmony with the first. The feeling that he has the advantage -over Ferrando, the - -{GUILLELMO.} - -(261) - -assurance of Fiordiligi's unalterable faith, give him an air of -overweening security, and cause him to express himself with a lightness -which he would certainly have refrained from had he known how nearly the -matter affected himself. This is a truly comic situation, and Mozart -has given effect to it mainly by the tone of easy merriment which he -has caught so admirably, and which never passes the bounds of friendly -good-humour. The air is long, singer and orchestra vying with each other -in rapid animation, and the jovial, easy character of the man is fully -and pleasantly expressed.[53] His intercourse with Dorabella corresponds -with this view. The easy, half-jesting gallantry with which he -approaches her in the duet (23) belongs to his nature, and the part he -is playing is no effort to him. It is more than once made plain that -Dorabella is more strongly affected than he; after she has once met his -advances with favour he merely seconds her, as being pledged to do so; -but he does it with the same ease and confidence that he has displayed -throughout. - -Mozart has shown correct judgment in making Guillelmo' a natural, -good-humoured character, instead of a caricatured buffo figure. But -a motive seems to have been at work here which appears throughout the -whole of "Cosi fan Tutte." It is evident that Mozart has sought to clear -himself from the reproach that his music was too heavy, too serious for -a comic opera, and to satisfy the taste of the public for what was light -and entertaining. This demand was met in the two male duets, the first -(7) being light and superficial, and the second a serenade (21), which -(accompanied, according to custom, only by wind instruments) follows -a striking chorus with a melodious and pleasing effect, but without -individual character. The same motive is even more evidently at work in -the character of Despina. She never betrays a particle of true feeling. -She has no sympathy - -{COSÌ FAN TUTTE.} - -(262) - -either for her mistresses, or for their lovers, or for Don Alfonso, and -she has no love affair of her own. The only visible motive of action -with her is selfishness, which triumphs even over her love of intrigue; -every expression of hers shows giddy thoughtlessness, not always of the -most refined kind. Her two songs are both addressed to her ladies. The -first (12) is in answer to Dorabella's pathetic burst of sorrow, and -scoffs at her belief in the constancy of men, while urging her to -reward inconstancy with inconstancy. The second (19) exhorts the still -undecided fair ones to adopt coquetry as the true rule of life for the -female sex. In the first air the gaiety, lightly tinged with humour -in the short introductory allegretto, is light and easy, and has a -forwardness about it not quite maidenly, but so pretty and winning that -the whole person is invested with a certain interest and attractiveness. -In the second air Despina appears as the temptress; therefore the action -is more careful, the expression more delicate; insinuating persuasion -takes the place of her former pertness, and the comic element only -asserts itself once in the strongly accented:-- - - E qual regina - Dali' alto soglio - Coll posso e voglio - Farsi ubbidir. - -This air reminds us in many points of Zerlina, but it serves also -to prove how many touches of detail and delicate shades of musical -expression are wanting when true feeling is not at the root of the -conception. Spite of its commonplace tone, its lively gaiety gives it -a certain charm, just as in everyday life we often meet with people -commonplace in their nature, but attractive from their youthful -freshness and cheerfulness. But Despina is in her element when she -herself is playing some extravagant prank, and she adopts her various -disguises with much boldness and gay humour. The scene where she enters -as a doctor in the first finale belongs indisputably to the wittiest -performances of comic music. After the long suspense, the animation -caused by the entrance of the doctor has an excellent effect, and the - -{DESPINA.} - -(263) - -boastful loquacity and solemn conceit of the charlatan stand out from -the surroundings without the need of any special medium for their -expression. Every phrase is pronounced simply but with telling effect; -exaggeration, which at this point of the situation would only do harm, -is carefully avoided, and the general impression of unclouded gaiety -is heightened by the intensity with which the other characters express -their feelings.[54] The notary in the second finale is quite as -humorously depicted. After an elaborate greeting, the polite elegance of -which is mockingly expressed by the figure in the accompaniment, given -to the second violins, the notary begins to read the marriage contract -in a monotone (_pel naso_, Mozart directs), which is the most comic -imitation of reality in its five times repeated phrase--[See Page Image] -twice with additional emphasis:-- - -The accompaniment of the violins is different for each clause (the -basses remaining the same), and increases in speed, thus producing a -climax provoked by the impatient exclamations of the bridal party. -The whole conception of the part of Despina may be referred to the -individuality of its first performer, Signora Bussani, whose reputation -was - -{COSÌ FAN TUTTE.} - -(264) - -rather for spirit and audacity than for delicacy of expression (Vol. -III., p. 97). Another example of perfect gaiety is the terzet for the -three male voices (16). After the angry exit of the sisters, Guillelmo -and Ferrando begin to laugh,[55] thereby increasing the discomfiture of -Don Alfonso, who with difficulty persuades them to desist. The merriment -of the young men, the annoyance of the old one, the laughter which -they vainly endeavour to suppress, are so admirably expressed, and the -triplet passage of the accompaniment adds so strikingly to the effect, -that we feel the same irresistible inclination to merriment that is -inspired by the countenance of an antique laughing satyr. - -The counterpart to Despina is Don Alfonso,[56] who displays throughout -the plot no single impulse of sympathy or good-nature, and at the same -time fails to inspire interest as a purely comic character. Paltry -scepticism without humour or good-temper, cold rationalism without -any tinge of geniality, are not attractive in themselves, and are -essentially unmusical; they can only be effective by virtue of contrast, -and Don Alfonso therefore appears principally in ensembles. In the first -male terzet his cool demeanour stands in excellent relief against the -excitement of the young men, and Mozart has given an irresistibly droll -expression to the little ballad which he mockingly sings to them (2). -His sympathy in the parting scene has more delicacy of characterisation; -here he keeps in the background, but the quiet remarks which he -interposes add just the ingredient to the melting sentiment of the -ladies which is required for the production of the right effect on the -audience. As a rule, however, Don Alfonso does not express his true -sentiments, and his dissimulation induces an exaggeration which is not -without comic effect, but requires great refinement of delivery. It -belongs to the conception of such a character that he should abstain -from asserting himself independently, and therefore - -{DON ALFONSO.} - -(265) - -no grand air is assigned to him; this may be partly owing, however, to -the deficiencies of the first performer, for Bus-sani does not appear to -have been much of a singer. - -His two most important solo pieces are purposely so arranged as to admit -of an amount of sentiment which is foreign to his true character. In -the first he expresses with evident exaggeration the consternation which -fills him at the afflicting intelligence which he is bringing to the -sisters; it is as characteristic of the person as of the situation, and -expresses at once the state of excitement which prevails throughout the -following scene. Of more original design is the short ensemble -movement (22) in which Don Alfonso and Despina bring the two couples -together.[57] By undertaking to be the mouthpiece of the bashful -lovers, Don Alfonso gains an opportunity of expressing himself with more -feeling, and yet his position does not admit of any very deep or serious -expression on his part. The device of making the two lovers strike -in like an echo is a happy one; but Da Ponte has not turned it to the -advantage of which it was capable. It is quite right that Fiordiligi and -Dorabella should not join in in the same way when Despina answers for -them; but to leave them quite out of the question, and to make the -interest of the situation centre in the by-play of Don Alfonso and -Despina, destroys the significance which this scene might have had. -A teasing, jesting tone predominates throughout the movement, and is -indeed in keeping with the whole opera; but we long for a little more -energy and fulness of expression at the more important points. In order -to place Don Alfonso in the right light, he should be shown in real -perplexity, and brought thereby into the - -{COSÌ FAN TUTTE.} - -(266) - -foreground. The laughing terzet passes too quickly to make this motive -effective. Besides the terzet, he has only two short movements wherein -to express his views on the inconstancy of women, and these in a sort -of accompanied recitative suggest very vividly his exalted and pedantic -turn of mind. In the latter of the two he proceeds through a very simple -but suggestive climax to point his closing moral--[See Page Image] and -the converted but appeased lovers join in at his desire:-- - -As has already been remarked, Mozart took this phrase as the motto for -his overture. It is introduced by a short andante, which, after -two quick chords, begins with a tender motif for the oboe; this is -interrupted by repeated chords, but starts again, whereupon first the -bass, and then the full orchestra, give out the "Cosi fan tutte" as -above,[58] and immediately lead into the presto which is to demonstrate -the significance of the phrase. A short cursory phrase--rises in rapid -crescendo for the violins through two octaves; and then all the parts, -in syncopated rhythm--[See Page Image] - -{THE OVERTURE--ENSEMBLES.} - -(267) - -seem to stop the way for some moments, only to give place to a light -running passage--[See Page Image] - -which the wind instruments take up by turns. These are the elements -which in rapid and incessant alternation chase each other through the -overture like feather balls tossed from hand to hand, until the merry -game is interrupted by the phrase which gave birth to it: "Cosi fan -tutte!" Again the crescendo rises to its highest pitch, and closes -with a few powerful chords. The gay and wanton tone of the opera could -scarcely be better suggested, the overture being in very truth the most -perfect expression of careless gaiety. In the clear flow of its lively -frolic we see some resemblance to the overture to "Figaro," but the -deep, fine feeling which shines through the tumult of the earlier work -would be out of place, and may be sought for in vain in the overture -before us. - -The characters presented to us in this opera lend themselves best to -musical treatment when they join in ensemble pieces.[59] The definite -situations give strength to the characterisation, which is further aided -by the contrast of the persons concerned; and the dramatic motive adds -variety and energy of expression. The sestet in the first act (13) is -very simple in design, but effective from its well-placed contrasts -and judicious climax. The introduction of the friends has a marchlike -character. Don Alfonso recommends them to Despina's favour, and they -add more lively entreaties, in accordance with their assumed characters; -Despina's mirth - -{COSÌ FAN TUTTE.} - -(268) - -is excited by the extraordinary figures before her, while they are -delighted to find that she does not recognise them. - -The action begins with the entrance of the two ladies. The urgent suit -of the lovers is now opposed to the strong displeasure of the sisters, -Despina making common cause with the former. The declaration of love is -emphasised in an unusual fashion by the transition of the harmony into -a minor key,[60] by the chromatic movement of the parts, and by the -clarinet, bassoon, and violoncello accompaniment. The astonishment of -the two ladies at first gives a painful tone to the expression, but -as soon as they have recovered sufficiently to give vent to their -indignation the situation changes. The lovers rejoice in silence over -this proof of fidelity, while Despina and Don Alfonso affect to find -some grounds for suspicion in the very violence of the resentment -displayed by the sisters. The grouping of the characters is also -changed. Fiordiligi and Dorabella, divided between anger at the -intruders and the remembrance of their absent lovers, stand together; -on the other side the lovers join issue, and Despina and Don Alfonso -observe the course of affairs together; it is with right judgment -that the two latter are put prominently forward, especially at the -passage--[See Page Image] for they command the situation, and this -passage throws a light upon the tumult and confusion which prevail. -Mozart's temperate discrimination in the use of means has here again -enabled him to mould all this into a musical whole of perfect unity. The -situation of the first finale is nearly allied to this, but more vividly -characterised in the details, and more elaborately worked out. It begins -with a very amorous - -{THE FIRST FINALE.} - -(269) - -duet for the forsaken fair ones, introduced by a long ritornello and -worked out in independent style; a counterpart to the first duet, only -that here the expression is naturally more fond and languishing. The -sensual, dreamy mood thus represented is broken in upon by the harsh -dissonances and disjointed rhythm of the poisoning scene, and ends with -a pathetic ensemble and the swooning of the lovers. During the absence -of Don Alfonso and Despina in quest of aid, a calmer tone is adopted, -which grows gradually more animated as the sisters express their terror -and anxiety, and the lovers their satisfaction at the state of affairs, -and enjoyment of the comic scene in which they are playing the chief -parts. But when the sympathy displayed by the ladies at the sight of -their apparent sufferings gradually becomes so demonstrative that there -seems some danger of pity being transformed to love, the tables are -turned, the lovers begin to be anxious, and a state of painful suspense -overmasters them all. At this point there occurs one of those deeper and -more delicate psychological manifestations which Mozart so well knew how -to render, and in which, as usual, the orchestra co-operates. At first, -two characteristic motifs which go through the whole movement, a triplet -figure--[See Page Image] and an interrupted one of quite a different -character-- combine together, but then there enter two others-- to -express the painful sensations of the poisoned lovers. The orchestra -carries this idea out in manifold combinations, and thus affords a -characteristic groundwork for the expressions of gradually augmenting -compassion. The lovers, become suspicious, now express their anxiety, -and they finally all concur in a distrustful uncertainty, plaintively - -{COSÌ FAN TUTTE.} - -(270) - -rendered by imitative chromatic passages. The entertaining and truly -comic element of the situation consists in the fact that the merry trick -which Ferrando and Guillelmo hoped to play takes so doubtful a turn, -and that the emotions, on both sides genuine, spring from quite other -sources, and take quite different directions from those which are -outwardly indicated. Mozart has seized the situation with ready humour, -and, as usual, the right apprehension of the dramatic part of the work -has improved the conception and treatment of the musical element; this -movement is in every respect a masterpiece, and belongs to Mozart's most -exquisite compositions. The scene changes completely with the entrance -of the disguised physician, and the key of the dominant G major, -following the close in C minor, makes the same impression of freshness -as the introduction of an entirely new element.[61] All is now animation -and life--question and answer are rapidly exchanged, help is asked for -and given, and in the midst stands the charlatan playing out the farce -with due solemnity, and infusing the whole scene with wit and humour. - -After the completion of the pretended cure, the lovers again come to -the foreground and express their passion in extravagant ravings; the -reluctance of the ladies, in spite of Despina's and Don Alfonso's -persuasions, again gives a comic tone to the situation, contributing to -the production of an ensemble singularly rich in contrasting sentiments. -The orchestra again serves as a groundwork, and an original and -persistent violin figure gives the andante a strange, somewhat solemn -character, with which the voices frequently contrast in a manner highly -suggestive of the situation. The instrumentation also lends its aid. Not -only are the stringed instruments here employed so differently to the -preceding movement that they scarcely seem the same instruments; but, -whereas oboes with flutes and bassoons - -{THE SECOND FINALE.} - -(271) - -predominated in the former case, here clarinets and bassoons are -reinforced by trumpets with highly original effect. The tone-colouring -alters completely at the commencement of the allegro. The flutes in -unison with the violins, and the tremolo quaver accompaniment, express -a decree of sensual excitement which contrasts strikingly with the calm, -exalted tone of the andante. The lovers awaking from their trance and -demanding a kiss, the sisters are transported with an indignation far -more intense than that excited by the first encounter. Don Alfonso and -Despina seek to pacify them, and an unwilling suspicion that the -very violence of the resentment argues against its absolute sincerity -modifies in the minds of the lovers the comic impression of the whole -scene. The dramatic characterisation of all these opposing elements, the -well-defined grouping of the characters, the force and fire with which -the climax is worked up, and the tumult of excited emotions with which -the finale ends, give it a place above the corresponding first finale in -"Figaro," and on a level with that in "Don Giovanni." - -The second finale begins with the wedding ceremony, which is charmingly -and graphically depicted. Despina, who is joined by Don Alfonso, gives -directions to the servants for the reception of the bridal party, and -the whole of the first movement sparkles with life and gaiety, preparing -the way for the festive chorus in which the two couples are presently -welcomed. Then follows the endearing talk of the lovers, who seat -themselves at table, drink to each other, and finally join in an amorous -canon. This is a trait taken from the social manners of the time (Vol. -II., p. 362), just as the independent treatment of the wind instruments -during the whole scene represents the customary table music.[62] -A startling enharmonic transition (from A flat major to E major) -transports us out of this lovesick mood, and the scene which follows -with the notary is as full of humour as that with the physician, -although the context - -{COSÎ FAN TUTTE.} - -(272) - -necessitates greater moderation of tone; it is effectively interrupted -by the distant chorus proclaiming the return of the warriors. The -consternation and confusion which ensue have no real interest for the -audience, who are aware of what the issue must be; the plot is therefore -hurried rapidly to an end, and does not admit of any connected musical -treatment. The composer has been forced to content himself with bringing -out certain points, such as the feigned terror of Don Alfonso, the real -alarm of the ladies, and the joyful greetings of the returning lovers. -The situation becomes more piquant when Despina unmasks, and when the -lovers discover themselves as the pretended Albanians; and Mozart has -rendered both these points with true musical humour. But the purely -musical interest does not reassert its sway until the reconciliation has -taken place, and a feeling of peace and happiness is diffused around. -The last movement more especially is full of such calm and melodious -beauty that we feel lifted above the vanity and triviality of so much -that has gone before, and left with an impression of heartfelt gaiety -and satisfaction. - -A nearer examination of the opera shows that the libretto, never rising -above the ordinary opera buffa, has not seldom dragged the music down -to its own level. The caricature and exaggeration indispensable to -this species of comic drama have indeed been made by Mozart, as far as -possible, the natural outcomes of the situations and characters, and are -thus justified as an artistic element of the work, but he has not been -able altogether to avoid the substitution of external stage devices for -psychological truth. The attempt is more visible in this work than in -any other to render the meaning of the words through the senses; the -accompaniment is especially rich in detail-painting, instead of being, -as in Mozart's other works, called upon to add the more delicate -shades of emotional characterisation. In the duet between Guillelmo and -Dorabella (23) the orchestra gives the heart-beats which are made the -chief point of the words; in the lovely terzet (10) the raging of wind -and waves, and in the preceding quintet (9) the sobs, are distinctly -expressed. Even subordinate ideas are represented - -{GENERAL CRITIQUE.} - -(273) - -after the same realistic manner, as, among others, the drawing of the -swords in the first terzet, the flourish of trumpets and clinking of -glasses in the third, the piping and cannon reports in the war chorus -(8), the beating of the heart in Dorabella's air (28) suggested by the -quavers on the oboe, and the general clinking of glasses in the last -finale by the pizzicato of the violins.[63] These are all pleasing -touches, introduced without injury to more important features, but they -do not reach to the same height of psychological characterisation which -we are wont to admire in Mozart's operas. Other devices of opera buffa -are more constantly employed here than elsewhere, especially rapidity -of speech; but, on the other hand, there is no trace of any attempt at -imitating national peculiarities, even when the disguises assumed might -have given rise to it; Mozart could not but feel that a musical disguise -of the kind would very soon, fatigue the audience. The effort to cater -to the taste of the public goes hand in hand with submission to the -dictates of the singers, and we find their influence far more visible in -"Cosi fan Tutte" than in "Figaro" or "Don Giovanni." There is an evident -effort to please individual taste in the concerted airs, and in the -unusually light and pleasing melodies; such concessions cause this -opera, more than any other, to resemble the best works of Italian -masters. - -The peculiar qualities of Mozart's nature, his refinement and nobility -of thought, his wealth of productivity, and his marvellous technical -knowledge, are as distinctly marked in this opera as elsewhere. The -planning, the construction, the grouping of parts, are so firm, so -transparently clear, that we follow even the most complicated movements -with ease. The freedom and pliancy of the disposition of parts, where -there occurs a combination of different characteristic melodies, the -easy dexterity displayed in the employment of contrapuntal forms, -co-operate to excite and rivet the attention of the hearer, without -causing him any sense of effort. - -The quality, however, which delights us more than any other in this -opera is its delicate sense of beautiful sound, - -{LABOUR AND POVERTY.} - -(274) - -and the ease with which this sense is made evident throughout. It is -a quality, no doubt, inseparable from inventive power and a talent for -construction, but it is not universally effective in the same degree, -and it is rare to find such a union of the forces which regulate the -impression made by musical beauty upon the senses. Even the orchestra, -although deficient in the delicate detail of "Figaro" and "Don -Giovanni," is in other respects fuller, more brilliant, and richer in -separate instrumental effects. The wind instruments are brought more -forward, in more varied combinations and finer shades of tone-colouring. -The clarinets are made effective, and a characteristic distinction made -between their employment and that of the oboes. An original use is -made of the trumpets: apart from drums they are not trumpet-like in the -ordinary sense, but are used in place of the horns (not in combination -with them), and mostly in the lower registers, in order to give -freshness and force to the tone-colouring. Similar observations might -be extended to show in detail with what refined penetration and correct -judgment of effect the forces of the orchestra are made to conduce to -the euphonious charm of the opera. That "Cosi fan Tutte," considered as -a whole, and in respect of importance and detail of characterisation, is -inferior to "Figaro" and "Don Giovanni," no competent critic will deny. -Nevertheless many separate portions of the work, and the large majority -of the characters, display Mozart's genius and mastery of his art in -full measure of originality and brilliancy, and in many respects this -opera may be held to indicate an important step in advance of all that -has gone before it. - - - -FOOTNOTES OF CHAPTER XLI. - - -[Footnote 1: N. Berl. Mus. Ztg., 1856, No. 5, p. 35.] - -[Footnote 2: N. Wien. Mus. Ztg., 1852, No. 35.] - -[Footnote 3: Wien. Ztg., 1788, October 15, No. 83, p. 2,541.] - -[Footnote 4: From August 29, when "Figaro" was first placed on the stage, it was -given eleven times (August 31; September 2, 11, 19; October 3, 9, 24; -November 5, 13, 27); fifteen times in 1790, and three times in 1791.] - -[Footnote 5: Fr. Heinse (Reise-und Lebensskizzen, I., p. 184) mentions a rumour -that a story current in Vienna at the time concerning two officers and -their mistresses furnished the subject for the opera, which was adopted -by the express desire of the Emperor.] - -[Footnote 6: Da Ponte mentions it only briefly (Mem., II., p. 109).] - -[Footnote 7: In the Wien. Ztg., 1790, No. 9, Anh., the date is printed, -"Mittwoch, 16 Januar."] - -[Footnote 8: Joum. des Luxus u. d. Moden, 1790, p. 148: "I have again to announce -a new and excellent work by Mozart acquired by our theatre. It was -performed yesterday for the first time at the Imp. Nat. Theatre. It is -entitled,'Cosi fan Tutte, osia la Scuola degli Amanti.' Of the music, it -is sufficient to say that it is by Mozart."] - -[Footnote 9: It was repeated after the first performance, on January 28,30; -February 7, 11. After the death of Joseph II. (February 20) the theatre -was closed until April 12; Mozart's opera was given again June 6, 12; -July 6, 16; Aug. 17; in all, therefore, ten times; then it was allowed -to drop.] - -[Footnote 10: The first book of the words, "Cosi fan Tutte, osia la Scuola degli -Amanti. Dramma giocoso in due atti, da rappresentarsi nel Teatro di -Corte l' anno 1790," was shown to me by Sonnleithner.] - -[Footnote 11: In the original recitative (Act I., sc. 9), Trieste was written, -and altered into Naples; Venezia is in the printed score.] - -[Footnote 12: The words with which Don Alfonso begins the second terzet-- "È la -fede delle femine Come l' Araba fenice: Che vi sia, ciascun lo dice Dove -sia, nessun lo sà"--are borrowed from Metastasio's "Demetrio" (Act II., -sc. 3), and were composed by himself as a canon (where it runs, "La fede -degli amanti, &c.). It is therefore an old familiar song that Alfonso -sings to them.] - -[Footnote 13: According to the original score the march is first played by the -orchestra alone, piano at the beginning, and _crescendo_ from the second -part; at the repetition the chorus joins in _forte_.] - -[Footnote 14: This scene was originally introduced by a Cavatina for Despina; -after the recitative is written, _Dopo la cavatina di' Despina._ Mozart -afterwards crossed out these words, probably because a better place was -found for Despina's air.] - -[Footnote 15: Schneider, Gesch. d. Oper, p. 61.] - -[Footnote 16: Schneider, Ibid., p. 76.] - -[Footnote 17: A. M. Z., XXVIII., p. 26. Berl. Mus. Ztg., III., p. 12.] - -[Footnote 18: A. M. Z., XXXIII., p. 550.] - -[Footnote 19: A. M. Z., XLVIII., p. 870.] - -[Footnote 20: A. M. Z., X., p. 409.] - -[Footnote 21: A. M. Z., XXV., p. 428.] - -[Footnote 22: A. M. Z., XXXIII., p. 222.] - -[Footnote 23: A. M. Z., XL., p. 440.] - -[Footnote 24: A. M. Z., VII., p. 240.] - -[Footnote 25: A. M. Z., XXXII., p. 375. Fr. Heinse, Reise-und Lebensskizzen, I., -p. 183.] - -[Footnote 26: A. M. Z., XIV., p. 189. Cf. XVI., p. 154.] - -[Footnote 27: A.M.Z., XII., p. 500; XVI., p. 451.] - -[Footnote 28: A. M. Z., XVIII., p. 895.] - -[Footnote 29: A. M. Z., XIII., pp. 526, 720; XIX., p. 550; XXII., p. 813.] - -[Footnote 30: Pohl, Mozart u. Haydn in London, p. 146. Parke, Mus. Mem., II., p. -259.] - -[Footnote 31: A. M. Z., XLIV., p. 750.] - -[Footnote 32: The autograph score is arranged and written quite in Mozart's usual -manner. The recitative of the scena (XI. and XII.), [the duet (29), -completed by a strange hand, exists in Mozart's manuscript], the -serenade (21), the accompanied recitative for Fiordiligi before the air -(25), and the whole of scena (XIII.) of the second act, besides some -extra sheets for the wind instruments, are wanting.] - -[Footnote 33: B. A. Weber declared after the performance in Berlin (Mus. -Monatsschr., 1792, p. 137): "After the 'Marriage of Figaro,' this opera -is indisputably the finest. The concerted pieces more especially have a -beauty and an expression which can be rather felt than described."] - -[Footnote 34: Journ. d. Mod., 1792, p. 504: "The opera in question is the most -absurd stuff in the world, and only sought after on account of the -excellence of the music."] - -[Footnote 35: In a Musikalischer Briefwechsel (Berlin Mus. Ztg., 1805, p. 293) -the opera, both words and music, are severely criticised by "Arithmos," -who is then in his turn ridiculed as a Philistine by "Phantasus," and -the opera praised as a model of genuine irony. E. T. A. Hoffmann, too, -who places the essence of comic opera in the fantastical, considers -that the much-abused text of "Cosi fan Tutte' is genuinely operatic -(Serapionsbrüder, I., 2, 1, Ges. Schr., I., p. 120).] - -[Footnote 36: Cf. A. von Wolzogen, Deutsche Mus. Ztg., 1861, p. 137.] - -[Footnote 37: In this form the opera was performed in Berlin, and again in 1822 -at Braunschweig (A. M. Z., XXIV., p. 378), in 1823 at Cassel (A. M. Z., -XXV., p. 450), and in 1824 at Munich (A. M. Z., XXVI., p. 588).] - -[Footnote 38: Morgenblatt, 1856, No. 4, p. 75.] - -[Footnote 39: This has occasioned the displacement of some of the songs, not -always to their disadvantage. This version is not only far superior to -all that preceded it, but is excellent in itself by reason of its taste -and cleverness and careful regard for musical requirements.] - -[Footnote 40: A Danish translation by Oehlenschläger, with which I am -not acquainted, appears to have altogether transformed the plot -(Oehlenschläger, Lebenserin-nerungen, I., p. 121; IV., p. 43).] - -[Footnote 41: Hogarth, Mem. of the Opera, II., p. 188.] - -[Footnote 42: These pseudo improvements have been adopted at the more recent -performances of the opera at Leipzig, Dresden, Munich, Vienna, and even -at Karlsruhe,by Ed. Devrient (1860).] - -[Footnote 43: In the second act there are six airs, four duets, the so-called -quartet and Alfonso's short scena; in the first there are six airs, two -duets, five terzets, and one quintet, besides a sestet and the great -scena with the chorus.] - -[Footnote 44: "Oh, how inexpressibly I prize and honour Mozart," says Richard -Wagner (Oper u. Drama, I., p. 54), "in that he found it impossible to -write the same kind of music for 'Titus' as for 'Don Juan,' for 'Cosi -fan Tutte' as for 'Figaro' I How music would have been debased thereby! -A sprightly, frivolous poet handed him his airs, duets, and ensembles -to compose, and according to the warmth with which they inspired him, he -set them to the music which would endow them with the fullest amount of -expression that they were capable of." Hotho (Vorstudien f. Leben und -Kunst, p. 76) is of opinion that in "Cosi fan Tutte" the female parts -are thrown into the shade by the male, while the contrary is the case in -"Figaro" and "Don Giovanni," and accounts for this fact by saying that -Mozart was always attracted by that side of his subject which was mostly -suggestive of melody.] - -[Footnote 45: It is advertised in the Wien. Ztg., 1790, No. 16, Anh., as the most -beautiful duet of the new opera.] - -[Footnote 46: Da Ponte, Mem., II., pp. 108,117.] - -[Footnote 47: Parke, Mus. Mem., I., p. 48.] - -[Footnote 48: The first part was originally given to Dorabella, the second to -Fiordiligi, as far as the first finale; this was afterwards altered by -Mozart. It can only have arisen from an exchange of names, for that the -first part was always intended for Ferraresi is clear from the manner in -which the low notes are made use of, evidently to suit her voice.] - -[Footnote 49: It is suggestive for the execution that _lietissimo_ is the -direction at the beginning of the voice part.] - -[Footnote 50: An excellent effect is given by the alternations of the keys of -E flat major and C major in the second theme, and the interchange of -clarinets and oboes connected therewith.] - -[Footnote 51: The tenor, Vincenzo Calvesi, who made his first appearance with his -wife in April, 1785 (Wien. Ztg., 1785, No. 33, Anh.), is the same for -whom, in 1785, the inserted piece, "Villanella rapita," was written -(Vol. II., p. 331), and who, in 1786, took the part of one Antipholus in -Storace's "Gli Equivoci," while Kelly took the other (Kelly, Reminisc., -I., p. 237).] - -[Footnote 52: Bassi distinguished himself subsequently in Dresden in the part of -Guillelmo (A. M. Z., X., p. 410; XIII., p. 730; XIX., p. 649).] - -[Footnote 53: Here again an alteration must have been made. The preceding -recitative ended originally after Ferrando's words, "Dammi consiglio!" -in C minor, whereupon the direction follows: _Segue Varia di Guillelmo_. -Afterwards the two last bars were crossed out, and the recitative -was continued on another sheet, as it is now printed, with the same -direction at the end.] - -[Footnote 54: The repetition by the wind instruments of the passage of such -irresistibly comic gravity--[See Page Image] is wanting in the original -score, and is written by the hand of a copyist on a separate sheet for -flutes and bassoons only; nor do the references appear to me to be by -Mozart. The insertion, however, was unquestionably in accordance with -his intentions.] - -[Footnote 55: In both versions, Guillelmo's air breaks off on the chord of the -seventh, and is immediately followed by the terzet. At the beginning of -the latter is written _ridono moderatamente (not fortissimo_).] - -[Footnote 56: Rochlitz, A. M. Z., III., p. 592.] - -[Footnote 57: This appears to be a later alteration. The preceding recitative -ended originally at--[See Page Image] and the direction followed _Segue -V aria di Don Alfonso;_ the d was crossed out, and attacca written -against it. Even if Mozart did not look upon the ensemble as a regular -quartet, he could scarcely have denominated it "Aria di Don Alfonso"; -such an aria must therefore have been projected, and afterwards changed -for the ensemble.] - -[Footnote 58: Rochlitz, A. M. Z., III., p. 593. Cf. Ambros, Culturhistor. -Bilder., p. 191.] - -[Footnote 59: One can hardly credit Schroder's remark, on seeing the opera, -rechristened by Stegmann "Liebe und Versuchung," May 1, 1791, at -Frankfort: "Wretched! Even Mozart's music is only good in the second -act." (Meyer, L. Schroder, II., i., p. 68.)] - -[Footnote 60: The minor key is employed only in Don Alfonso's caricatured air (5) -in the poisoning scene of the second movement of the first finale, and -very cursorily in Ferrando's air (27).] - -[Footnote 61: The change of key, simple though it is, is more marked than in the -first finale of "Figaro " and "Don Juan." G minor follows D major, then -E flat major, C minor, G major, then immediately B flat major, and again -without transition D major.] - -[Footnote 62: The canon was originally more spun out, and Guillelmo, having -vented his wrath in parlando, was to take up the theme against -Dorabella; but Mozart rightly gave up the idea, and struck out the bars -he had already written.] - -[Footnote 63: Cf. Gugler, Morgenblatt, 1856, No. 4, p. Si.] - -=== - - - - -MOZART 42 - -BY DAVID WIDGER - - - -CHAPTER XLII. LABOUR AND POVERTY. - -THE accession of Leopold II. to the Imperial throne (March 13, 1790) was -not an event of good omen for music and the opera. Up to the month of -July he had not entered the theatre, nor had any private concerts, nor - -{MOZART'S POSITION AT COURT, 1790.} - -(275) - -displayed any sort of partiality for music; his consort, the Empress -Louise, visited the opera and laid claim to some musical knowledge, -although she expressed herself dissatisfied with the state of music -in Vienna; the young princes, too, were instructed in music.[1] The -difference between Joseph and his successor in point of taste was very -soon manifested by the reintroduction of ballets, and by the favour -bestowed on opera seria as well as opera buffa. It was rumoured that -a new court theatre was to be built, in which the boxes were to -be arranged for card-playing, and that Salieri had determined in -consequence to resign his post, which was to be filled by Cimarosa.[2] -Those individuals who had enjoyed the esteem of Joseph had little favour -to hope for from Leopold; a fact which soon became evident in matters -theatrical. Count Rosenberg was removed from the management, which was -intrusted to Count Ugarte;[3] Da Ponte and Madame Ferraresi fell -into disfavour;[4] Salieri thought it advisable to retire from the -conductorship of the opera, and his place was filled by Jos. Weigl, -"that the master might be reverenced in the pupil."[5] Mozart had stood -too high in the favour of Joseph to be able to expect much from Leopold -II.; his candidature for the post of second kapellmeister was as little -successful as his request to be honoured with the musical instruction -of the princes. Proof positive of the low esteem in which he was held -by the court was afforded to him on the occasion of the visit of King -Ferdinand of Naples, who came to Vienna (September 14) with his Queen, -Caroline, to celebrate the marriages of his daughters, Maria Theresa and -Louise, with the Archdukes Francis and Ferdinand. Ferdinand's - -{LABOUR AND POVERTY.} - -(276) - -two passions were music and the chase;[6] and the instrument which he -most affected was the lute. In his honour a new opera by Weigl ("La -Cafetiera Bizarra") was performed (September 15);[7] the Emperor made -his first appearance at the opera with King Ferdinand, when Salieri's -"Axur" was played (September 21); in honour of the weddings, open table -was held in the great Redoutensaal, and a concert performed in the -gallery under Salieri's direction, in which Cavalieri and Calvesi and -the brothers Stadler took part, and a symphony by Haydn was performed -which the King knew by heart, and sang out loud as it was played; Haydn -was introduced to him, invited to Naples, and honoured with commands for -compositions;[8] and all this time Mozart remained unnoticed, and was -not even summoned to play before the King of Naples, a neglect which -wounded him deeply. His condition was painful in the extreme; his -wife's delicate health showed no signs of improving; and as his expenses -increased his income gradually diminished. In May he had only two -pupils, and was obliged to appeal to his friends to assist him in -raising the number to eight. His continual and pressing embarrassments -exhausted even the resources of his ever-generous friend Puchberg, and -he was obliged to apply to money-lenders, and to embark in speculations -which did but hasten his financial ruin (Vol. II., p. 301). The weight -of these cares crippled his energies for work, as he himself complains, -and no period of his life is so poor in artistic production as this -year. His own catalogue contains, after the completion of "Cosi fan -Tutte" in January, 1790, only:-- - -May. Quartet for two violins, viola and violoncello in B flat major (589 -K.). - -June. Quartet in F major (590 K.). - -July. Handel's "Cecilia" and "Alexander's Feast," arranged (591, 592 -K.). - -{EXPEDITION TO FRANKFORT, 1790.} - -(277) - -In the hope of improving his circumstances, Mozart resumed his plan of -taking a professional tour; the coronation of Leopold II. in Frankfort, -on October 9, attracted a large number of strangers to that city, and -seemed to render it a favourable place for the experiment. Salieri, as -court kapellmeister,[9] Ign. Umlauf as his deputy, and fifteen chamber -musicians, were sent to Frankfort among the retinue of the Emperor.[10] -Mozart was not included among the number, and thus was deprived of the -advantage of the imperial patronage. On September 23 he set off, after -pawning his silver plate to defray the expenses of his journey (Vol. -II., p. 301) in company with his brother-in-law, the violinist Hofer, -whom he took with him out of compassion, and with the intention of -sharing the expected profits together; they travelled in their own -carriage, and, arriving in Frankfort on the 23rd, had considerable -difficulty in finding a lodging, owing to the overflow of strangers -into the town. On October 14, at noon, Mozart gave a concert in the -Stadt-theater.[11] The contrabassist Ludwig, long since dead, who took -part in the concert, used to tell how the piano stood upon the stage, -and how during the rehearsal the restless, agile little man was -continually leaping over the prompter's box into the orchestra to chat -in a friendly way with the various performers, and then climb back again -on to the stage. Mozart's own compositions were exclusively performed -at this concert; he played the concertos in F major (459 K.) and D major -(537 K.). Margarethe Hamel, afterwards Frau Schick, was the vocalist, -and so charmed Mozart by her voice and delivery that he is said to have -exclaimed repeatedly: "I never wish to hear any other singing - -{LABOUR AND POVERTY.} - -(278) - -than this."[12] It is also said that he played a pianoforte concerto as -a duet with old "Papa Beecké" (Vol. I., pp. 151,368), whom he met again -here.[13] He acquaints his wife with the friendly reception accorded -him, and tradition has it that he struck up a friendship with the -concertmeister Hoffmann, and generally spent the evening with him -at Gran's tavern in the Bleidenstrasse. Hesse became acquainted in -Frankfort, as he tells us,[14] with an old superannuated organist of the -Katharinenkirche, who in 1790 had been the pupil of his predecessor; the -old man said:-- - -One Sunday, after service, Mozart came into the choir at St Katharine's, -and begged the old organist to allow him to play something. He seated -himself on the stool and gave the reins to his fancy, when the organist -suddenly pushed him off the stool in the rudest manner, and said to the -pupil standing by: "Mark that last modulation which Herr Mozart made; -how can he profess to be a musician and commit such grave offences -against correct composition?" - -The pupil had remembered the modulation, and Hesse thought it a fine -one, and not even unusual. - -From Frankfort Mozart proceeded to Mayence. Here rumour assigned him a -touching love intrigue, which was supposed to have suggested the -song "Io ti lascio," the said song having been in reality composed by -Gottfried von Jacquin in Vienna, and not by Mozart at all (Vol. II., -p. 361). On his way back to Frankfort, Mozart stayed at Mannheim, and -renewed the memory of former days with as many of the old friends as -still survived. He arrived just in time for the first performance of his -"Figaro," which took place on October 24. The actor Backhaus notes in -his Tagebuch der Mann-heimer Schaubühne: "I got into great disgrace with -Mozart. I was standing at the door while our rehearsal was going on. He -came and asked me about it, and whether he might hear it. I took him for -a little journeyman tailor, and refused to let him in. 'You will surely -allow Kapellmeister Mozart to hear the rehearsal?' So I was in a scrape -most decidedly."[15] - -{RETURN JOURNEY TO VIENNA, 1790.} - -(279) - -The late organist of the Trinitatiskirche, Schultz, delighted as an -octogenarian to recall how Mozart, who visited his father and played the -organ with him, censured the slow tempi of the Kapellmeister Fränzel at -the rehearsal in the theatre, and gave it himself with more animation. -Otherwise, Mozart pronounced himself highly satisfied with the cast and -the performance.[16] - -At Munich, where Mozart arrived on October 29, and took up his quarters -with his old friend Albert,[17] he found still more of the old set, and -his letters to his wife show the pleasure he took in their society. Here -at last he had the gratification of being requested by the Elector to -play at the concert which was given at court to the King of Naples, -who was staying at Munich for two days[18] on his return journey from -Frankfort. "Highly creditable to the Vienna court," he writes, "that the -King should hear me in a foreign country." Shortly after Mozart's return -to Vienna Salomon arrived from London, and made what might at that time -be considered brilliant proposals to Haydn to accompany him to England, -and produce that series of compositions for the Philharmonic Society -which were destined to lay the foundation of Haydn's fame and -prosperity. Salomon made repeated propositions to Mozart also to -undertake the journey to London under similar conditions, as soon as -Haydn should return. It was with a heavy heart that Mozart bade adieu to -his dear "Papa Haydn," the only artist in Vienna who really understood -him and wished him well. - -It may safely be asserted that Mozart did not return to Vienna with a -full purse, nor did his other financial operations secure for him that -for which he so touchingly expresses to his wife his ardent longing: -a mind free from anxiety, and permission to work--only to work. He did -work, though, - -{LABOUR AND POVERTY.} - -(280) - -after his return, and the last year of his life displays an activity -which passes belief. His own list contains:-- - -1790. December. A quintet for two violins, two violas, and violoncello D -major (593 K.). - -1791. January 5. A pianoforte concerto, B flat major (595 K.). - -January 14. Three German songs (596 K.). - -January 23, 29; February 5, 12, 28; March 6. Dances (599-607, 609-611 -K.). - -March 3. A piece for clockwork, in F minor (608 K.). - -March 8. A bass air with obbligato double-bass, for Hrn. Görl and -Pischlberger, "Per questa bella mano" (612 K.). Variations for the piano -on the song "Ein Weib ist das herrlichste Ding" (613 K.). - -April 12. A quintet for two violins, two violas, and violoncello, in E -flat major (614 K.). - -April 20. Final chorus in the opera "Le Gelosie Villane," by Sarti, for -amateurs, "Viviamo felici in dolce contento" (615 K., unknown). - -May 4. Andante for a waltz on a small barrel-organ, in F major (616 K.). - -May 23. Adagio and Rondo for harmonica, flute, oboe, viola and -violoncello in C minor (617 K.). - -June 18. In Baden "Aveverum corpus" (618 K.). - -July. A short German cantata for solo voice and pianoforte, "Die ihr des -unermesslichen Weltalls Schopfer" (619 K.). - -A glance at this catalogue is sufficient to prove that he wrote whatever -he was requested, either by commission or to please his friends. - -For his own playing, no doubt at a concert, he wrote the pianoforte -concerto in B flat major, which like most of the compositions of this -period, is distinguished by its mild and earnest tone and charming -euphony. The two fine quintets for stringed instruments were written "at -the earnest solicitation of a musical friend" (Vol. III., p. 18) who -was no doubt acquainted with Mozart's poor circumstances, and wished -to afford him a worthy opportunity of turning his art to account. The -spirit in which Mozart undertook commissions which were often of a very -subordinate nature may be best seen in his composition for a mechanical -timepiece which was ordered by Count Deym for Müller's art-collection, -then attracting great attention. The serious temper which it displays, -and - -{BADEN, 1791--STOLL.} - -(281) - -the thoroughly technical treatment of the composition, betray no -evidence of a work merely done to order. Another occasional composition -is the beautiful chorus with stringed quartet accompaniment, "Ave verum -corpus." Mozart's wife was staying at Baden for the waters in the summer -of 1790, and again in 1791, in company with her sister Sophie. There -Mozart became acquainted with the schoolmaster and choirmaster Stoll, an -ardent admirer, who took pleasure in making himself useful to Mozart -and his wife. That Stoll could appreciate the fun of Mozart, in his -unrestrained moods, is shown by the superscription of a note (July 12, -1791)-- - - Liebster Stoll! - Bester Knoll! - Grösster Schroll! - Bist Stemvoll! - Gelt das Moll! - Thut dir wohl! - -or by his assurance in another letter: "This is the stupidest letter -which I ever wrote in my life; but it is just fitted for you." On the -other hand, Mozart was of use to him with his compositions, and lent -him, among others, his Masses in B flat major (275 K.) and C major (317 -K.) for performance. On one of these occasions the soprano singer turned -obstinate, and would not obey Mozart's directions. He sent her away, and -gave the part to his little favourite, Antonia Huber, a child of ten or -eleven years old, who was often with her brother-in-law Stoll and met -Mozart at his house. He practised with the child for a week, and her -industry and attention were so great that she performed her part to -admiration, and was rewarded by Mozart with "Brav, Tonerl, recht brav!" -together with a kiss and a ducat. He used to say to her, "Tonerl, make -haste and grow big, and I will take you with me to Vienna."[19] The "Ave -verum corpus" was no doubt composed at Stoll's suggestion during one -of these visits to Baden. It bears tokens of haste, but is so full of -childlike piety, winning simplicity, and entrancing harmony, - -{LABOUR AND POVERTY.} - -(282) - -that one seems for the moment transported from all earthly doubts and -cares into a region of heavenly calm and peace. - -A very different impression is made by the bass air with obbligato -double-bass, composed by Mozart for two professional friends. The -celebrated double-bass player, Pischlberger, was in Schikaneder's -orchestra, and Gerl and his wife (formerly Mdlle. Reisinger) sang at -the same theatre. Contemporaries affirmed that the very pretty and -attractive woman had completely entangled Mozart in her coils. Be that -as it may, this composition was the cause of a connection between Mozart -and Schikaneder which was fertile in results to the former. - -Emanuel Schikaneder was born in poor circumstances at Regensburg -in 1751. He was obliged as a boy to earn his living as a wandering -musician, and in 1773 was so inspired by the performances of a wandering -troupe of actors at Augsburg that he joined them. He afterwards married -Eleonore Artim, the adopted daughter of his manager, and undertook the -management. He had considerable skill and audacity, not only as an actor -and singer, but also as a dramatic poet. His company visited by turns -Inspruck, Laibach, Gratz,[20] Pressburg, Pesth, and Salzburg, where he -had become acquainted with the Mozarts in 1780, and had suggested some -compositions to Wolfgang (Vol. II., p. 102). His want of refinement in -the choice of means of attraction is sufficiently proved by his having -on one occasion at Salzburg, when "Agnes Bernauer" was performed, made -the public announcement: "The Vidame will this day be thrown over the -bridge "--which concession to the moral feelings of his audience was -duly made the same evening.[21] He acquired a considerable competence, -but an unlucky speculation in Pressburg ruined him. He had written a -piece in which a goose played the principal part, and all the others -were cocks and hens. The expenses for scenery and costumes were very -great, and, as it was a complete failure, his finances were - -{SCHIKANEDER.} - -(283) - -irretrievably injured. In November, 1784, he gained access for his -company to the stage of the Karnthnerthortheater in Vienna, where he -gave German operas and plays, at which the Emperor was occasionally -present.[22] He appeared on April 1, 1785, in the part of Schwindel in -Gluck's "Pil-grimmen von Mecca"; but attempting greater parts in serious -drama, he was hissed off the stage, and in February, 1786, was forced -to leave Vienna.[23] He then took the town theatre in Regensburg, and -endeavoured to satisfy the taste of the populace for low comedy; but -this did not last long, and in the summer of 1787 he threw up the -undertaking[24] and returned to Vienna. His wife had in the meantime -remained at the theatre in the "Freihause auf der Wieden,"[25] and -had taken the management of it from Friedel. This now passed into -Schikaneder's hands, and in these confined premises--little better than -a barn--he succeeded in delighting the Viennese public with performances -expressly designed to attract them, especially comic operas, of which -many were highly successful.[26] What he wanted in cultivation (he could -barely write or reckon) he made up for in sound mother-wit, practical -experience, and knowledge of stage routine. His audacity was equal to -his frivolity, and he found a way out of every dilemma. He was addicted -to sensual gratification, a parasite and a spendthrift; and in spite of -his large income was often hard pressed by his creditors.[27] - -During one of these periods of embarrassment, in the spring of 1791[28] -(May 7 is given as the date), he had recourse - -{LABOUR AND POVERTY.} - -(284) - -to Mozart, with whom he had renewed the old acquaintance, and -representing to him that he was lost unless he could produce an opera -of great attractive power, he assured him that he had discovered an -excellent magic subject for an opera, which Mozart was just the man to -compose. Mozart's irresistible inclination for operatic composition, his -natural good-nature and regard for a brother Freemason, and, as it was -said, the influence of Madame Gerl, all combined to induce him to make -the attempt: "If we make a fiasco, I cannot help it, for I never wrote -a magic opera in my life." Schikaneder gave him the first sketch of the -"Zauberflöte," and, knowing how difficult it was to bring Mozart to the -point of writing, he arranged a little garden-house in the courtyard of -the Freihaus for his use, so as to keep him under his own eye. Here, and -in Josephsdorf, on the Kahlenberg (where his room in the casino is -still shown),[29] Mozart wrote the greater part of the "Zauberflöte"; -Schikaneder was at hand to discuss points of detail, to make necessary -alterations, and above all to have his own part written to his mind. He -had a poor bass voice, was uncultivated, but not unmusical, and could -execute his songs in a dashing and effective manner. He knew perfectly -in what consisted his best effects, and insisted on having simple, -popular melodies, which Mozart was compliant enough to go on altering -until Schikaneder was satisfied. The song "Ein Mädchen oder Weibchen," -after many attempts, was, it is said, suggested by a melody hummed -by Schikaneder himself. It has been remarked that the beginning is -identical with the seventh and eighth lines of Scandelli's (d. 1580) -chorale, "Nun lob mein Seel den Herren"--[See Page Image] is sung to the -same melody[30]--a sure proof of its popularity. The duets "Bei Männern -welche Liebe fühlen," and - -{COMPOSITION OF THE "ZAUBERFLOTE."} - -(285) - -"Papageno" were repeatedly rearranged in deference to Schika-neder's -wish. His want of any hesitation in the matter is proved by the -following note from him, preserved by Al. Fuchs in his collection:-- - -Dear Wolfgang,--Herewith I return your "Pa-Pa-Pa-," which I like fairly -well. It will do, at any rate. We shall meet this evening at the usual -place.--Yours, E. Schikaneder. - -But Schikaneder took care to keep his composer in good humour by -frequent invitations to his table; where both eating and drinking were -of the best, and by introductions to the jovial and free-living society -in which he himself moved, and which also included A. Stadler, the man -who so shamefully abused Mozart's good nature (Vol. II., p. 309). The -pressure of external circumstances, of growing domestic troubles, and -the bitter feeling of failure and disappointed hope, combined with -his own excitable nature to cause Mozart to seek for distraction and -forgetfulness in the whirl of a pleasure-loving life. His wife was at -Baden, where his youngest son Wolfgang was born on July 26; her absence -deprived his home life of any comfort, and drove him to take refuge -among his theatrical friends. Folly and dissipation were the inevitable -accompaniments of such an existence, and these soon reached the public -ear, combining with the exaggerated accounts current of the loose life -led by Schikaneder and his associates to cover Mozart's name for several -months with an amount of obloquy beyond what he deserved (Vol. II., p. -270). While the "Zauberflöte" was in course of composition, Da Ponte, -who was obliged to leave Vienna, tried to persuade Mozart to accompany -him to London, and there take an active part in the production of -Italian opera. Mozart turned a favourable ear to the project, but -demanded a delay of six months for the completion and performance of his -opera, to which Da Ponte could not agree.[31] In July, 1791, the -work was so far advanced that he was able to insert the opera in his -catalogue as virtually complete; the rehearsals had begun as - -{LABOUR AND POVERTY.} - -(286) - -soon as the voices and bass parts were ready, the working-out of the -instrumentation being left, as usual, to the last. - -It was at this juncture that Mozart received an unexpected commission in -a very singular manner.[32] A stranger, a tall, thin grave-looking -man, dressed from head to foot in grey, and calculated from his very -appearance to make a striking and weird impression, presented him one -day with an anonymous letter begging him with many flattering allusions -to his accomplishments as an artist to name his price for composing a -Requiem, and the shortest time in which he could undertake to complete -it. Mozart acquainted his wife with the circumstance, and assured her -that it gave him great satisfaction, since he had long wished to try his -powers once more on this species of composition, and to produce a work -that both friends and foes might admire and study after his death. The -innovations in church music introduced by the Emperor Joseph had been -swept away by his successor, and the services of the Church were once -more performed after the old fashion. Mozart was anxious therefore -to impress upon the Emperor Leopold II., as the supreme arbiter, his -familiarity with the orthodox church style, and the present seemed a -favourable opportunity for the purpose. After consultation with his -wife he announced his readiness to undertake the commission, but without -fixing a term for its completion, and naming as his price 50 (some say -100) ducats; whereupon the messenger again appeared, paid the stipulated -sum, and promised an addition on the delivery of the finished work. -Mozart was enjoined to compose the Requiem according to his own will and -pleasure, and to make - -{COMMISSION FOR THE REQUIEM.} - -(287) - -no endeavour to discover his mysterious patron, an endeavour which would -certainly prove in vain. - -It is now proved beyond doubt that Count Franz von Wal-segg of Stuppach -was the patron in question, and that he ordered the Requiem in memory -of his late wife, Anna Edlen von Flammberg; the mysterious messenger was -his steward Leutgeb, whose personal appearance has been described to -me by Grillparzer. Count Walsegg was a zealous lover of music, a good -flautist, and a moderately good violoncello-player; he had quartet -parties every Tuesday and Thursday, and theatrical performances every -Sunday, in which his family and retainers took active part. But he was -also ambitious to figure as a composer. He used to order quartets from -different composers, always anonymously and with the offer of handsome -payment;[33] these he would then copy with his own hand, and have the -parts written out from this score. After performance he would set the -players to guess the composer; they, fully aware of the mystification, -invariably flattered his weakness by guessing himself, and he with a -deprecating smile would tacitly admit the imputation. This explains the -mysterious origin of the Requiem. He rewrote Mozart's score, gave -the parts to be copied from his duplicate (with the title of "Requiem -composto del Conte Walsegg"), and himself directed the performance of it -on December 14, 1793. - -Before Mozart had set himself in earnest to this task, he received in -the middle of August a fresh commission which brooked of no delay. A -festival opera was to be performed at the approaching coronation -of Leopold II. as King of Bohemia in Prague. The subject chosen was -Metastasio's "Clemenza di Tito," and again it was the people of Prague -who made good the deficiencies of the Viennese: the States called upon -Mozart to compose the opera. For reasons which do not appear their -decision was so long delayed that there remained only a few weeks for -the composition and rehearsal - -{LABOUR AND POVERTY.} - -(288) - -of the opera. After making all preliminary arrangements, Mozart set -out for Prague. As he was in the act of stepping into the -travelling-carriage with his wife, the mysterious messenger appeared, -and touching his wife on the arm, asked how it would fare with the -Requiem now. Mozart excused himself by alleging the necessity of his -present journey, and the impossibility of acquainting his unknown patron -with it, and promised that it should be his first work on his return -if the delay were granted him; with this the messenger declared himself -satisfied. - -Mozart worked at his opera during the journey, making sketches in the -carriage, and working them out at the inn where they stopped for the -night. He must have intended the part of Sextus to be taken by a tenor, -for in two sketches of the duets with Vitellia (i) and Annius (3) Sextus -is a tenor, which of course necessitated a plan and treatment altogether -different. He cannot have received definite instructions as to the cast -of the opera until he was in Prague; but then he set to work with so -much ardour that in the course of eighteen days the opera was finished -and in rehearsal.[34] He called in the assistance of a young composer -named Franz Süssmayr, one of his pupils, who is said to have written the -secco recitatives; what makes this the more probable is the fact that in -the original score there is no secco recitative at all. But the further -assertion that Süssmayr composed the airs for Servilia, Annius, and -Publius, and arranged the instrumentation of some other pieces,[35] -is disproved by the existence of almost all the numbers in Mozart's -handwriting.[36] - -{FIRST PERFORMANCE OF "TITUS," 1791.} - -(289) - -The opera was performed with great magnificence[37] on September 6, -the coronation day, after the banquet, before the royal family and -an invited audience, in the National Theatre.[38] The cast was as -follows:--[See Page Image] - -The Empress is said to have expressed herself very disdainfully -concerning the "porcheria" of German music; and it is certain that -the first performance of "Titus" was far from being a success.[39] -Niemetschek is of opinion (p. 112) that the public were too excited -by the gorgeous coronation festivities to be disposed to listen to -the calmer beauties of Mozart's music. Mozart, accustomed to find -consolation for so much slighting indifference in the enthusiastic -applause of the Prague audiences, was thoroughly cast down by his -failure; the more so as he was unwell when he arrived, and his -indisposition had been increased by his extraordinary exertions. He was -continually taking medicine and looked pale and depressed, although, as -Niemetschek says, his gaiety shone forth bright as ever in the congenial -society of his Prague friends; at his parting from the familiar circle -he was so overcome as to shed tears.[40] - -{LABOUR AND POVERTY.} - -(290) - -If it be true that "Cosi fan Tutte" is in all essential points an -opera buffa, it is no less certain that "Titus" may take its stand as a -veritable opera seria. Metastasio wrote "La Clemenza di Tito" in 1734, -and it was performed with Caldara's music on the name-day of Charles -VI.; it was subsequently set to music by several distinguished -composers.[41] It is true that the public taste had so far altered that -it was scarcely feasible to present it in its original form; but the -improvements in the libretto, made by Caterino Mazzola, the Saxon court -poet,[42] did not affect the character of the opera in any important -degree. The principal change was the compression of the original three -acts into two, and the omission of a not very happy episode, in which -Annius, by a change of mantle, is taken for the guilty person. The -course of the plot is thereby simplified; but it would be impossible by -means of alterations to endow it with any lively dramatic interest. Nor -is it rich in good musical situations; of all the characters Vitellia is -the only one who displays the least passion; and the excessive amount -of virtue and generosity depicted affords no field either for musical or -dramatic interest. Further condensations were made of the numerous and, -for the most part, rhetorically sententious solo airs, and ensemble -movements were introduced at suitable points. This was accomplished -with all possible deference to the original design and to Metastasio's -verses, so that the character and colouring proper to a court festival -piece was well preserved.[43] The following is a brief abstract of the -plot:--(23); the duets (1, 3, 7), terzets (10, 14,18), the quintet (12), -sestet (26), and the chorus (15); they retain for the most part -Metastasio's ideas, and often his verses and turns of expression. - -{PLOT OF "TITUS."} - -(291) - -Vitellia, daughter of Vitellius, who has been deposed by Vespasian, -has nourished the hope of a union with Titus, but finding herself -disappointed, she wishes young Sextus, who is passionately in love with -her, to form a conspiracy against his friend Titus, and by his overthrow -to gain her hand. At the beginning of the opera she is urging her -wavering lover to action, when Annius brings the unexpected tidings that -Titus has banished his mistress Berenice from Rome. He entreats Sextus -to obtain the consent of Titus to his union with Servilia, the sister of -Sextus, who willingly promises his aid. After a magnificent assembly of -the people, in which the generosity of Titus is publicly displayed, the -Emperor himself demands from Sextus the hand of his sister Servilia; -Sextus is confused and silent, but Annius, by his generous praise of the -virtues and beauty of Servilia, strengthens the Emperor in his decision. -Servilia, however, informed by Annius of the honour in store for her, -assures him of her unalterable love, and, hastening to Titus, confesses -to him the whole truth, whereupon he generously resigns her, and unites -her to Annius. Vitellia, incensed to the highest degree by the proposed -elevation of Servilia, directs Sextus and his coconspirators to proceed -at once to action. He obeys, but has scarcely left her presence, when -Publius, leader of her body-guard, enters, and summons her to the palace -to bestow her hand upon Titus; she hastens to the palace in the utmost -dismay and consternation. There is a general encounter in front of -the capitol, which has been set on fire by the conspirators; great -excitement prevails, and turns to grief and horror at the tidings -brought by Sextus of the death of the Emperor, whom he believes himself -to have slain. - -In the second act, Sextus, a prey to remorse, confesses his guilt to -Annius, who counsels flight, and is supported by Vitellia with an eye -to her own safety; Publius enters and arrests Sextus on the testimony of -some imprisoned conspirators. At a meeting of the senators, who bewail -the death of Titus, the latter steps forth from among the people, throws -off the disguise in which he had saved himself, and is recognised amid -general rejoicings.[44] He knows that Sextus intended to assassinate -him, and has been condemned to death by the senate, but summoning him -to his presence, he offers him a free pardon in return for a full -confession. Sextus, unwilling to inculpate Vitellia, maintains an -obstinate silence, and Titus finally ratifies the sentence of death. -Vitellia yields to the entreaties of Servilia to intercede with the -Emperor for Sextus, renounces her hopes, and resolves to save him by -confessing her own guilt. All being prepared in the amphitheatre for the -execution of Sextus, it is about to take place, when Vitellia rushes in, -and denounces herself as the originator of the revolt; Titus pardons her -a well as Sextus and the conspirators; all present extol his clemency. - -{LABOUR AND POVERTY.} - -(292) - -Both the plot and the characters are absolutely devoid of dramatic -interest. The abstract goodness of Titus, who is ready on every occasion -to pardon and to yield, rouses no sympathy,[45] and is dramatically -mischievous in its effects, since it destroys any sort of suspense. -Publius, Annius and Servilia are mere props in the plot, characters -without any individuality. Sextus is a purely passive instrument, -wavering between love and remorse, without force or decision. We should -sympathise with him if his love for Vitellia were returned, and if a -healthy passion gave an impulse to his crime; but his weakness, which -prevents his being aware that he is only the instrument of her selfish -passion, deprives him of all sympathy, while Vitellia repels us by her -barefaced ambition, to which she is ready to sacrifice every sentiment -and every duty; her remorse comes too late to appear anything but -a dissonance leading to the inevitable conclusion of the plot. This -internal weakness in the characters is emphasised by Metastasio's -poetical treatment of the plot. His dainty style was specially suited -for court poetry and its corresponding musical expression, and his -dexterity in the handling of the accepted forms of composition made his -task a comparatively easy one. But even without taking into account -the revolution which had taken place in the drama, we may judge from -"Figaro" and "Don Giovanni" that what in Metastasio's time was of -advantage to the composer had now become fetters binding him to forms -and dogmas which were virtually obsolete. We find traces throughout of -the opera seria, which Mozart had abandoned long ago, but which he was -constrained here to resume. Metastasio's graceful daintiness of style, -too, was even more injurious in the taste it encouraged for mere -amusement of the trifling kind that was looked for at the opera at that -time, giving an unseemly effeminacy of tone to the opera seria, and -running an equal risk of degenerating into mere trifling or empty -pomp and show. If, in addition to this, it be remembered that Mozart's -express directions were to compose an occasional, a festival opera, for -which two singers had - -{TITUS OVERTURE--ENSEMBLES.} - -(293) - -been summoned from Italy, and would demand to be shown at their best, -and that he composed the opera against time, and struggling with -illness, it will scarcely be expected that an unqualified success should -follow such a combination of untoward circumstances. The character of -a brilliant festal piece is at once suggested by the overture, which -begins appropriately by a solemn intrada, with a long-drawn climax. -The first bars recall the overture to "Idomeneo," which, however, in -earnestness and dignity of tone, and originality of invention, far -surpasses that to "Titus." The second theme so announced falls short of -expectation, being weak and trifling,[46] and even the subject selected -for harmonic contrapuntal treatment--[See Page Image] skilful and -brilliant as the treatment is, has in itself no special interest, -so that when the prelude recurs to form an effective conclusion, the -principal impression remaining is one of brilliant display. - -The march (4) and the choruses (5, 24) as well as the finale (26) -_Sestetto con coro_, in which short solo passages alternate with the -chorus, maintain this festive character. They are brilliant and flowing, -pleasing and melodious, and answer for their purpose and the situation -without laying claim to original invention or characterisation. Only the -chorus with which Titus is received before he pronounces judgment upon -Sextus (24) has a fine expression of solemn dignity, suggested not so -much by the words, which are trivial enough, as by the character of the -situation. It was a happy touch to make the chorus, after the unexpected -deliverance of Titus (15), express delight, not with jubilant outcries, -but with the suppressed joy of bewildered amazement. Nevertheless this -chorus is too light and fugitive for the situation. - -{LABOUR AND POVERTY.} - -(294) - -The tenor part of Titus displays most clearly the influence of the old -opera seria, Metastasio's words, consisting of general axioms, being -retained for all his three airs (6, 8, 20). The two first are short and -melodious, but not deeply suggestive;[47] the last retains the old -aria form with a long middle movement and return to the first allegro, -together with bravura passages quite in the old style. The report that -the tenor Baglione found that Mozart and not an Italian composer -had been engaged to write the opera, and that they quarrelled in -consequence,[48] is the more improbable since Baglione was the same -singer for whom Mozart had written Don Ottavio. - -Servilia's air (2) indicated, after the old style, with tempo di -menuetto, the two airs for Annius (13, 17)[49] and that for Publius -(16), are all both in design and treatment proper to secondary parts, -without musical significance or individual characterisation. The main -weight, therefore, fell according to custom upon the two prime donne, -who played Sextus and Vitellia. The fact that the parts of the lovers, -Sextus and Annius, were soprano, was an objectionable relic of the old -opera seria, and that Sextus should have been played by a female and -not a male soprano was a progress indeed for humanity, but not for the -drama. True characterisation is impossible when a woman in man's clothes -plays the lover, and the case is not improved by the weak, womanish -character of Sextus. His passion for Vitellia becomes a thing contrary -to nature, and the deeper the dramatic conception of the part the more -repulsively does this appear. Of necessity, therefore, vocal execution -comes to the foreground. The first air of Sextus, "Parto I" (9), fails -at once in dramatic interest from his having already repeatedly assured -Vitellia of his blind obedience, if she will only bestow upon - -{TITUS--SEXTUS.} - -(295) - -him one glance of love. The musical design and working-out are those of -a grand bravura air. Tenderness, tinged with only an occasional dash of -heroism, prevails throughout the two movements (adagio 3-4 and allegro -4-4). An obbligato clarinet goes with the voice, and the strictly -concertante treatment of this instrument gives its chief interest to -the musical working-out of the song. Considered as a concert air -which treats the given situation only as a general foundation for -the development of musical forces, it is of extraordinary beauty, the -melodies being noble and expressive, the sound-effects of the voice and -clarinet admirable, and the only concessions to brilliancy of effect the -triplet passages and the long-drawn-out conclusion. - -The second air (19) is more definitely characterised by the situation. -Sextus, having with difficulty withstood Titus's friendly entreaties, -is overpowered by his feelings when the Emperor turns coldly away, and -leaves him to be led to death. This air is also in two movements; Sextus -expresses his grief for the loss of Titus's confidence in an adagio, and -his despair at the death awaiting him in an allegro. Metastasio's text -expressed only the latter feeling, and Mazzola formed the first part -of the air out of the words of the dialogue.[50] The expression of the -first movement is fervent and true, and the softness characterising -it belongs to the character and the situation; the second movement -expresses a certain amount of passion in some parts, but is as a whole -wanting in energy, and its chief motif, even for a female Sextus, is -too soft and tender. Schaul adduces as a proof of Mozart's frequent sins -against good sense that Sextus, tortured by remorse, should express -his agony to Titus in a rondo.[51] "If it were a rondo by Pleyel or -Clementi," remarks C. M. von Weber in answer,[52] "it might indeed -produce a ludicrous effect; but let the critic only note the heartfelt -fervour of the song, the depth and beauty of expression in such places -as 'pur saresti men - -{LABOUR AND POVERTY.} - -(296) - -severo, se vedesti questo cor, and all such petty fault-finding will -cease to be heard." Mozart had originally sketched another allegro, -the first bars of which, still existing in autograph, are rather more -decided in character:--[See Page Image] - -The page ends here, and the present allegro is begun on a fresh one; -it cannot be determined whether the first allegro was finished or only -commenced, but in any case the instrumentation was not worked out. - -Vitellia is the only character in the opera displaying anything like -passion or strength of feeling. The singer Maria Marchetti (b. 1767), -married to the tenor Fantozzi in 1788, had acquired great renown in -Italy and Milan, whence she was summoned to Prague; she possessed a -fine, full voice, and excellent execution and action, enhanced by a -pleasing exterior and dignified bearing.[53] In her first air (2) there -is indeed no passion, Metastasio's words, consisting of frigid -moral observations, scarcely allowing of any characteristic musical -expression. The air is divided into the traditional two movements, -neither of them distinguished by originality, - -{TITUS--VITELLIA.} - -(297) - -and even the bravura part is insignificant; the whole effect is so dry -and commonplace as involuntarily to suggest Süssmayr. Vitellia's -second air, on the contrary (22, 23), is the gem of the opera, and -incontestably one of the most beautiful songs ever written. At the -decisive moment Vitellia rises to the resolution of renouncing her -dearest hopes, of sacrificing her very life to the nobler instincts -of her soul, which have too long been made to yield to her ambitious -striving after false greatness. - -The musical characterisation grasps this situation, and develops from it -a psychological picture complete in itself, and only loosely connected -with the earlier conception of Vitellia's character in the opera. The -song seems thus to be detached from the framework of the opera, and -to belong rather to the province of concert music. This idea is -strengthened by the design, treatment, and compass of the two movements, -as well as by the introduction of the obbligato basset-horn, which -is treated so as to accord with the voice part, without any brilliant -bravura.[54] Every element of the song is blended into such perfect -unity, such charm of melody, such beauty of musical form; the sharp -contrasts of the different motifs are so admirably expressive of the -general character of which they form the details, and the whole work is -so permeated by the breath of poetic genius, that our satisfaction in -contemplating a perfect work of art leads us to forget how it stands -forth as something foreign to the context. - -Even the introductory recitative is a masterpiece of telling expression, -and in the air itself the noble beauty of the different motifs is tinged -with a sadness amounting to gloom, but so sublime as to inspire the same -emotions with which we gaze at the Niobe. The ensembles with which the -opera is provided are only in part of any dramatic significance, and -where this is wanting the musical interest also suffers; the duets -especially are not important either in length or - -{LABOUR AND POVERTY.} - -(298) - -substance. Passing over the duettino (3) between Sextus and Annius, -which became popular owing to its easy and pleasing tone, but which in -no way corresponds to the character of an heroic opera, we may notice -the first duet between Sextus and Vitellia as better defined, especially -in the first movement; although even here the wish to attract is very -apparent, and gains quite the upper hand in the triplet passages and -easy imitations of the allegro. An expression of tender feeling is -more appropriate to the short duet between Annius and Servilia, and the -loveliness of the music makes up for the absence of tragic seriousness. - -The three terzets are better placed, and more suitable to their dramatic -situations, but even they fail to elicit dramatic contrasts by giving to -each character an equal and characteristic share in the piece. Thus, in -the first terzet, Vitellia alone is inspired with lively emotion, Annius -and Publius being mere passive spectators. It is at the moment When she -has dispatched Sextus to the murder of Titus that she is informed of the -Emperor's choice of her as his consort; in vain she strives to recall -Sextus, she feels that she herself is the destroyer of her happiness. -An agitated violin passage, with rapid changes of harmony intensified -by suspensions, expresses the excitement and consternation to which she -gives vent in detached and broken exclamations; but the calm observation -of the two others-- - - Ah, come un gran contento, - Come confonde un cor!-- - -chills the expression of Vitellia's emotion, so that the combination -of the voices, instead of producing a climax as it ought, weakens the -passion of the movement and prevents its rising to more than a -momentary prominence. The second terzet (14) was suggested by an air -of Metastasio, "Se mai senti spirarti sul volto," which was a favourite -subject with the old composers.[55] It begins with the tender - -{TITUS--ENSEMBLES.} - -(299) - -farewell of Sextus to Vitellia, stricken with shame and dismay. This -contrast would have made an excellent opportunity for musical effect if -Publius had supplied the connecting link by the addition of a new and -important element in the situation; instead of this, he remains a mere -passive spectator, and does not increase the pathos of the situation at -all. Sextus gives the tone here, as Vitellia in the previous terzet, and -the tender softness of his farewell scarcely allows expression to the -true significance of the situation; otherwise, however, this terzet is -superior to the first in the freer development of the voice parts.'" The -third terzet (18) has a beautiful and expressive first movement, but its -second movement is too slight in design and too little worked out for -its situation. - -The opera contains one movement, however, altogether worthy of Mozart, -and this is the first finale. It is true that even this is far from -possessing the greatness of design or the wealth of elaboration of the -finales of the earlier operas; it does not pretend to be more than a -representation of the situation; but it is earnest and weighty in -tone, and possesses features of unsurpassed loveliness. The finale is -introduced by a soliloquy for Sextus, in which he pours out the doubt -and self-reproach which torture his mind; an unaccompanied recitative -expresses this condition with an amount of truth and energy elsewhere -entirely wanting to the part of Sextus. When he sees the capitol in -flames, and is convinced that his repentance comes too late, he becomes -more collected, and the quintet begins with his finely expressed wish -to save Titus or to die with him; then he has to evade the questions of -Annius, who hurries in full of sympathy--Servilia, Publius, and Vitellia -enter in quick succession, full of anxiety and horror; a characteristic -orchestral motif gives the clue to the development of the movement, and -the separate exclamations of the invisible chorus interposed in rising, -dissonant chords, form the pivots on which the progressive harmonies -turn; the re-entry of Sextus brings the symmetrically constructed -movement to a close. A short recitative, in which Sextus announces the -assassination of Titus, leads into the andante, which ends - -{LABOUR AND POVERTY.} - -(300) - -the finale. All present are united in one feeling of sorrow and horror -at the crime which has been committed, and the chorus has approached -near enough to join in lamentation with the solo voices; the impression -thus produced is dignified and beautiful in the extreme. Here we may -perceive to what a height opera seria was capable of rising by a liberal -development of its original elements; but unfortunately this movement -is the only one of the kind in "Titus." A backward glance of comparison -upon "Idomeneo"[56] results to the advantage of the earlier opera in -many and important points. It is true that the conventional forms of -the opera seria are there more strictly preserved, but a fresh vigorous -effort is at the same time made to give them meaning and substance, -and pass their narrow bounds wherever possible,. while in "Titus" the -composer has been content to compromise the matter by preserving the -semblance of form, but no more. Thus forms intended to be largely -treated, such as the division into two movements, are often so lightly -and vaguely treated as to lose all dramatic interest, and still more -marked is the tendency of the tragic and serious conception of the opera -to degenerate into mere pleasing gracefulness. The advantages of the -later work in a freer and easier flow of melody, in a more mature and -cultivated taste, were more than counterbalanced by the loss of -depth and force of musical construction, a loss which is all the more -perceptible from the grandeur of the background afforded by a subject -taken from the Roman imperial age, which even in Metas-tasio's -adaptation was not wholly obscured, and under happier circumstances -would have sufficed to inspire Mozart to a nobler creation. The -treatment of the orchestra is indicative of the whole tone of the opera, -displaying occasionally the full splendour with which Mozart has endowed -it, and raising and supporting the musical representation wherever it -attains to dramatic significance, but for the most part not going beyond -an easy accompaniment of the voices. - -{CRITICISMS ON "TITUS."} - -(301) - -In brilliancy and delicacy of orchestral treatment "Titus" can sustain -no comparison with "Idomeneo," or even with "Cosi fan Tutte." - -Opinions on this opera were widely diverse. According to Niemetschek -(p. 111) "Titus" ranks from an aesthetic and artistic point of view as -Mozart's most perfect work:-- - -Mozart mentally grasped the simplicity, the quiet dignity of the -character of Titus and of the whole plot, and embodied them in his -composition. Every part, even the very moderate instrumental parts, bear -this stamp, and combine into perfect unity. - -He is of opinion that full maturity of taste is nowhere more finely -displayed than in this opera (p. 105), which is also the best example of -Mozart's admirable dramatic characterisation (p. 72). An article showing -the shortcomings of Metastasio's libretto praises the excellence of the -musical characterisation which endows Titus with the character of gentle -amiability, Vitellia with force and dignified purity, and the friendship -between Sextus and Annius with quite an ideal tenderness.[57] Schaul, on -the contrary (Brief üb. d. Gesch-mack, p. 59), maintains that with the -exception of a few pieces the opera is so dry and tiresome that it might -rather be taken for the first attempt of budding talent than for -the product of a mature mind. He quotes the criticism of an Italian, -considered one of the best judges in Naples, that flashes of genius -shone out here and there in the more serious airs, which showed what -Mozart would have been capable of under happier guidance. "Titus" was -criticised in Berlin, in 1796, with the greatest harshness and -severity in two articles which excited indignation on account of -their disrespectful tone, although the blame bestowed was not without -foundation.[58] With a juster regard to circumstances Rochlitz -says:[59]-- - -{DIE ZAUBERFLÖTE.} - -(302) - -Being only human, he was constrained either to produce an altogether -mediocre work, or one of which the principal movements were very good, -and the minor ones light and easy, and suited to the taste of the -multitude; with right judgment he chose the latter. - -It was perhaps this accommodation of the music to the taste of the -public, and the concessions made to the popular love of gorgeous scenery -and spectacular effects, which gained for "Titus" an enduring place on -the German stage, although it was never received with the same favour as -"Don Giovanni," "Figaro," and the "Zauberflöte." The opera was -produced for the first time in London in 1806 for the benefit of Madame -Billington, being the first of Mozart's operas performed in England;[60] -it was given successfully in Paris in 1816,[61] and in Milan at the -Teatro Rè in the following year.[62] - - - -FOOTNOTES OF CHAPTER XLII. - -[Footnote 1: Mus. Corresp., 1790, p. 30.] - -[Footnote 2: Mus. Wochenbl., p. 15. Cf. Lange, Selbstbiogr., p. 167.] - -[Footnote 3: Muller, Abschied, p. 286.] - -[Footnote 4: Da Ponte, Mem., I., 2, p. 114.] - -[Footnote 5: Mosel, Salieri, p. 138. Mus. Wochenbl., p. 62. Leopold's most severe -remarks upon Salieri are quoted by Da Ponte (Mem., II., p. 135): -"So tutte le sue cabale e so quelle della Cavalieri. É un egoista -insopportabile, che non vorrebbe che piacessero nel mio teatro che le -sue opere e la sua bella; egli non è solo nemico vostro, ma lo è di -tutti i maestri di capella, di tutte le cantanti."] - -[Footnote 6: An official table was published, showing that during the King's stay -in the imperial dominions, from September 3,1790, to March 18,1791, he -followed the chase thirty-seven times, and himself shot 4,110 head of -game (Wien. Ztg., 1791, No. 29).] - -[Footnote 7: Wien. Ztg., 1790, No. 75, Anh.] - -[Footnote 8: Mus. Corresp., 1790, p. 145. Griesinger, Biogr. Not., p. 36.] - -[Footnote 9: Mus. Corresp., 1790, p. 146. Mosel, Salieri, p. 138.] - -[Footnote 10: Wahl-und Krönungs-Diarium, 2 Anh., p. 5.] - -[Footnote 11: In the Councillors and Deputy-Councillor's Register for the -imperial town of Frankfort on the election and coronation of the Emperor -Leopold II., is the following entry (p. 400): "Mittwoch, 13 October, -1790. Als vorkame, dass der Kayseri. Conzert-Meister Mozart um die -Erlaubniss nachsuche Morgen Vor-mittag im Stadtschauspielhaus ein -Concert geben zu dörfen: sol le man ohne Consequenz auf andere Falle -hierunter willfahren." I am indebted for this, as for other information, -to my friend W. Speyer.] - -[Footnote 12: Lewezow, Leben und Kunst der Frau Schick, p. 14.] - -[Footnote 13: Lipowsky, Baier. Mus. Lex., p. 16.] - -[Footnote 14: Breslau Ztg., 1855, No. 240, p. 1366.] - -[Footnote 15: Nohl, Musik. Skizzenb., p. 190.] - -[Footnote 16: Koffka, Iffland und Dalberg, p. 185.] - -[Footnote 17: So it is stated in the Kurfürsl. gnädigst privil., Münchner -Wochen-und Anzeigeblatt, 1790, No. 44.] - -[Footnote 18: According to the Kurfürstl. gnädigst privil. Münchner Ztg., 1790, -Nos. 173-175, the arrival of the King of Naples, on November 4, was -celebrated by a court gala and concert, and on the following day by a -court hunt, and a theatrical performance and supper.] - -[Footnote 19: The story rests on the authority of Tonerl herself, now Frau -Haradauer of Graz (Wien. Fremdenbl., January 22, 1856).] - -[Footnote 20: At this place he had a performance of "Count Waltron" upon the -ramparts, in a camp of 200 tents (Wien. Ztg., 1782, No. 68).] - -[Footnote 21: Berliner Litt. u. Theat. Ztg., 1783, I., p. 94.] - -[Footnote 22: Wien. Ztg., 1784, No. 102, Anh.] - -[Footnote 23: Müller, Abschied, p. 273. Berl. Litt. und Theat. Ztg., 1785, I., p. -304.] - -[Footnote 24: Mettenleiter, Musikgesch. d. Stadt Regensburg, p. 265.] - -[Footnote 25: Hormayr, Wien., VI., p. 75. Castelli, Memoiren, I., p. 46.] - -[Footnote 26: Journal der Moden, 1790, p. 149. Theaterkal., 1789, p. 202. Cf. -Varn-hagen, Denkw., VIII., p. 57.] - -[Footnote 27: Seyfried gives this description, which can scarcely be exaggerated, -since it has an apologetic tendency (N. Zeitschr. fur Mus., XII., p. -380). Schikaneder died in poverty, and insane, 1812 (Südd. Mus. Ztg., -1860, p. 21).] - -[Footnote 28: Treitschke gives many particulars of the composition and first -performance of the "Zauberflöte" (Orpheus, Mus. Taschenb., 1841, p. 242) -in the Illustr. Familienbuch des österr. Lloyd (1852, II., p. xig), and -in the Monatsschrift fur Theater und Musik (September 1857, p. 444); -valuable old traditions are paixed with demonstrable falsehoods.] - -[Footnote 29: Allg. Wiener Mus. Ztg., 1841, p. 128.] - -[Footnote 30: C. F. Becker, N. Ztschr. fur Mus., XII., p. 112.] - -[Footnote 31: Da Ponte, Mem., I., 2, p. 124.] - -[Footnote 32: The story of the Requiem is familiar in all its details, and has -been deprived of every trace of mystery or uncertainty. Niemetschek's -simple account (p. 40), and Rochlitz's more highly coloured one (A. M. -Z., I., pp. 149, 177), are both founded on statements by Frau Mozart. -Full light has been thrown on the other side by the communications of -the musicians J. Zawrzel (André, Vorber. zu Mozarts Requiem, Cäcilia, -VI., p. 212), Krüchten (Cäcilia, VI., p. 217), Herzog (Köchel, -Recensionen, 1854, No. 48, p. 753), who were all acquainted with Count -Walsegg, and are trustworthy on the whole, although they differ from -each other in matters of detail. Some facts, which it was thought -unadvisable to publish, were vouched for to me in Vienna by A. Schmid -and Al. Fuchs.] - -[Footnote 33: Niemetschek (p. 52) saw a short note from the Unknown, in which -Mozart is urged to send the Requiem, and to name a sum for which he -would undertake to supply annually a certain number of quartets.] - -[Footnote 34: The entry in the Autograph Catalogue is as follows: "September 5 -(performed in Prague, September 6), La Clemenza di Tito, opera seria in -due atti, per I' incoronazione di sua Maestà l' imperatore Leopoldo II., -ridotta a vera opera dal Sgre Mazzoli, poeta di sua A. S. l' Elettore di -Sassonia--24 pezzi." (In the printed score there are twenty-six pieces, -not counting the overture; but the obbligato recitatives are counted -separately here, and not in the original score.)] - -[Footnote 35: Seyfried, Càcilia, IV., p. 295.] - -[Footnote 36: Nothing is omitted but the duettino (3) (which, however, is -included in "A Revised Copy of Mozart's Original," by Abbe Stadler) and -the accompanied recitative (25).] - -[Footnote 37: The first three scenes were by P. Travaglia, in the service of -Prince Ester-hazy, the fourth was by Preising of Coblenz, and the -costumes were by Chérubin Babbini of Mantua.] - -[Footnote 38: J. Debrois, Urkunde uber die Krönung Sr. Maj. des Königs von -Bohmen, Leopolds II., p. no.] - -[Footnote 39: Musik. Wochenbl., pp. 70, 94.] - -[Footnote 40: According to an anecdote in the Bohemia (1856, No. 23, p. 122) -there was in Prague an old harpist named Hoffman, a familiar figure in -every coffee-house. Mozart had him up in his room when he was living at -the "Neuwirthshaus" (now "Der goldene Engel"), and played an air to him -on the pianoforte, desiring him to improvise variations upon it. This he -did, to Mozart's satisfaction. Ever after, this theme was the show-piece -of the harpist, and he would never play it except by special desire; -then he would go off into reminiscences of Mozart, and nothing would -shake his firm persuasion that the great man must be a native of -Bohemia.] - -[Footnote 41: It was composed, among others, by Leon. Leo, 1735; by Hasse, 1737; -by Jomelli; by Perez, 1749; by Gluck, 1751; by Jos. Scarlatti, 1760; by -Nau-mann, 1769.] - -[Footnote 42: It would be ascribing to Mozart a merit to which he has no claim -to credit him with the reconstruction of the libretto (A. M. Z., I., p. -151. Cäcilia, XX., p. 191).] - -[Footnote 43: The numbers taken unaltered from Metastasio are: 2,5, 6, 8, -9,11,16, 20, 21, 25, and the obbligato recitatives, n, 17, 22, 24. Those -for which new words were written are the songs for Annius (13, 17), for -Sextus (19), and for Vitellia] - -[Footnote 44: This scene is all Mazzola's invention, but it does not form one of -the longer ensemble movements.] - -[Footnote 45: Zelter, Briefw. m. Goethe, III., p. 26.] - -[Footnote 46: Curiously enough this very motif has become a type for a long list -of overtures and symphonies by Mozart's immediate successors, and -may even be recognised in Beethoven's first symphony and Prometheus -overture.] - -[Footnote 47: The second air (8) is apparently of later composition, for it is -not included in the consecutive numbering, and the score is written -on the same paper as the march (3), the obbligato recitative, and the -overture, all composed after the completion of the other pieces, which -are written on one kind of paper.] - -[Footnote 48: Seyfried, Càcilia, XX., p. 193.] - -[Footnote 49: The second air (17), with Mazzola's words, was inserted -subsequently, and numbered 13 1/2.] - -[Footnote 50: The ritomello is added on a separate page by a copyist; so is -the concluding ritornello. Probably the air originally passed into an -accompanied recitative for Titus, which is not preserved.] - -[Footnote 51: Schaul, Briefe üb. d. Geschmack, p. 51.] - -[Footnote 52: C. M. von Weber, Lebensbild, III., p. 4.] - -[Footnote 53: Gerber, N. Lex., II., p. 75. Cf. A. M. Z., IV., p. 318. Reichardt, -Mus. Ztg., 1805, I., p. 112. In a notice from Berlin of the year 1799 it -is described as a caricature (A. M. Z., I., p. 348).] - -[Footnote 54: The fact that the clarinet and basset-horn alone were employed as -obbligato instruments, and that with an evident supposition of great -proficiency, would lead to the inference that Stadler had come to Prague -for the coronation.] - -[Footnote 55: A striking organ point in Gluck's composition gave rise to much -debate; he employed it afterwards in "Iphigenie en Tauride," in the last -air of the second act (Schmid, Gluck, pp. 48, 353).] - -[Footnote 56: The alleged reminiscence in the first finale in "Titus" of the -great scene in "Idomeneo" (24) (A. M. Z., I., pp. 54, 152) is not -supported by a closer examination.] - -[Footnote 57: A. M. Z., IV., p. 822.] - -[Footnote 58: Deutschland, I., p. 269; II., p. 363. Reichardt, to whom this -article was ascribed (Mus. Ztg., 1805, I., p. 6), declared that the -criticism on Mozart's arrangement of the "Messiah," which had been -attributed to Reichardt, was no more by him than many other reviews of -Mozart's works for which he had been attacked during many years past -with great acrimony.] - -[Footnote 59: A. M. Z., I., p. 154.] - -[Footnote 60: Reichardt, Mus. Ztg., II., p. 123. Parke, Mus. Mem., II., p. 3. -Pohl, Mozart u. Haydn in London, p. 145.] - -[Footnote 61: A. M. Z., XVIII., p. 463.] - -[Footnote 62: A. M. Z., XIX., pp. 174, 190.] - -=== - - - - -MOZART 43 - -BY DAVID WIDGER - - - -CHAPTER XLIII. "DIE ZAUBERFLÖTE" - -DISAPPOINTED and suffering, Mozart returned to Vienna in the middle of -September. While his wife again repaired to Baden, he divided his time -between the labours involved in the completion and scenic arrangements -of the "Zauberflöte" (620 K.) and the Requiem. The chorus "O Isis und -Osiris," Papageno's song, which Schikaneder had stipulated for, and -the second finale, must have been written after September 12;[1] on -September 28 he completed the overture and the march which formed -the introduction to the second act. After many rehearsals under the -conductorship of the Kapellmeister Henneberg, then still a very - -{DRAMATIS PERSONÆ.} - -(303) - -young man, the first performance took place on September 30. Mozart -conducted at the piano, and Süssmayr turned over for him. The playbill -ran as follows:[2]--[See Page Image] - -This day, Friday, September 30, 1791, the Company of the Imperial -Theatre auf der Wieden have the honour of performing for the first time -Die Zauberflöte. - -Grand Opera in Two Acts, by Emanuel Schikaneder. - -The music is by Herr Wolfgang Amade Mozart, Capellmeister and Imperial -Chamber Composer. Esteem for an appreciative public and friendship -for the author of the work have induced Herr Mozart to consent on this -occasion to conduct the orchestra in person.[3] - -Books of the opera, with two copper-plate engravings, representing -Herr Schikaneder in his actual costume as Papageno, may be had at the -box-office, price thirty kreutzers. - -The scenery and stage accessories have been intrusted to Herr Gayl and -Herr Nessthaler, who flatter themselves that they have performed their -task with all due regard to the artistic requirements of the piece. - -{DIE ZAUBERFLÖTE.} - -(304) - -The success was not at first so great as had been expected, and after -the first act Mozart rushed, pale and excited, behind the scenes to -Schikaneder, who endeavoured to console him. In the course of the second -act the audience recovered from the first shock of surprise, and at the -close of the opera Mozart was recalled. He had hidden himself, and when -he was found could with difficulty be persuaded to appear before the -audience, not certainly from bashfulness, for he was used by this time -to brilliant successes, but because he was not satisfied with the way in -which his music had been received. The story that Haydn consoled Mozart -by his approbation is untrue,[4] for he was in London at the time. But -Schenck relates in his manuscript autobiography that he had a place in -the orchestra at the first performance, and that after the overture, -unable to contain his delight, he crept along to the conductor's stool, -seized Mozart's hand and kissed it; Mozart, still beating time with his -right hand, looked at him with a smile, and stroked his cheek. At -the second performance on the following day he again conducted, but -afterwards resigned the conductorship to Henneberg. On October 9 notice -was sent to Berlin:-- - -The new spectacular drama, "Die Zauberflöte," with music by our -kapellmeister, Mozart, has been performed at great expense and with much -magnificence of scenery, &c.; but it has not attained the success -hoped for, owing to the inferiority of the subject and diction of the -piece.[5] - -Schikaneder, however, persevered, and with every repetition the applause -increased; Mozart's pleasure thereat, and more especially at the -approbation expressed by Salieri and Cavalieri, may be gathered from his -letters to his wife. The "Zauberflöte" soon became the most popular of -operas. It was performed twenty-four times in October; on November 23, -1792, Schikaneder announced the hundredth, and on October 22,1795, the -two hundredth performance of the opera.[6] - -{DIE ZAUBERFLÖTE.} - -(305) - -Schikaneder[7] had long varied his favourite farcical pieces by the -production of operas, either adaptations of earlier ones or works -expressly composed for him,[8] and in 1791 he had achieved a great -success with the romantic-comic opera "Oberon, König der Elfen," adapted -by Gieseke from Wieland, and composed by Wranitzky (1756-1808).[9] -The brilliant appointments of scenery, costume, and machinery, and the -satisfaction with which the dramatisation of Wie-land's universally -popular poem was viewed by the public, heightened the interest in the -opera to a degree far beyond the deserts of the light and popular music. -It was first performed in Frankfort during the coronation festivities -in 1790, and, rapidly spreading over the whole German stage, shared, and -for a short time rivalled, the popularity of the "Zauberflöte."[10] In -order to assure himself of a repetition of this success, Schikaneder -selected as a subject for his new opera the tale of Lulu, oder die -Zauberflöte, from Wieland's Dschinnistan.[11] The story is briefly as -follows:-- - -In the kingdom of Chorassan there dwelt in an old magician's castle -the good fairy Perifirime, called the "radiant fairy." Hunting in the -neighbourhood, Prince Lulu, son of the King of Chorassan, enters the -usually avoided castle, and the fairy, appearing to him in her full -radiance, promises him rich reward if he will obey her behests. She -discloses to him that the wicked magician Dilsenghuin, with the help of -her faithless - -{DIE ZAUBERFLÖTE.} - -(306) - -attendant Barsine, has deprived her of her precious talisman, a golden -fire-steel, which is obeyed by the spirits of the elements and of all -earthly regions, every spark struck from it becoming a powerful spirit, -subject to the possessor; none but a youth whose heart is as yet -untouched by love can regain the talisman for her by stratagem. She -designates Lulu as her deliverer, and promises him the best gift that -she has if he will undertake the task. This is none other than the -beautiful Sidi, daughter of Perifirime and Sabalem, King of Cashmere, -whom the magician keeps in his power, making tender advances to her -which she is only able to resist owing to her magic power of repelling -attacks so long as her heart is untouched by love. The fairy dispatches -Lulu with two magic gifts--a flute which has the power of winning all -hearts, and of exciting and appeasing every passion at will; and a ring, -by turning which the wearer can assume any form, and by throwing it away -can summon the fairy herself to his aid. - -Thus provided, Lulu approaches the magician's stronghold in the form of -an old man, and by his flute-playing entices first the forest beasts, -and then the magician, who takes him into the fortress to try his art -upon the obdurate beauty. Lulu gains the confidence of the magician and -his son, with Barsine and the dwarf Barka; the love of the beautiful -Sidi is also soon his. He succeeds in throwing the magician and his -companions into a deep sleep during a banquet, and possesses himself of -the talisman. By the aid of the genü now subject to him, and finally by -the appearance of the fairy, he overcomes all the dangers and obstacles -prepared for him by the magician, who is finally changed into an owi, -and flies away with his son, similarly transformed. The fairy -destroys the fortress and carries the lovers to her castle upon her -cloud-chariot; there the Kings of Chorassan and Cashmere bless their -union.[12] - -This story was treated as follows in Schikaneder's opera:-- - -The "Japanese" Prince, Tamino, while hunting, is pursued by a great -serpent, and falls in a swoon; three ladies of the Queen of Night slay -the monster.. On the awaking of the Prince there enters the bird-catcher -Papageno, the comic character of the opera, contrasting in the -traditional manner with the grave heroic lover (who does not, -however, display any great daring here). Papageno is a good-tempered, -pleasure-loving, loquacious poltroon, whose feather costume is a sort -of reminiscence of Schikaneder's bird comedies. He gives himself out to -Tamino as the slayer of the dragon, but is punished for his boasting by -the veiled ladies, who reappear and fasten up his mouth with a padlock, -at the same time presenting the Prince with the portrait of a beautiful -damsel, of whom he instantly becomes deeply enamoured. Hearing that the -original of the portrait is Pamina, daughter of the Queen of - -{THE LIBRETTO-RIVAL THEATRES.} - -(307) - -Night, and that she has been carried away by a wicked demon, he swears -to free her from the power of the enemy, whereupon the Queen herself -appears and promises him the hand of her daughter as the reward of his -success. The ladies then command Papageno, from whose mouth they remove -the padlock, to accompany Tamino to the castle of the magician Sarastro, -which he is reluctantly obliged to do. They provide Tamino with a magic -flute, Papageno with a chime of bells, and promise that "three boys, -young, beautiful, pure, and wise," shall hover round them as guides.[13] - -In Sarastro's castle Pamina, who has endeavoured by flight to escape -the hated advances of her jailer and tormentor, the Moor Monostatos, has -been recaptured and is kept in bondage. Papageno makes good his entry; -he and the Moor are mutually alarmed at each other's appearance, and run -away in opposite directions. Papageno, venturing in again, finds Pamina -alone, and acquainting her with Prince Tamino's commission from her -mother to liberate her, they hasten to seek for him together. - -So far the original story has been followed in its essential parts. The -modifications which have been made in the characters and situations to -enhance the dramatic interest are such as would occur naturally in the -development of the story. But when Schikaneder had proceeded thus far -in his adaptation he learnt that an opera founded on the same story was -finished and about to be produced at the Leopold-stàdter Theatre, which -often placed itself in competition with his. - -It was in 1781 that Marinelli opened his newly erected theatre in the -Leopoldstadt.[14] He produced operas, among which the "Sonnenfest der -Braminen" had a great run, and after the brief span of popularity which -German opera had enjoyed at the National Theatre, the suburban theatre -became a formidable and finally a successful rival. But the proper -element of this theatre was in popular farces. The comic actor Laroche -had created the part of Kasperl, the direct descendant of Hanswurst, -and the people were never tired of seeing him play his coarse tricks and -antics in the most widely different situations. It had been the custom -to bring Hanswurst into contact with witches and magicians, - -{DIE ZAUBERFLÖTE.} - -(308) - -and Kasperl was consequently introduced to the same society, with some -differences in colouring, due to French taste and to the Eastern fairy -tales disseminated mainly by Wieland. Popular songs played their part in -these "Kasperliads," and out of modest vaudevilles, such as "Kasperl's -Ehrentag," a fairy tale by Hensler (1789), in which the music was -confined to some short choruses and an accompaniment to the supernatural -apparitions, arose gradually comic magic operas. The Leopoldstàdter -Theatre had possessed since 1786 a fruitful composer in Wenzel -Müller,[15] whose place as a comic popular musician was somewhat -similar to that of Laroche as an actor. On May 3, 1791, "Kasper der -Vogelkràmer," by Hensler, was performed with his music, followed on -June 8 by "Kasper der Fagottist, oder die Zauberzither," a vaudeville in -three acts, the words adapted from "Lulu" by Joach. Permet.[16] The piece -follows the plot of the original pretty closely, and the dialogue is as -far as possible verbally transcribed; nevertheless the whole effect is -that of a travesty, and the text of the "Zauberflöte" displays a decided -superiority in comparison with it:-- - -Prince Armidoro, attended by Kaspar Bita, loses himself in the chase, -and comes upon the fairy Perifirime, who despatches them to the magician -Bosphoro, bestowing on the prince a guitar with the same virtues as -the magic flute, and on Kaspar (through the little sprite Pizichi, -who frequently reappears in time of need) a magic bassoon, which gives -occasion to some very questionable pleasantry. The magic power of the -ring, which enables the Prince to assume at will the form of an old man -or of a youth, is very naively employed, the fancy of the audience -being alone called in to represent the metamorphosis. The magician has a -swaggering boon companion, Zumio, who guards the damsels and is in love -with Palmire, playmate of the beautiful Sidi, afterwards in a similar -relation with Kaspar. Having conciliated Bosphoro and Zumio by means of -their magic instruments, and gained entrance into the castle, they -win the love of the damsels, but not without exciting the mistrust -and jealousy of the magician and his companion, who seek to possess -themselves of the instruments. They are saved by Perifirime from a storm -raised by the spirits subject to Bosphoro; an attempt to poison them -fails through Pizichi's warning; finally they are all put to sleep at - -{KASPAR DER FAGOTTIST.} - -(309) - -supper by the magic instruments, and Armidoro possesses himself of the -talisman which makes the spirits subject to him. Perifirime appears, -punishes Bosphoro, and carries the lovers back to her palace. - -Apart from Kaspar's broad jokes, the opera is not wanting in effective -situations, both dramatic and comic, and now and then the music takes -a more ambitious flight. Thus, the opera opens with a grand hunting -chorus, and the first act closes with the sprites tormenting the -followers of the Prince, who are in search of him; the spinning song, -the boat scene with the storm, and the sprites playing at ball with -Zumio, all form good musical situations. The composer rises above the -level of the librettist. In some of the songs and dances he has caught -the popular tone very well, but has failed in the fresh humour which he -elsewhere displays. In spite of all defects, or rather in great -measure because of them, the opera, the music, and the _mise en scène_ -completely hit the popular taste, and 125 representations took place in -the course of a very few years. As a consequence of this success -there appeared in 1792 "Pizichi," or the continuation of "Kaspar der -Fagottist," by Perinet and Wenzel Müller, which had an equally brilliant -reception, and was dedicated by the author "To the illustrious public, -as a token of gratitude." Schikaneder could not hope to rival such a -success as this with an opera on the same subject. He resolved therefore -to transform the piece as much as possible, while utilising what had -already been done on it, and to turn the wicked magician into a noble -philosopher who wins Tamino to be his disciple, guides him to higher -wisdom and virtue, and rewards him with the hand of Pamina. The idea was -capable also of being turned to account in the interests of Freemasonry. -The change in the political views of the government under Leopold II. -had been unfavourable to Freemasonry, which began to be regarded with -much distrust as the organ of political and religious liberalism. A -glorification of the order upon the stage, by a performance which would -place its symbolical ceremonies in a favourable light and justify its -moral tendency, would be sure to be well received as a liberal party -demonstration compromising neither the order as a body nor - -{DIE ZAUBERFLÖTE.} - -(310) - -its individual members. The effect was heightened by the consciousness -of a secret understanding among the initiated, while the uninitiated -could not fail to suspect a deeper meaning behind the brilliant -display of spectacular effects.[17] Whether Schikaneder, himself a -Freemason,[18] was the author of this idea, or whether it was suggested -by the order, we have no means of ascertaining; the execution of it -was principally due to Joh. Georg Karl Ludw. Gieseke. He was born -in Braunschweig, studied at the university of Halle, and joined -Schikaneder's troupe to earn his living as an actor and a chorus-singer. -He had tried his hand already as an author, having prepared the text for -Wranitzky's "Oberon," and enriched Schikaneder's repertory with a number -of pieces in part translated and in part original. Schikaneder, never -averse to accepting foreign aid,[19] made use of Gieseke's labours as -a groundwork, which he altered to suit his purpose, inserting, for -instance, the characters of Papageno and Papagena, and giving -himself out as the sole author of the piece.[20] We have no means of -ascertaining how far this alteration in the plan of the opera affected -the first part; points here and there may have been retouched, but no -important corrections were made, or some very striking contradictions -would certainly have been removed. With the first finale we find -ourselves in an altogether new new world:-- - -The three boys lead Tamino into a thicket, where stands the temple of -wisdom, knowledge, and nature, exhort him to be steadfast, enduring, -and silent, and leave him alone. He learns from a priest that Sarastro -reigns in the temple of wisdom, and that Pamina has been taken from - -{THE LIBRETTO.} - -(311) - -her mother for certain good reasons, which must remain concealed from -him until all shall be revealed-- - - "Sobald dich fuhrt der - Freundschaft Hand - Ins Heilightum zum ew' gen Band." - -After being encouraged by invisible voices, and assured that Pamina -still lives, he joyfully seizes his magic flute, whose tones have power -to draw all living beings to him. At Papageno's signal he hastens -in search of him. Papageno enters with Pamina; they are surprised by -Monostatos and his slaves; Papageno has recourse to his bells, which set -all who hear them singing and dancing. Scarcely are they free from the -intruders when Sarastro is heard returning from the chase in his chariot -drawn by six lions, and accompanied by a solemn march and chorus. -Pamina, kneeling, informs him that she seeks to escape the love advances -of the Moor, and implores him to allow her to return to her mother; this -Sarastro refuses, but pardons her with the aphorism:-- - - "Ein Mann muss eure Herzen leiten, - Denn ohne ihn pflegt jedes - Weib Aus ihrem Wirkungskreis zu schreiten." - -In the meantime Monostatos enters, having captured Tamino; as soon -as the latter perceives Pamina, he rushes to her, and they embrace -tenderly. The Moor, to his consternation, is rewarded by Sarastro -with "seventy-seven strokes of the bastinado," and the strangers are -conducted into the temple of expiation, that their heads may be covered -and they may be purified. - -Here we may still trace the original design, for the magic instruments, -the wicked Moor, and the chariot drawn by lions, have little affinity -with the temple of wisdom; but with the second act we set forth on -altogether fresh ground:-- - -In the assembly of the eighteen (3x6) attendants dedicated to the great -gods Isis and Osiris,[21] Sarastro announces that the virtuous Prince -Tamino stands at the gate of the temple, seeking permission to gaze -on the "great lights" of the sanctuary; questioned by the devotees, he -assures them of the Prince's virtue, discretion, and benevolence; and, -on the assembly giving their consent with a thrice-repeated blast of -trumpets, he thanks them with emotion in the name of humanity. For, - -{DIE ZAUBERFLÖTE.} - -(312) - -when Tamino, united with Pamina, shall become one of the devotees of -wisdom, he will destroy the empire of the Queen of Night,[22] who by -superstition and imposture seeks to undermine their power; and virtue -shall triumph at the overthrow of vice. The Orator warns him of the -severity of the probation that he must pass through--but he is a prince, -"nay more, he is a man"; he is able to endure all, "and once devoted -to Osiris and Isis, he will feel the joys of the gods sooner than we." -Tamino and Papageno are to be led into the antechamber of the temple, -and there the Orator, in virtue of his "holy office" as "dispenser of -wisdom," shall acquaint them both with the duty of man and the power -of the gods. A solemn appeal to Isis and Osiris to endow the pair with -wisdom, and to strengthen and protect them in the hour of trial closes -this scene, which bears the impress of Freemasonry throughout. - -The tests begin, after Tamino has declared that, impelled by love, he is -ready for any trial to acquire wisdom and gain Pamina, and Papageno has -agreed to make the attempt to win the love of Papagena, a pretty little -woman, just suited to him. The impression here intended to be conveyed -is evidently that of the higher nature and strivings of man in Tamino -and of the limited and purely sensual side of his nature in Papageno. -The first trial is that of silence. They are scarcely left alone in the -darkness when the three Jadies of the Queen of Night enter and strive to -excite their terrors, which is easily accomplished as far as Papageno is -concerned, the steadfast Tamino with difficulty restraining his cries. -The ladies disappear upon the summons of the priest; the Orator praises -Tamino, and again covers his head that he may continue his "pilgrimage." -Monostatos finds Pamina asleep in the garden, and is on the point of -kissing her, when the Queen of Night appears, gives Pamina a dagger, and -commands her to avenge her wrongs on Sarastro, to whom Pamina's father -had bequeathed the omnipotent talisman which she had hoped to possess; -by Sarastro's death Pamina will gain her freedom, Tamino's life, and -her mother's love. Monostatos, who has overheard, takes the dagger from -Pamina, and threatens to betray her unless she will grant him her love; -on her refusal, he tries to kill her, when Sarastro enters, liberates -Pamina, and promises to wreak a noble vengeance on her mother by -securing her daughter's happiness. - -Tamino and Papageno are conducted into a hall, to remain there in - -{THE LIBRETTO.} - -(313) - -silence until they hear a trumpet sound. Papageno cannot refrain from -chattering to an old woman who brings him a glass of water and, to his -horror, claims him as her lover; a fearful thunder-clap terrifies him, -and he only recovers when the three boys bring him a richly furnished -table, and, reiterating the warning to silence, restore the magic -instruments. While they are eating, Pamina enters, and construes -Tamino's silence into a proof of his want of love for her; not even -her lamentations, however, can tempt him to speak. After this proof of -steadfastness, he is conducted to the assembly, and informed by Sarastro -that two paths of danger still remain to be trodden; Pamina is brought -in to bid him farewell, and, to her despair, he still refuses to utter a -word to her. - -Papageno is informed by the Orator that he shall be excused the -punishment for his loquacity, but that he is never to feel "the divine -joys of the initiated." He declares himself quite content, and only -wishes for a cup of wine and "ein Mädchen oder Weibchen"; the old woman -appears, and is changed into the youthful Papagena, but only to vanish -again the same instant. - -Pamina, plunged in deep melancholy by Tamino's apparent aversion, is on -the point of stabbing herself, but is restrained by the three boys, who -promise to restore Tamino to her. Tamino is just then conducted to the -gates of horror by two men in armour, with the injunction-- - - "Der welcher wandelt diese Strasse voll Beschwerden, - Wird rein durch Wasser, Feuer, Luft und Erden; - Wenn er des Todes Schrecken überwinden kann, - Schwingt er sich aus der Erde himmelan. - Erleuchtet wird er dann im Stande sein, - Sich den Mysterien der Isis ganz zu weihn"-- - -and left to tread the path of danger through fire and water, when Pamina -rushes in, resolved to endure this trial in company with him. They -sustain it happily to the sound of the magic flute, and are received -with solemn rejoicings by the assembly in the temple. Papageno, in -despair at the loss of his Papagena, whom he calls in vain to return, is -about to hang himself, when the three boys appear, and remind him of -his bells: at the sound of them Papagena returns, and his happiness -is complete. In the meantime the Queen of Night, with her ladies, has -gained admittance into the sanctuary by the help of Monostatos, and -promises him her daughter's hand, if he aids her to victory; but a -fearful storm drives them back, and Tamino and Pamina are united with -priestly pomp by Sarastro in the circle of the temple votaries:-- - - "Die Strahlen der Sonne vertreiben die Nacht, - Zernichten der Heuchler erschlichene Macht." - -It would be superfluous to criticise this libretto. The small interest -of the plot, the contradictions and improbabilities in the characters -and in the situations, are clear - -{DIE ZAUBERFLÖTE.} - -(314) - -to all; the dialogue is trivial, and the versified portions wretched -doggerel, incapable of improvement by mere alteration. Nevertheless, a -certain amount of stage dexterity is not to be denied to it. Schikaneder -knew how to excite and sustain the interest of his audience by -theatrical effects of combination and alteration. On this point the -testimony of Goethe[23] is added to the lasting and wide-spread -approval of the public; he declares that the "Zauberflöte" is "full of -improbabilities and of jokes that it is not easy to appreciate or to -enjoy; but it must be allowed that the author has thoroughly grasped -the idea of contrast and of producing grand theatrical effects"; he -undertook a translation of the piece, and was for some time seriously -occupied with it.[24] Undeniable as it is that the opera owes to -Mozart's music the charm that it exercises over young and old, -cultivated and uncultivated, it must be acknowledged that the piece,[25] -poor from a dramatic point of view, affords many and good opportunities -for the production of musical effects.[26] Whether - -{THE OVERTURE.} - -(315) - -we think much or little of the Masonic views which are here seen -embodied in the mysteries of Isis,[27] Mozart at any rate was inspired -by the zeal of a partisan in giving them utterance. - -The dignity and grandeur with which the music reveals the symbolism of -these mysteries certainly have their root in his intense devotion to the -Masonic idea. - -A clear indication of this devotion was given to the initiated in the -overture,[28] but in a way that showed how well he distinguished Masonic -symbolism from artistic impulse. It opens with a short adagio, -whose solemn accents raise the expectation of an apparition of grave -importance, The trumpets, which are added to the full choir of wind -instruments, give a fulness and brilliancy to the chords which had not -at that time been heard before. The allegro; begins with a regular fugue -on the theme--[See Page Image] the first bars reminding us of dementi's -sonata, played before the Emperor Joseph (Vol. II., p. 199):-- - -The reminiscence may have been conscious or unconscious. - -{DIE ZAUBERFLÖTE.} - -(316) - -But the first glance at the subject of an overture to J. H. Collo's -cantata, "Lazarus Auferstehung" (Leipzig, 1779)--[See Page Image] shows -a considerable similarity to the motif of the overture before us,[29] -with which it cannot have had anything to do, since Mozart in all -probability never knew the cantata. - -After the regular fourth entry of the whole motif, a free fantasia -begins with the separate parts of it and the counter motif, in the -most varied shades of expression, with an ease and elegance which lets -nothing appear of the technicalities of counterpoint, and displays an -animation and liveliness of truly sparkling brilliancy. After the close -of the movement on the dominant with a marvellous crescendo, there -follow three chords three times repeated, with pauses between, given out -by the wind instruments alone, with powerful effect of climax:[30]--[See -Page Image] - -They are the same that occur in the temple assembly as a sign that -Tamino is accepted and appointed to undergo the itests, and were -suggested by the knocking or other rhythmical sounds to which members -were admitted to be initiated in the mysteries of the Masonic lodge. -This does away with the frequent suggestion that the second and third -chords are - -{THE OVERTURE.} - -(317) - -intended to baboimd,[31] indeed André declares in the preface! to his -edition that this solemn introduction, "uncomprehended of a profane -public," to the mystic work which follows would be quite spoilt by the -binding of these chords! Winter has accentuated the rhythm still more -sharply in the "Labyrinth," the second part of the "Zauberflöte," the -overture of which begins with the chords--[See Page Image] which are -repeated several times. The chords suggest to the musical mind only the -solemn warning sound calling attention to what is to follow, but to the -initiated they recall the probation which must be undergone by those who -engage in the search for a higher light. In the allegro which follows -the first theme is taken up again, not in regular fugal form, but -working out the different motifs with unusually elaborate contrapuntal -treatment, for the most part in the stretto. The very form of thematic -treatment gives an impression of force, but of force opposed by many -obstacles and hard to overcome; this is strengthened by the use of the -minor key and by the startling harmonic progressions which intensify the -character of gloom, until it amounts to horror. Serenity returns only -with the recurrence of the principal key, and gradually rises to a -glorious radiance, troubled only towards the close by a few startling -chords, and shining out again with all the purer beauty, till one seems -to float in a very sea of light.[32] Let the contrapuntist admire in this -inimitable masterpiece of German instrumental music the science and -intellectual mastery which it displays; let the Freemason delight in the -refinement with which his mystical ideas are clothed in a musical dress; -the true triumph of genius consists in having created a work which, -quite apart from - -{DIE ZAUBERFLÖTE.} - -(318) - -scholarship or hidden meaning, produces by its perfection an effect -on the musical mind which is quite irresistible, animating it to -more active endeavour, and lifting it to an atmosphere of purest -serenity.[33] - -The belief that Mozart selected the severer musical forms for his -overture in order to prefigure the serious mood in which he approached -the opera, obtains confirmation from his employment of them again at the -solemn moment of trial. The entrance of the men in armour, who fortify -Tamino with the words quoted above, before he proceeds on his dangerous -voyage through the elements, is announced by an imitative passage for -the strings--[See Page Imge] following a few solemn introductory bars, -and retained in the subsequent working-out as a figured accompaniment to -the song of the two men. The Cantus firmus, however, which they sing in -unison, in octave, supported by flutes, oboes, bassoons, and trombones, -is the old chorale "Ach Gott vom Himmel sieh darein,"[34] unaltered -except in the division of the crotchets into quavers, where the words - -{ACH GOTT VOM HIMMEL.} - -(319) - -require it, and in the closing line added by Mozart.[35] He learnt the -melody no doubt from Kirnberger, who often made use of it as an example, -and twice worked it into a Cantus firmus.[36] This may be gathered from -the fact that Kirnberger as well as Mozart raised the second line by -a third, and that a motif interwoven with it by Mozart is an evident -reminiscence[37] of one employed by Kirnberger in the working out of the -chorale "Es woll uns Gott genàdig sein":--[See Page Image] - -The attraction which the melody had for him as a Cantus firmus for -contrapuntal elaboration is proved by a sketch preserved in the Imperial -Library at Vienna, which contains the beginning of another four-part -elaboration of the theme, adhering still more closely to Kirnberger. -According to Al. Fuchs,[38] this was the first of Mozart's drafts for -the opera, to which it can only be said that in that case he made use -of an earlier contrapuntal study. In the autograph score the movement -is written continuously in connection with the whole finale, but the -handwriting, at first neat, afterwards more and more hasty, shows -clearly that it was copied from an earlier sketch.[39] Even those who -are incapable of appreciating the contrapuntal art with which this -movement is worked - -{DIE ZAUBERFLÖTE.} - -(320) - -out,[40] and who have no suspicion that they are listening to an old -church melody,[41] will receive an impression of mystery and solemnity -admirably expressive of the dramatic situation to which Mozart strove to -give effect. - -Mozart has throughout the opera given to the music which touched on the -mysteries and the initiation into them a peculiarly solemn character, -and this is consistently maintained through every shade of feeling, from -mild gravity to inspired ecstasy. To this sphere belong the three boys, -who, although emissaries of the Queen of Night, are represented in -the course of the plot as the visible genü of the secret bond. In the -quintet (6) the announcement of the guidance they offer to Tamino and -Papageno is accompanied by a peculiar fexpression in the music, produced -by a change in the harmonic and rhythmic construction[42] and in the -instrumentation. The marchlike movement to which they lead Tamino to the -gates of the sanctuary fulfils to admiration the expectation which has -been raised. The sound-effects also are very uncommon. The clear boys' -voices, supported by the stringed instruments without the double-bass, -are sustained by the full, lightly touched chords of the trombones and -muted trumpets and drums; and a long-sustained G for the flutes and -clarinets sheds a mild radiance like a nimbus over the whole. The -thrice-repeated warning "Sei standhaft, duldsam und verschwiegen," taken -up by the firm tones of the wind instruments, raises the march whose -solemn course it interrupts to a higher dignity and force; the few bars -sung by Tamino throw into greater prominence the unusual character of -the apparition, and the repetition of the boys' song strengthens the -impression which has been given of the higher world to which we now have -access. Such an introduction as this was essential to give the right -tone and - -{TAMINO.} - -(321) - -groundwork for the long recitative which follows, in which Tamino, -prejudiced against Sarastro's wisdom and virtue, is gradually confounded -and half-convinced by one of the priests of the temple. In liveliness -of dramatic expression and successful rendering of the contrasts of -animated conversation, combined with the seriousness proper to the -surroundings and to the dignity of the priest, this recitative stands -alone. The climax of the scene is reached in the consolatory assurance -of the priest that all shall be made plain--[See Page Image] which is -twice repeated by invisible male voices, accompanied by trumpet chords. -A solemn expression, in which emotion and exaltation are united, -betokens the announcement of an oracle. The requirements of musical -climax, of dramatic effect, and of mystic symbolism are here again at -one. - -Meanwhile we are conducted to the temple portals; Tamino is consoled and -reanimated by the intelligence that Pamina still lives, and, still far -from having attained the philosophic calm of the votaries, he has no -thought but for his love. As soon as he begins to express this purely -personal and human emotion, the music becomes freer and lighter, and -solemn seriousness gives place to cheerful geniality. The part taken -at this juncture by the magic flute in assembling the listening animals -round Tamino has no connection with the situation nor with the symbolism -of the piece; it is a relic of the old fable. It was probably owing -to Mozart's aversion to the flute (Vol. I., p. 385), as well as to the -moderate proficiency of the tenor Schack, who played it himself, that -the flute is brought so little forward as a solo instrument; another -reason being that, as Tamino played it himself, it could only be -inserted in the pauses of his songs. In this place it is a ballad-like -cantilene to which the flute supplies the prelude and interlude; -afterwards, during the visit to the dark cave, Mozart has left the flute -part to the fancy of the flautist. During the fire and water ordeal, the -flute has the melody of a slow march, and the peculiar accompaniment of -low chords for the trombones, - -{DIE ZAUBERFLÖTE.} - -(322) - -horns, trumpets and drums give it a curious, weirdlike character.[43] - -The three boys, or genü, in accordance with the numerical symbolism -pervading the whole, appear three times. After acting as guides to -Tamino, they appear to him and Papageno as they wait in silence within -the gloomy cavern, and bring them for their consolation meat and drink, -as well as the magic flute and bells. The musical characterisation is -therefore lighter and more cheerful. Mozart, hopeless of making -anything out of the nonsensical words, has kept to the delineation of -an attractive ethereal apparition, and has created a short movement of -marvellous grace and charm (17) endowed, as it were, with wings by the -lovely violin passage which accompanies it. - -The third appearance is again of a solemn character. The boys announce -that soon "superstition shall disappear and wisdom shall triumph." -The character of the melody and rhythm approaches that of the first -movement, the instrumentation, as befits the situation, being less -brilliant, although the tone-colouring of the combined clarinets, horns, -and bassoons has a significance all its own.[44] The object here is to -restrain Pamina from suicide and to offer her consolation; thus, while -the boys are interwoven in the plot, they stand necessarily outside of -the narrow circle of allegorical personages, and become, as it were, -human; besides this, the exigences of the music require that they should -be subordinate to Pamina. In the course of this scene, therefore, they -lay aside their proper character to some extent, and become more pliant -and less reserved. Mozart has rightly avoided too close an adherence to -any external characterisation of the boys, and has adopted such means -of expression as were best suited to each situation, not forgetting, -however, to assert their individualities at every appropriate point. -Pamina, on her side, is brought - -{CHORUSES.} - -(323) - -into closer contact with the boys from the moment when she yields to -their persuasions, and thus the ensemble with which the scene closes is -endowed with a nobler, more exalted expression than that of the purely -subjective emotion of Pamina's longing for her lost lover. A solemnity -of a more exalted order belongs to those scenes in which Sarastro and -the temple priests take part. This is at once manifest in the first -finale, which has an altogether exoteric character. The march and chorus -with which Sarastro is received, the closing chorus which celebrates his -virtue and justice, combine force and dignity with a perfect radiance -of beauty; they correspond to the choruses at the end of the opera when -Tamino and Pamina, having withstood every ordeal, are welcomed within -the temple and crowned with glory and wisdom. They are distinguished -above the ordinary operatic choruses of the day as much by their dignity -of expression as by their construction and mode of treatment; and the -wealth of the instrumentation, more especially the introduction of the -trumpets, gives a character of solemnity and magnificence then unknown -in operatic music. Nevertheless they do not obtrude beyond the natural -framework of the opera, and the limits of a work of art are never -exceeded in the effort to express a higher meaning in the music. The -analogy of the choruses with those in "König Thamos" has already been -pointed out (Vol. II., p. 111). There they are treated very elaborately -as independent pieces of music, while here the greater concentration of -musical forces and the maturer, more elevated forms of beauty, display -the mastery of a finished artist. - -The esoteric character of the mysteries is brought to view in the second -act. A solemn, slow march (10) introduces. the assembly of the priests -in the most appropriate manner. It is said that in answer to the -accusation of a friend that he had stolen this march from Gluck's -"Alceste" (Act I., sc. 3), Mozart laughingly replied that that was -impossible, as it still stood there. It was perhaps the best answer to -such an impertinence. The similarity to Gluck's march, as well as to -the last march in "Idomeneo" (25), consists entirely in the fitting -expression of closely related moods. - -{DIE ZAUBERFLÖTE.} - -(324) - -But the special points in the conception are altogether new and -original. A presageful mood, tinged with a gentle melancholy, rising to -greater energy towards the close, transfuses this wonderful movement, -the very tone-colouring of which is affecting. The soft muted tones of -the basset-horn and bassoons are made clearer and purer by the addition -of a flute, while the full chords of horns and trombones and the -stringed instruments bind these elements into unity. The same -tone-colouring, only several shades deeper (the flute being omitted, and -of the strings only violas and violoncelli retained), is continued -in the prayer (11) which follows, addressed to Isis and Osiris in a -mysterious twilight, from which the simple impressive melody for -the bass voice sounds forth with majestic and soothing effect. The -repetition of the closing passage by the male chorus is of quite -indescribable effect, when Sarastro's characteristic passage--[See Page -Image] is given an octave higher. The earnest religious conception which -underlies this prayer shows the spirit in which the symbols and rites of -Freemasonry were approached by Mozart, who once thanked God that -through Freemasonry he had learnt to look upon death as the gate of true -happiness (Vol. II., p. 323). - -The duet for the two priests (12)--a warning against feminine -malice--does not come up to the same high standard, and only becomes at -all imposing at the closing bars, "Tod und Verzweiflung war sein Lohn." -The words could not be delivered with gravity without producing too -comic an effect; Mozart has therefore treated them as a piece of -friendly counsel, not as a priestly admonition, The second chorus of -priests (19), which greets Tamino at the successful issue of his first -trial, has, on the other hand, quite the dignity and solemnity of the -first; although doubt and anxiety are for the present at an end, there -is as yet none of the jubilant delight with which the victor is hailed -at the final victory. A character of purity and elevation is expressed -with a manly confidence differing from the - -{SARASTRO--AIR--TERZET.} - -(324) - -intense sympathy of the first chorus, and the instrumentation is -modified accordingly. Trombones and horns give an imposing tone, -lightened by trumpets, flutes and oboes, instead of basset-horns, while -the prevailing low position of the stringed instruments supplies force -and gravity to the movement. The moderate length of this chorus, as of -all the movements which have the same solemn and mystic tone, is a fresh -proof of Mozart's sure insight. The powerful impression is made, the -excited mood is appeased, without fatiguing the mind or dulling the -charm of the unusual characterisation. - -Sarastro never descends altogether from his high priestly eminence, but -he shows a genial side to his character, and sometimes, as on his first -appearance in the finale, a fatherly one. This more genial nature is -expressed in the air (16), - -"In diesen heiligen Hallen," which, as with so many other pieces -from the "Zauberflöte," we have first to forget having so often heard -maltreated before we can realise the original impression made by it. The -simple instrumentation and the easy treatment of the cavatina shows at -once that the priestly character is not meant to be maintained here: -it is the paternal friend speaking words of comfort to the maiden who -confides in him.[45] Mozart, convinced that Freemasonry is the key to -true philanthropy and friendship, has not contented himself with merely -setting the trivial words before him to music, but has given expression -with all the warmth and intensity of his nature to the highest and -noblest feelings of the human heart. The beautiful terzet (20) gives a -peculiarly elevated calm to Sarastro's sympathy in a situation which is -more dramatic and musical than almost any other in the opera. Pamina -is led in to bid farewell to Tamino before he sets forth for his final -ordeal. This in itself is a test of his fortitude, for he is constrained -to oppose reserve to her excitement, and to endure her reproaches -for his apparent want of tenderness in silence. Between them stands -Sarastro, consoling and - -{DIE ZAUBERFLöTE.} - -(326) - -exhorting them, like a higher power holding the fate of them both in his -hand.[46] - -It was Mozart's task to blend into one these conflicting elements of -passionate grief, of deep emotion restrained by an inflexible will, -and of unyielding earnest exhortation. It was comparatively easy -to accentuate the contrasts. Pamina and Sarastro are in absolute -opposition, and Tamino, joining issue now with one, now with the other, -forms a natural middle point. It is fortunate, from a musical point of -view, that the arrangement of the parts falls in with these conditions, -land that the natural course of the emotions depicted lends itself to a -musical climax. The simplicity of the orchestral means here made use -of by Mozart shows how much he was able to accomplish with very little, -especially in the accompaniment passage, which renders so marvellously -the agitation of the situation.[47] It may at first sight appear -fcommonplace; but the unusually low position of the violas, violoncelli, -and bassoons gives it a striking expression of power and of breathless -urgency.[48] - -The part of Sarastro taxed all the resources of a deep bass voice, such -as that for which Franz Gerl, the original supporter of the part, was -celebrated.[49] It was in another way as original a conception as that -of Osmin. The latter may be said to have had a predecessor in the buffo -of the Italian opera, but Sarastro is the first of his kind, and can -as little be compared to the regulation bass parts of Italian opera as -Almaviva and Don Giovanni to the baritones. The dignity and calm of -the philosopher to whom passion is unknown would have afforded little -opportunity for musical characterisation had not Mozart's genuinely -German nature gone down to the intellectual depths of the character. For - -{TAMINO.} - -(327) - -Sarastro's good temper and amiability, which might so easily do violence -to the idealism of the conception, show their German origin unaffected -by the symbolism around them. Mozart sought and found in the powerful -sonorous tones of the bass voice the musical organ for the expression of -a nature passionless indeed, but open to all that is good and noble, -and possessing the benevolence and truthfulness of a mind matured in the -graver experiences of humanity. - -The intrusion of Masonic mysteries into the plot has had a bad effect -upon the treatment of the characters, Tamino especially being injured by -it. At first he scarcely presents an heroic appearance--rather that of -a susceptible and generous youth longing to meet danger and strife that -the right and his love may prevail. The original course of the plot -leads him into dangers which he has to overcome by strength and courage; -here, for some incomprehensible reason, he is to be converted to a -belief in Sarastro. The fact of his probation taking place for the most -part in silence is of disadvantage to him, both as a tenor and a -lover; the dark cave and the wandering through fire and water are -not particularly terrifying to the spectators, and his praiseworthy -endeavours after virtue are too abstract to be interesting. And yet -Mozart has filled in this colourless outline with the warm tints of -youthful enthusiasm for all that is noble in life and in love. The first -air (4) strikes the tone which is to prevail throughout. We may trust -the word of the poet, that the sight of a lovely woman is sufficient to -inspire the heart with a love that is irresistible, and to rouse it to -a new and blissful life; but the musician alone has the power of so -realising the miracle to the mind of the hearer that he feels it working -in himself; and such a musician is Mozart. After a twice-repeated sort -of sigh from the orchestra, there streams forth from an overflowing -heart:--[See Page Image] - -More agitated feelings follow this first glad expression of love, -and the development of strong emotion is expressed by the form of the -musical representation which follows every - -{DIE ZAUBERFLöTE.} - -(328) - -turn of thought, breaking off the threads and joining them again without -any connected flow of melody. The whole piece is a well-constructed -cantilene, formed from separate symmetrical phrases, and recurring at -the close with the words, "und ewig ware sie dann mein," to the same -melody which followed the first exclamation with "mein Herz mit neuer -Regung füllt." - -Stormy passion and fierce longing are the proper accompaniments to all -youthful love, and the moderation with which Tamino keeps them in check -gives at once the keynote to his character. His enthusiasm for an -ideal, and his noble and intelligent mind, are opened to us in the fine -recitative, and the calmer expression of love which follows completes -the picture of character. - -Benedict Schack, the original Tamino (b. 1758) was both musically and -intellectually a cultivated man. He was a good flautist, and composed -several operas for Schikaneder's company, which he joined as a vocalist -in 1784. He had become very intimate with Mozart in Vienna. When the -latter called for him, as he often did, to take a walk, he used, while -Schack was dressing, to seat himself at his writing-table and compose -little bits of the opera which lay there. Schack was equally famed for -his flexible and metallically pure tenor voice and his artistic and -refined execution, but he.was a very inferior actor.[50] - -As the piece proceeds the love intrigue takes a peculiar tone from its -association with the mysteries and with the ordeals belonging to them. -Many allusions are made to the dignity of marriage as the consummation -of righteous love, and this is apparently the sense intended to be -conveyed by the oft-quoted ludicrous doggerel:-- - - Ihr (der Liebe) Zweck zeigt deutlich an, - Nichts edlers sei als Weib und Mann; - Mann und Weib, und Weib und Mann, - Reichen an die Gotter an. - -The main points, how Tamino is to win Pamina by his - -{PAMINA.} - -(329) - -initiation into the mysteries, and how Pamina comes to share his ordeals -with him, are not made clear, since the love intrigue has originally -nothing to do with them. Pamina,[51] at first contrasting with Papagena -only as a gay, lively young girl whose higher nature has had no -opportunity for development, shows herself in her true proportions when -she approaches Sarastro with the pride and self-possession which denote -her as his equal in dignity and sentiment. It is but for one short -moment that the lovers first see each other, and by an irresistible -impulse rush into each other's arms. This outbreak of passion falls so -naturally into the rest of the movement, essentially different as it is -in tone, that one is amazed that such simple notes can give so powerful -an impression of jubilant emotion. Tamino and Pamina are separated at -once, and are not reunited until near the end of the opera. - -If Tamino may be said to be the expression of the enthusiasm of love -as it awakes in the bosom of youth, Pamina may, on the other hand, be -considered as the embodiment of the torment excited in a loving heart -by doubt of the loved one's constancy. The spark which is kindled in her -bosom by the sight of Tamino rises into an inextinguishable flame, and -when his obstinate silence causes her to doubt his love, every hope of -joy vanishes from her breast. It is not a difficult task for music to -render the anguish of a broken heart, and the keener the pangs to be -conveyed the easier it becomes. But to express with the utmost truth -and intensity the deep grief of a maiden who has learnt to know her own -heart by the first mighty pulsation of love, at the very moment when her -hope is to be rudely dashed to the ground--this is the work of such a -master only as the composer of the air (18) "Ach ich fühls."[52] Bitter -pain - -{DIE ZAUBERFLÖTE.} - -(330) - -speaks here--pain without hope of solace; the memory of a vanished -happiness has not yet softened into regretful melancholy, nor is it -sharpened by the lingering pangs of conflict and torment overcome; it is -a pain as yet unconscious of its own force and intensity. All feelings -are swallowed up in the one: "He loves me not, and happiness is flown!" -When to this open and truthful expression of the anguish endured by -an innocent heart is united the charm of budding maidenhood, we feel -ourselves in the presence of a beauty which moves our inmost being, and -which Mozart alone of all musicians is capable of rendering in song. The -form and means of effect employed are of the simplest kind. The music -follows the course of the emotions in a continuous flow, without -allowing any definite motif to predominate. It is a very delicate touch -which makes the same expressive phrase occurring in the major to the -words, "nimmer kehrt ihr Wonnestunden meinem Herzen mehr zurück," recur -in the minor at the close to the words, "so wird Ruh im Tode sein." The -voice part is put very prominently forward, the stringed instruments -maintaining the harmonies and the rhythm in the simplest manner, while -different wind instruments (flutes, oboes, bassoons) give a sharper -accent here and there. The orchestra becomes independent only in the -closing symphony, expressing deep sorrow very effectively by means of -its syncopated rhythm and chromatic passages. This air forms a decided -contrast to the garden air in "Figaro" (Vol. III., p. 91), and yet there -is a deep-seated relationship apparent in them. In "Figaro" we have the -purest expression of happy love, flowing from a human heart without a -disturbing thought. Here it is the unmingled expression of sorrow for -departed love. The one has the soft warm glow of a fragrant summer -night; the other is like moonlight shining on rippling waters; but -in truth, purity, and beauty of musical rendering, the two songs -unmistakably betray the mind and hand of one and the same musician. - -Before the painful impression has had time to die away there follows the -brief interview of the lovers in presence of Sarastro and the Initiated, -as represented in the terzet (20). - -{PAMINA--TERZET.} - -(331) - -Pamina, in her anxiety and doubt as to whether Tamino's love will stand -the test imposed upon it, gives the tone to the whole piece. Her concern -is not appeased by Sarastro and Tamino's consoling assurances, and not -until the time for farewell has really arrived do the two lovers' parts -unite and contrast with that of Sarastro. Then the expression of emotion -is raised and purified, and indicated by touches of extraordinary -delicacy and depth, as when Pamina's passionate outbreak--[See Page -Image] - -deprives Tamino of self-control, and he too gives vent to the anguish -of parting, while she appeals to him in mingled joy and sorrow, and -Sarastro remains inexorable; or when at the inimitably beautiful passage -at the close the hearts as well as the voices of the lovers seem to -mingle and flow into one. Here again we may admire the skill with which -the ordinary resources of musical representation are employed to produce -extraordinary effects.[53] Instead of feeling her anxiety set at rest by -this interview, Pamina is more violently agitated than before. She now -no longer doubts that Tamino has ceased to love her, and, deprived of -all hope, she seizes the dagger which her mother has given to her to -murder Sarastro, and prepares to plunge it in her own bosom. Thus, at -the beginning of the second finale, we find her "half-frantic" under the -protection of the three boys. Their presence has a moderating effect on -her passion of despair, and Mozart has carefully refrained from giving -to the thoughts of suicide excited in a maiden's breast by her first -disappointment in love the same kind of expression as would belong to -one who, exhausted by long strife with the world, had resolved to rid -himself of life and his sorrows - -{DIE ZAUBERFLÖTE.} - -(332) - -together. Thus, bold and energetic as the musical expression is, it -never causes any distortion in the picture of a charming innocent girl, -and this has a more tranquillising effect on the minds of the audience -than the support of the three boys. In accordance with the situation -the movement of the voices is quite free, generally declamatory, the -interjections of the three boys holding the whole movement firmly in -its groove. Pamina gives ready ear to the reassurance of the three boys, -but, instead of breaking into loud exultation, her mind recurs lovingly -to Tamino, and the music gains that soft pathetic tone which belongs -to modern music. The supernatural element of the scene idealises it, and -prepares the way for the solemn ordeal which is immediately to follow. -Tamino, who has determined to tread the path of danger, but has believed -he was to tread it alone, is agreeably surprised to find Pamina at his -side. The reunion of the lovers is deprived, in face of the dangers -which they are to overcome together, of every trace of sensual passion. -Not until they are initiated into the mysteries for which they are -undergoing probation can their love be justified or its enjoyment -assured. The tone of the scene therefore is a serious one, rendered even -solemn by the participation of the grave guardians of the sanctuary, -who have just enunciated its ordinances. But the human emotion which -irresistibly breaks forth adds a pathos to the solemnity and a charm -to the youthful pair, filling us with renewed admiration for the genius -which blends all these diverse elements into a living and harmonious -whole. - -Such a pair of lovers as this, so ideal, so sentimental (schwarmerisch) -in their feelings and mode of expression, betray at once their German -origin and character; there is nothing analogous in Mozart's Italian -operas; even Belmont and Constanze, though of the same type, display -more human passion. To the representatives of noble humanity, Sarastro, -Tamino, and Pamina, stands opposed the antagonistic and vindictive -principle, in the person of the Queen of Night. The manner of her -representation leaves distinct traces visible of the different part she -was originally intended to fill. At the beginning, when she appears as -the - -{THE QUEEN OF NIGHT.} - -(333) - -deeply injured mother, with all the magnificence of her regal state, -there is nothing in the musical characterisation to indicate her -gloomy and vindictive nature, which is thus proved to have been an -afterthought. A solemn introduction, rising into a powerful crescendo, -announces the coming of the Queen, while "the mountains are cleft -asunder." It has been pointed out[54] that this ritornello has -considerable resemblance to the passage in Benda's "Ariadne," which -accompanies the setting of the sun:--[See Page Image] - -Mozart knew and admired Benda's "Ariadne," and this passage may have -been in his mind; but it is scarcely to be imagined that he consciously -imitated it, and in any case he has rendered it far more effectively. -A short recitative is followed by an air in two movements (5), the only -one so - -{DIE ZAUBERFLÖTE.} - -(334) - -elaborate in form of the whole opera, the result doubtless of the -traditional conception of the character of the Queen. The first movement -expresses a mother's grief simply and pathetically, but without any -tinge of the supernatural to characterise her either as the good fairy -or as the Queen of Night. The allegro is far weaker, going off after -a few energetic bars into long runs and passages quite instrumental in -character, with nothing striking in them but the presupposition of an -extraordinary soprano voice in the high--[See Page Image] -to which they rise. This is apparently another concession made by Mozart -to the "voluble throat" of his eldest sister-in-law, Madame Hofer (Vol. -II., p. 330). There can be no difficulty in accrediting a sister of -Aloysia Weber with the possession of a fabulously high voice; but it is -remarkable that Schroder, who saw her in the same year (1791) as Oberon, -should have said of her (Meyer, L. Schroder, II., 1, p. 85): "A very -unpleasing singer; her voice is not high enough for the part, and she -squeaks it, besides which she opens her mouth with a gape like the elder -Stephanie." Nevertheless, she set no small store on herself, and must -have been admired by a portion of the public; Mozart has made a still -greater sacrifice to her in the second air, in which the Queen of Night -commands her daughter to wreak vengeance on Sarastro. In design it is -free and bold, in passionate expression of resentment very powerful; the -two chief parts are both musically and dramatically striking, the close -is genuinely pathetic, and the uniformly high position of the voice -in conjunction with the forcible and somewhat shrilly toned -instrumentation, is of very singular effect. All this notwithstanding, -Mozart has allowed himself to be persuaded to ruin an aria which -might have been a model of pathetic declamation by two long ornamental -passages inserted between the parts of the air, which are not only -destructive of proper effect, but also unnatural, and wanting in taste -themselves. The Queen is attended by three ladies, who, however, have -none of the vindictive qualities which distinguish her. Not - -{THE THREE LADIES.} - -(335) - -only do we find unmistakable proofs of their original conception as good -fairies, but the way in which they are treated in the opera has a spice -of the drollery of Musäus or Wieland, although without their grace and -refinement; the merit which they possess is entirely due to Mozart. -They show themselves in their true colours from the first introduction. -Tamino enters in terrified flight from a serpent,[55] which is -well-expressed by the orchestra; at the moment when he is falling into a -swoon, the three ladies appear and slay the monster. As they gaze on the -beautiful youth, tender promptings fill their breasts; each wishes to -remain with him and to send her companions with tidings to the Queen; -a dispute arises which ends by their all three going, after a tender -farewell to the insensible Tamino. The situation is represented with -vivacity and humour in three well worked-out and varying movements, and -although the ladies never display any lofty emotions, they move with -so much natural grace that the not very refined situation makes an -impression of unclouded cheerfulness. A long cadenza for the three -voices, with which the movement originally closed, was judiciously -struck out by Mozart himself.[56] - -The ladies express themselves in similar fashion, though not quite so -openly, seeing that they are not alone, in the quintet (6) when they -deliver Papageno from his padlock, present him and Tamino with the flute -and bells, and promise the companionship of the three boys. Here -too, they are benevolent beings, bringing miraculous gifts, but not -displaying any higher nature except when they mention the three boys, -and even then the mysterious tone adopted belongs rather to the latter -and the mysteries connected with them. Indeed, the teasing familiarity -of the ladies to Papageno, and their coquettish politeness to Tamino, - -{DIE ZAUBERFLÖTE.} - -(336) - -give them quite a _bourgeois_ character, supported by the genial, jovial -tone of the music, which is fresh, natural, and full of euphonious -charm. - -In the second quintet (13) the same ladies appear as opponents of the -initiated, but their character has been already so clearly indicated -that they cannot consistently turn into vindictive furies. They have -the appropriate feminine task of inveigling Tamino and Papageno into -breaking the silence which has been imposed on them, and, while easily -accomplishing this, as far as Papageno is concerned, they find that -Tamino is inflexible himself, and recalls Papageno to his duty. The -object of the music, therefore, is not to bring a dismal or gloomy -image before the mind, but to emphasise, without exaggerating, the comic -element of the situation. The central point of interest is of course -Papageno, who displays all the cowardice and loquacity of his nature to -the ladies, and is only kept within bounds by his respect for Tamino; -the ladies treat the interview almost as a joke, and even Tamino's -steadfast determination acquires from its surroundings an involuntarily -comic tone. The whole quintet is light and pleasing, destitute of any -higher feeling, such as that of the first quartet; all the more striking -is the effect of the powerful closing chords, to which the ladies, -pursued by the initiated, depart with a cry of terror, while Papageno -falls to the ground. The peculiar musical effect of this piece depends -mainly upon the skill with which the female voices are employed;[57] -where the male voices come in they are made to add to the combinations -partly in contrast and partly in union with the female voices. The -instrumentation is for the most part easy; in order to afford a firm -foundation the two violins frequently go with the third voice instead -of the bass, while wind instruments support the upper voices, which -produces a clear, light, and yet powerful tone-colouring. The allegretto -(6-8) in the introduction, in comparison with the two other movements of -the - -{THE MOOR--PAPAGENO.} - -(337) - -same, or the passages in the first quintet, "bekamen doch die -Lügner allé," "O so eine Flöte," "Silberglöckchen," and finally the -announcement of the three boys may serve as examples of the union of -orchestra and voices to produce a climax of novel and melodious effect. - -The Moor Monostatos may also be considered as a follower of the Queen of -Night, only left in attendance on Sarastro through the inconsistency -of the adaptation, and made a renegade in order that the figure of a -traitor to the order might not be omitted. He is never brought to the -front, neither in the terzet, where he threatens Pamina and then runs -away from Papageno, nor in the first finale, where he is made to dance -by Papageno, and then bastinadoed by order of Sarastro. But in the -second act, when he surprises Pamina asleep, he has a little song to -sing (14) which is a miniature masterpiece of psychological dramatic -characterisation.[58] - -The kingdom of Night is most strikingly characterised when the Queen and -her ladies are introduced into the sanctuary by Monostatos to plot their -revenge. The motif on which the movement rests--[See Page Image] - -is graphically descriptive of the stealthy entry; the summons to the -Queen of Night takes an expression of gloomy solemnity which stands in -characteristic contrast to the dignified gravity of the priests. - -Papageno adds a third element to the temple priests and the kingdom of -Night. Even the inevitable character of the comic servant received -a novel colouring from the introduction of Masonic relations. The -qualities of sensuality, cowardice, and loquacity, on which the comic -effect depends, are here made typical of the natural man, who, destitute -of the nobler and more refined impulses of the initiated, aspires to -nothing beyond mere sensual gratification. This it maybe which causes -Papageno to appear far less vulgar and offensive - -{DIE ZAUBERFLöTE} - -(338) - -than most of his fellows. It is true that his wit is destitute of -refinement or humour, but his jokes, though silly, are healthy and -natural to one side of the German character, which explains the fact -of Papageno having become the favourite of a large part of the public. -Although Schikaneder had doubtless a share in this popularity (he made -the part to his own liking, and when he built his new theatre with the -proceeds of the "Zauberflöte," he had himself painted on the drop-scene -as Papageno), all the essential merit of it is Mozart's own. To whatever -extent Schikaneder may have helped him to the melodies, that he came to -the aid of Mozart's inventive powers will be imagined by none, least of -all by those who know that the simplest song requires science for its -perfection, and that truth and beauty are made popular, not by debasing, -but by simplifying them. - -Papageno's songs are genuine specimens of German national music--gay and -good-humoured, full of enjoyment of life and its pleasures. The first -song (3), "Der Vogel-fänger bin ich ja," is unusually simple, with an -extremely happy, sympathetic melody; the addition of horns, with -the tones and passages natural to them, gives a freshness to the -accompaniment; and the by-play on the reed-pipe (ever since called -Papageno's flute)--[See Page Image] - -with the answer of the orchestra, has a really funny effect. The second -song (21) is in two parts, differing in time and measure, but resembles -the first in the tone of merry content which lies at the root of its -popularity. Schikaneder may have given just the suggestion to the -musical conception (Vol. III., p. 284), but the precise and well-rounded -working-out is due to Mozart alone. Papageno's bells give a peculiar -tone to the accompaniment, "eine Maschine wie ein holzemes Gelàchter," -they are called in the libretto, and "istromento d' acciajo" by Mozart -in the score; they were brought in for the ritornellos and interludes -with easy variations in the different verses. The celebrated double-bass -player Pischl-berger or, according to Treitschke, Kapellmeister - -{PAPAGENO.} - -(339) - -Henneberg "hammered" the instrument behind the scenes. Mozart wrote to -his wife at Baden how he had once played the bells himself behind the -scenes:-- - -I amused myself by playing an arpeggio when Schikaneder came to a pause. -He was startled, looked round, and saw me. The second time the pause -occurred I did the same; then he stopped and would not go on; I guessed -what he was after, and made another chord, upon which he tapped the -bells and said: "Hold your tongue!" ("Halts Maul!"), whereupon everybody -laughed. I fancy this was the first intimation to many people that he -did not play the instrument himself. - -The instrument occurs first in the first finale, when Papageno makes the -slaves of Monostatos dance and sing to it. - -Here it is brought prominently forward, supporting the melody alone, -accompanied only _pizzicato_ by the stringed instruments, and in a -measure by the chorus; the whole is most innocently simple, and of -charming effect.[59] The bells exercise their power a third time (the -magic flute is also; played three times) in the last finale, where the -magic instrument aids the despairing Papageno to recall his Papagena, -and is treated simply as befits its nature.[60] - -Papageno's chief scene is in the last finale, when he resolves to die -for the love of his lost Papagena, and it forms a counterpart to the -pathetic scene of Pamina's despair. An expression of good-humour and of -true, if not very elevated, feeling prevents the comic situation from -becoming farcical. - -{DIE ZAUBERFLöTE.} - -(340) - -Papageno's grief is like that of a child, expressed in genuine earnest, -yet of a nature to raise a smile on the lips of grownup people. -This double nature is well expressed, for example, in the violin -passage--[See Page Image]nwhich has something comic in its very accents -of grief. The form of this lengthy scene is altogether free. Without -alteration of time or measure the music follows the various points of -the scene, declamatory passages interrupting the long-drawn threads of -melody sometimes with great effect, and descriptive phrases repeated -at suitable places to keep the whole together. Thus the characteristic -passage--occurs three times to the words: "Drum geschieht es mir schon -recht!" "Sterben macht der Lieb' ein End," and "Papageno frisch hinauf, -en.de deinen Lebenslauf!" At the close, when he seems really on the -point of hanging himself, the time becomes slower, and a minor key -serves to express the gloom of despair. But the three boys appear and -remind him of his bells; at once his courage rises, and as he tinkles -the bells he calls upon his sweetheart to appear with all the confidence -and joy of a child. At the command of the boys he looks round, sees her, -and the two feather-clothed beings contemplate each other with amazement -and delight, approaching nearer and nearer, until at last they fall -into each other's arms. The comic point of the stammering "Pa-pa-pa-," -uttered by them both, slowly at first, then with increasing rapidity -until they embrace with the exclamation, Papageno!" and "Papagena!" was -due to Schickaneder's - -{LOVE OF MAN AND WIFE.} - -(341) - -suggestion.[61] That the happiness they feel at their reunion should -find expression in anticipating the advent of numerous little -Papagenos and Papagenas is not only intended as a trait of human nature -unrestrained and unrefined in thought and word, but serves to point -to the parental joys springing from wedlock as "the highest of all -emotions." The duet originally ended with the words (which Mozart did -not set to music):-- - - Wenn dann die Kleinen um sie spielen - Die Eltern gleiche Freude fühlen, - Sich ihres Ebenbildes freun - O, welch ein Gluck kann grosser sein? - -The words with which the boys lead Papagena to Papageno-- - - Komm her, du holdes, liebes Weibchen! - Dem Mann sollst du dein Herzchen weihn. - Er wird dich lieben, süsses Weibchen, - Dein Vater, Freund und Brader sein - Sie dieses Mannes Eigenthum! - -were also omitted by Mozart, because serious exhortations and moral -reflections would have been out of place here. He has instead succeeded -in producing so lively and natural an expression of childlike delight, -untouched by any taint of sensual desire, that the hearer feels his own -heart full of happiness for very sympathy. The companion piece to this -duet is that which Papageno sings with Pamina, after informing her that -Tamino, fired with love, is hastening to her release (8). There can be -no doubt that Mozart's wish has been to express the loftiest conception -of the love of man and wife as an image, however faint and imperfect, of -heavenly love; but here again Schikaneder has interposed, and insisted -on something popular. We cannot blame him, for Papageno's sphere is that -of natural, simple sentiment, not of enlightened morality, and Pamina is -an inexperienced girl, who follows her own feelings, and is ready enough -to fall into Papageno's vein. - -{DIE ZAUBERFLÖTE.} - -(342) - -Mozart did not find it easy to satisfy Schikaneder, who called each -fresh attempt fine, but too learned; not until the third, or as some -say, the fifth version,[62] did Mozart hit on the simple tone of warm -feeling which Schikaneder believed would win every ear and every heart. -His judgment proved correct; at the first performance this was the -first piece applauded, and an angry critic complained in 1793 that the -"Mozartites" were passing all bounds, and that "at every concert the -ladies' heads went nodding like poppies in the field when the senseless -stuff was sung: 'Mann und Weib, und Weib und Mann (which makes four, by -the way), reichen an die Gottheit an.'"[63] According to Kapellmeister -Trüben-see, of Prague, who was engaged as oboist in Schikaneder's opera, -a rejected composition of this duet in the grand style was afterwards -made use of alternately with that now known, and indicated on the -playbill, "with the old duet" or "with the new duet."[64] At the first -performance of the "Zauberflöte" in the new Theater an der Wien in 1802, -Schikaneder' made the following announcement on the bill:-- - -Having been so fortunate as myself to possess the friendship of Mozart, -whose affection for me led him to set my work to music, I am in a -position to offer the audience on this occasion a gratifying surprise -in the form of two pieces of Mozart's composition, of which I am sole -possessor.[65] - -One of them may have been the duet in question; what the other was we -cannot even conjecture.[66] An individuality such as Papageno's is -sure to impart some of its naïve good humour and joviality to the other -characters with whom he comes in contact, and the impression thus made -cannot - -{ENSEMBLES.} - -(343) - -fail to appear in the music; whenever Papageno enters, whether he is -merry or whether he is sad, an irresistible tone of good humour takes -possession of the stage. Next to him in want of reserve and self-control -stands Pamina, who only gradually attains a consciousness of her higher -and nobler nature. Neither in the duet nor in the flight does her -expression of the feelings they are both experiencing differ in tone -from Papageno's; any marked distinction here would have marred the total -impression without assisting psychological truth. But on the approach -of Sarastro they draw apart; Pamina entrenches herself in proud reserve, -while Papageno gives vent to his terror with the same energy as in the -first quintet (6) when he is ordered to accompany Tamino to the castle. -In the second quintet (13) his fright is kept in check by Tamino's -presence, and his disgust at not daring to speak, and not being able -to keep silence, gains the upper hand and gives the tone to the whole -piece. - -Such a consideration as we have given to the principal characters of the -"Zauberflöte," to its intellectual and musical conception, and to the -prevailing freedom of its form, serves to stamp its character as a -genuinely German opera. What was begun in the "Entführung," which -undertook to raise German vaudeville to the level of opera proper, -is carried further in the "Zauberflöte," which succeeds in gaining -recognition for the simplest expression of feeling, and for full freedom -of form of dramatic characterisation. The opera contains no airs of -the traditional stamp, except the two airs of the Queen of Night; and -a comparison of the way in which the aria form is treated in "Cosi fan -Tutte" and "Titus" will show an organic change in the airs, now that -they are developed from the simple Lied. This freedom of construction is -still more apparent in the ensembles, in the beautiful terzet (20), and -more especially in the first quintet (6). The second quintet (13) is -more precise in form, the ladies tempting Tamino and Papageno to break -silence forming the natural middle point of the musical construction. -But the freedom of movement strikes us most of all in the finales, which -are admirable examples of - -{DIE ZAUBERFLÖTE.} - -(344) - -the art, so praised by Goethe, of producing effect by means of contrast. -In dramatic design they are inferior to the finales of "Figaro," "Don -Giovanni," or "Cosi fan Tutte." Instead of a plot proceeding from one -point, and developing as it proceeds, we have a succession of varied -scenes, lightly held together by the thread of events, and interesting -us more from their variety than their consistent development. In order -to follow this rapid movement great freedom of musical construction was -necessary; opportunities of carrying out a definite motif till it forms -a self-contained movement, which are so frequent in Italian finales, -occur here but seldom, one instance being the allegro of the first -finale, when Monostatos brings in Tamino, and the movement of the second -finale to which the Queen of Night enters. This essential difference of -treatment fills us with renewed admiration of Mozart's fertility in the -production of new suggestive and characteristic melodies, which seem -ready at command for every possible situation. Those who descend to -details will be amazed to find how seldom Mozart is satisfied with -a mere turn of expression, how lavish he is of original fully formed -musical subjects, and how all the details of his work are cemented into -a whole by his marvellous union of artistic qualities. - -This leads us to the consideration of a second point in which the -"Zauberflöte" surpasses the "Entführung." The latter is confined to a -narrow circle of characters, situations, and moods, while the former has -a large and varied series of phenomena. The story from which the plot is -derived opens the realm of fairies and genü, personified in the Queen -of the Night and her ladies, and, as regards his outward appearance, in -Papageno. In addition to this there is the mystical element which -takes the first place both in the dramatic conception and the musical -characterisation of the opera. Mozart had no intention of representing -a fantastic fairy land, such as was called into existence by Weber and -Mendelssohn. The fabulous was not then identified with the fantastic, -but was often consciously made a mirror for the reflection of real life, -with its actual sentiments and views. Therefore the Queen of Night is -depicted as a queen, - -{FANTASTIC AND MYSTIC ELEMENTS.} - -(345) - -as a sorrowing mother, as a revengeful woman; her ladies have their -share of coquetry and gossip, and these feminine qualities predominate -over the supernatural. The musical task of combining three soprano -voices into a connected whole, while preserving their individuality, -calls for great peculiarity of treatment, entailing further a special -turning to account of the orchestral forces at command, at the same time -that no special forms of expression are made to serve as typical of the -fairy element of the piece. - -On the other hand the apparition of the three boys is accompanied by -every means of musical characterisation. They form the link with the -region of mysticism indicated awkwardly enough in the libretto. We -recognise something more than individual taste and inclination in -Mozart's efforts to invest them with a character of grave solemnity. A -universal and deep-rooted sympathy with Freemasonry was a characteristic -sign of the times, and the German mind and disposition are well -expressed in the efforts that were made to find in Freemasonry that -unity which intellectual cultivation and moral enlightenment alone could -bestow. Mozart was therefore at one in intention and aim with all that -was highest and noblest in the nation, and the more deeply his own -feelings were stirred the more sure he was to stamp his music with all -that was truly German in character. It was not without design that he -selected an old choral melody to mark a point of most solemn gravity, or -that he treated it in the way with which his fellow-countrymen were most -familiar. This passage is also significant as showing the marvellous -element in a symbolic light, and bringing the supernatural within the -domain of the human sphere. In this respect the representation of -the marvellous in the "Zauberflöte" differs widely from that in "Don -Giovanni." There the appearance of the ghost is a veritable miracle, a -fact which must be believed to be such, and rendered to the minds of -the spectators by means of the musical representation of terror in the -actors. In the "Zauberflöte," on the contrary, the marvellous element is -suggested only by the mystery hidden beneath it, and the mind is attuned -to a mood of awe-struck wonder. - -{DIE ZAUBERFLÖTE.} - -(346) - -It cannot be denied that the deeply rooted symbolism of the opera has -dulled the edge of individual characterisation. Actions lose their -reality and become mere tests of virtue; the choruses of the priests -express generalities; neither the three ladies nor the three boys are -independent characters, but each group forms an individual, which -again represents an idea; even the principal characters, owing to the -concentration of all upon one idea, have more of a typical character -than is desirable in the interests of dramatic characterisation.[67] -In spite of these drawbacks Mozart has depicted both his situations and -characters naturally and vividly. No one will attempt to deny that both -the subjects and treatment of "Figaro" and "Don Giovanni," and in some -degree also of "Cosi fan Tutte," present far more occasions for the -expression of passion, for delicate detail, and for the emphasising of -special features, than is the case with the "Zauberflöte," where the -effect depends mainly on the general impression left by the whole work; -but that this is the case affords only another proof of Mozart's power -of grasping the strong points of every problem that was set before him. -"In Lessing's 'Nathan,'" says Strauss,[68] "we are as little disposed -to complain of the want of that powerful impression produced by his -more pungent pieces, as we are to wish the peaceful echoes of Mozart's -'Zauberflöte' exchanged for the varied characterisation and foaming -passion of the music of 'Don Juan.' In the last work of the musician, as -in that of the poet, wide apart as they stand in other respects, there -is revealed a perfected spirit at peace with itself, which having fought -and overcome all opposition from within, has no longer to dread that -which comes from without." - -The fact that the words of the opera were in German had doubtless an -important influence on the musical expression. Wretched as the verses -are, so much so that it is difficult sometimes to find the sense -necessary for the proper understanding of Mozart's rendering of them, -they nevertheless - -{THE ORCHESTRA.} - -(347) - -form the basis of the musical construction. Italian operatic poetry, -long since stereotyped in form, fettered the composer's fancy, while the -German verses, from their very want of finish, left him freer scope -for independent action. It is worthy of note that instrumental -tone-painting, so frequently employed in Italian opera as a means of -giving musical expression to the poetry, is but little resorted to in -the "Zauberflöte." Apart from the difference of poetical expression in -Italian and German, the sensuous sound of the Italian language was far -more provocative of musical expression; and the declamatory element of -correct accentuation and phrasing was at the root of the correct musical -expression of German words. In this respect also the "Zauberflöte" is -far superior to the "Entführung." A comparison of the text with the -music will show what pains Mozart has taken to declaim expressively -and forcibly. Sometimes the effort is too apparent, as in Sarastro's -well-known "Doch"; but as a rule Mozart's musical instinct prevents -the declamatory element from intruding itself to the detriment of the -melodious. - -In the treatment of the orchestra also the "Zauberflöte" stands alone -among Mozart's operas. It is not, as in "Figaro" and "Don Giovanni," -employed for delicate details of characterisation, nor is it, as in -"Cosi fan Tutte" replete with euphonious charm. It has here a double -part: in that portion of the opera which represents purely human emotion -the orchestra is free and independent in movement, but easy and simple -in construction; while for the mystic element of the story it has quite -another character: Unusual means, such as trombones and basset-horns, -are employed for the production of unusual and weird effects, while -through all the delicate gradations of light and shade, from melancholy -gravity to brilliant pomp, the impression of dignity and solemnity is. -maintained, and the hearer is transported to a sphere beyond all earthly -passion. Not only are the hitherto unsuspected forces of the orchestra -here brought into play, but its power of characterisation is for the -first time made _fully_ manifest, and the "Zauberflöte" is the point of -departure for all that modern music has achieved in this - -{DIE ZAUBERFLÖTE.} - -(348) - -direction. It must not, however, be forgotten that instrumental -colouring is always to Mozart one means among many of interpreting -his artistic idea, and never aspires to be its sole exponent, or to -overshadow it altogether. - -That which gives the "Zauberflöte" its peculiar position and importance -among Mozart's operas is the fact that in it for the first time all the -resources of cultivated art were brought to bear with the freedom of -genius upon a genuinely German opera.[69] In his Italian operas he had -adopted the traditions of a long period of development, and by virtue -of his original genius had, as it were, brought them to a climax and a -conclusion; in the "Zauberflöte" he stepped across the threshold of the -future, and unlocked the sanctuary of national art for his countrymen. -And they understood him; the "Zauberflöte" sank directly and deeply -into the hearts of the German people, and to this day it holds its place -there. The influence which it has exerted in the formation of German -music can be disregarded by no one who has an eye for the development of -art. - -Evidence of the rapid popularity of the "Zauberflöte" is afforded by the -imitations of it which were produced at the theatres Auf der Wieden and -Leopoldstadt:-- - -Everything is turned to magic at these theatres; we have the magic -flute, the magic ring, the magic arrow, the magic mirror, the magic -crown, and many other wretched magic affairs. Words and music are -equally contemptible (except the "Zauberflöte"), so that one knows not -whether to award the palm of silliness to the poet or the composer. -Added to this, these miserable productions are still more miserably -performed.[70] - -Schikaneder's opera, "Babylons Pyramiden," the first act composed by -Gallus, the second by Winter, first produced October 23, 1797, bore a -striking resemblance to the - -{PERFORMANCES AND IMITATIONS.} - -(349) - -"Zauberflöte."[71] In the following year appeared "Das Labyrinth, -oder der Kampf der Elemente," announced as a continuation of the -"Zauberflöte," by Schikaneder and Winter;[72] it was performed in Berlin -with great magnificence in 1806.[73] Goethe's design of continuing the -"Zauberflöte" has been already mentioned (Vol. III., p. 314, note). It -would be superfluous to enumerate the performances of the "Zauberflöte" -in Germany. It soon took possession of every stage in Vienna. In 1801 it -was given at the Karnthnerthortheater with new scenery by Sacchetti.[74] -Schikaneder was not mentioned, which gave rise to some coarse pamphlets -in doggerel verse.[75] Schikaneder's answer was a brilliantly appointed -performance of the "Zauberflöte" in his new theatre An der Wien, which -he recommended to the public in some doggerel lines as Papageno, not -failing also to parody the defective machinery of the other theatre.[76] -The run was extraordinary,[77] but he had taken so many liberties with -the work--omitting the quintet, for instance, and inserting an air -for Mdlle. Wittmann--that he did not escape criticism in more doggerel -verses.[78] - -From Vienna the opera spread rapidly to every theatre in Germany, great -and small.[79] In Berlin it was first given on May 12,1794, with a -success[80] that testified to the preference for German rather than -Italian opera there;[81] the jubilee of this performance was celebrated -on May 12, 1844.[82] - -{DIE ZAUBERFLÖTE.} - -(350) - -At Hamburg "the long-expected 'Zauberflöte'" was first put on the stage -on November 12,1794, and soon usurped the popularity of "Oberon" and -"Sonnenfest der Braminen."[83] It may be mentioned as a curiosity -that the "Zauberflöte" was played in a French translation[84] at -Braunschweig* and in Italian at Dresden,[85] until the year 1818,[86] -when C. M. von Weber first produced it in German with great care, and -quite to his own satisfaction.[87] - -The "Zauberflöte" rapidly gained popularity for Mozart's name, -especially in North Germany. How universal was the favour with which -it soon came to be regarded may be testified by Goethe, who makes his -Hermann, describing a visit to his neighbour in their little country -town, say:-- - - Minchen sass am Klavier; es war der Vater zugegen, - Hörte die Tochterchen singen, und war entzückt und in Laune. - Manches verstand ich nicht, was in den Liedern gesagt war; - Aber ich hörte viel von Pamina, viel von Tamino, - Und ich wollte doch auch nicht stumm sein! Sobald sie geendet, - Fragt' ich dem Texte nach, und nach den beiden Personen. - Aile schwiegen darauf und lächelten; aber der Vater - Sagte: nicht wahr, mein Freund, er kennt nur Adam und Eva?!!! - -Even to this day Sarastro and Tamino are regular starring and trial -parts; unhappily, so is the Queen of Night for singers who possess the -high F; and though the novelty and splendour of the scenery and -stage accessories have been long since surpassed, and the interest in -Freemasonry has died away, yet the "Zauberflöte" is still popular in the -best sense of the word. It has been successfully performed in Dutch,[88] -Swedish,[89] Danish,[90] and Polish;[91] but, as might have been -expected, the "_musica scelerata_ without any melody" was even less to -the taste of the Italians than Mozart's - -{PERFORMANCES AND IMITATIONS.} - -(351) - -other operas.[92] It is not surprising either that it was only -moderately successful in London, where it was first performed in -Italian[93] in 1811, then in English in 1837,[94] and in German by a -German company in 1840;[95] but the songs and other pieces of the opera -have always been well known and popular.[96] - -The "Zauberflöte" was given in Paris in 1791 curiously transformed by -Lachnith under the title of "Jes Mystères d'Isis."[97] The piece was -irrecognisable; everything miraculous, including the magic flute itself, -and everything comic was omitted, Papageno being turned into the wise -shepherd Bochoris; this, of course, involved the parodying of a great -part of the music, and much was omitted even without this excuse. The -omissions were made good by the insertion of pieces out of other operas -by Mozart, e.g., the drinking-song from "Don Giovanni" arranged as a -duet, an air from "Titus," also as a duet, and more of the same kind. -Great liberties were taken with the music itself. The closing chorus, -with Sarastro's recitative, formed the beginning of the opera; then -followed the terzet "Seid uns zum zweiten-mal willkommen," sung by six -priestesses; then a chorus from "Titus" (15); and then the original -introduction. Monostatos' song was given to Papagena (Mona), the first -air of the Queen of Night to Pamina, and the duet "Bei Mannern" was -turned into a terzet. It can easily be imagined how distorted Mozart's -music was by all these additions, erasures, and alterations. The -performance called forth lively protests from the critics and -connoisseurs,[98] French as well as German;[99] its defence was -undertaken, curiously - -{ILLNESS AND DEATH.} - -(352) - -enough, by Cramer.[100] The opera was nicknamed "Les Misères d'Ici," and -"l'opération" of the "dérangeur" Lachnith was discussed.[101] But all -were agreed as to the excellence of the scenery and ballet, of the -arrangement of particular scenes, and of the admirable performance -of the orchestra and chorus, which may account for the fact that this -deformity was one hundred and thirty times performed in Paris up to -1827.[102] On February 23, 1865, the unmutilated "Zauberflöte" was, for -the first time, placed on the stage of the Théätre-Lyrique, translated -by Nuitter and Beaumont, and had a brilliant success.[103] - - - - -FOOTNOTES OF CHAPTER XLIII. - - -[Footnote 1: Treitschke, Orpheus, 1841, p. 246. Monatsschr. f. Theat. u. Music, -1857, p. 445.] - -[Footnote 2: Al. Fuchs, Wien. Mus. Ztg., 1842, p. 57. A. M. Z., XLIV., p. 366.] - -[Footnote 3: The three Genü were played by Nanette Schikaneder, afterwards Madame -Eikof (Südd. Mus. Ztg., 1866, p. 191), Matth. Tuscher and Handlgruber, -but Frz. Maurer appeared instead of the second, the same who sang -Sarastro four years afterwards. The names in brackets rest on a -communication from Treitschke (Orph., p. 246); apparently these parts -were sometimes changed.] - -[Footnote 4: Wien. Mus. Ztg., 1842, p. 58.] - -[Footnote 5: Mus. Wochenbl., p. 79. This must have been the fault of the -performance; at least, in 1793, "Mozart's admirable music was so mangled -at Schikaneder's theatre, that one would fain have run away." (Berlin, -Mus. Ztg., 1793, p. 142).] - -[Footnote 6: Treitschke (Orph., p. 248) remarks that, at the time he wrote, the -"Zauberflöte" had been performed for the hundred and thirty-fifth time.] - -[Footnote 7: I have to thank my friend Dr. L. von Sonnleithner for much -information on these points.] - -[Footnote 8: The new operas for Schikaneder's theatre were: 1789, "Una Cosa -rara," second part, music by B. Schack; "Das unvermuthete Seefest," -music by J. Schenck; 1790, "Das Schlaraffenland," music by Schack -and Gerl; "Das Singspiel ohne Titel," music by J. Schenck; "Die -Wienerzeitung," music by Schack; 1791, "Oberon," music by Paul -Wranitzky; "Der Erndtekranz," music by Joh. Schenck; "Die Zauberflöte."] - -[Footnote 9: Cf. Riehl, Mus. Charakterköpfe, I., p. 244.] - -[Footnote 10: Schroder saw this opera during his tour in the spring of 1791, at -Frankfort, Mannheim, and Vienna; and it was given at Hamburg in October -(Meyer, L. Schröder, II., pp. 64, 76, 85, 97). In Berlin it was put -upon the stage in February, 1792, and was severely criticised (Mus. -Wochenbl., p. 157). It was sometimes performed later, and older -dilettanti preferred it to Weber's "Oberon" (A. M. Z., XXXI., p. 643).] - -[Footnote 11: The third volume of this collection of tales appeared in 1789. The -preface declares the author of "Lulu" and the "Palmblatter" to be the -same, and consequently (since it cannot be Herder) Liebeskind.] - -[Footnote 12: The tale was afterwards turned into a Danish opera, "Lulu," by -Güntel-berg, and composed by Kuhlau (A. M. Z., XXX., p. 540).] - -[Footnote 13: These three helpful boys, with their aphorisms, are borrowed from -another tale in the third part of the Dschinnistan, "Die klugen Knaben."] - -[Footnote 14: Devrient, Gesch. der deutschen Schauspielkunst, III., p. 141.] - -[Footnote 15: Riehl, Musik. Charakterköpfe, I., p. 3.] - -[Footnote 16: Castelli, Memoiren, I., p. 111.] - -[Footnote 17: Goethe says of his "Helena" (Gespr. m. Eckermann, I., p. 317): -"Granted that the majority of spectators care for nothing but what meets -the eye, the initiated will not fail to grasp the higher meaning, as is -the case with the 'Zauberflöte' and some other works."] - -[Footnote 18: Lewis, Gesch. d. Freimaur. in Oesterreich, p. 40.] - -[Footnote 19: Pater Cantes is said to have composed the songs to Schikaneder's -operas from friendship (Monatsschr. f. Theat. u. Mus., III., p. 444).] - -[Footnote 20: Gieseke himself told Cornet that he had the principal share in -the words of the "Zauberflöte" (Die Oper in Deutschl., p. 24. Illust. -Familienbuch des öst. Lloyd, II., p. 19); and Neukomm confirmed his -statement to me, having known Cornet as an actor at the Theater auf der -Wieden.] - -[Footnote 21: The most important features of the ceremonial, the tests of secrecy -and silence, the wandering through fire and water, &c., are to be found -in Apuleius' account of the initiation of Lucius into the mysteries of -Isis (Met., IX., 21). It is well known that the origin of Freemasonry -has been found in the Egyptian mysteries, and various symbols have -thence made their way into some of the lodges (Cf. Born in the Journal -fur Freimaurer, 1784, I., 3. Berlioz, Litt. u. Theater-Zeitg., 1783, p. -741).] - -[Footnote 22: The Masonic tendencies are visible in the frequent allusions to the -opposition between light and darkness, and in the subordinate -position of the women, who are "not to pry into mysteries which are -incomprehensible to the female mind," and which can only be solved under -the guidance of wise men. Cf. a "treatise on the uses of secrecy" read -at a lodge held for women, setting forth why the order was, and must -remain, closed to them (Teutsch. Mercur, 1786, III., p. 59).] - -[Footnote 23: Eckerxnann, Gespräche mit Goethe, III., p. 17.] - -[Footnote 24: Goethe made the following announcement on the subject to Wranitzky -(January 24, 1796): "The favour with which the 'Zauberflöte' has been -received, and the difficulty of writing a piece which could compete with -it, have suggested to me the idea of finding in itself the subject of -a new work, so as to meet the preference of the public half way, as it -were, and to simplify the performance of a new and complicated piece -both to the actors and the theatrical management. I believe I shall best -attain this object by writing a second part to the 'Zauberflöte' the -characters are all familiar, both to the public and to the actors, and -it will be possible, having the earlier piece before one, to heighten -the climax of the situations and events without exaggerating them, and -to give life and interest to the whole piece." He writes to Wranitzky, -further, that it will please him to be associated with so talented a -man, and that he has endeavoured to "open a wide field to the composer, -and to touch upon every department of poetry, from the most elevated -emotions to the lightest pleasantry" (Orpheus, 1841, p. 252. Cf. Briefw. -zw. Schiller u. Goethe, 468. Briefw. m. Zelter, I., p. 16; II., pp. 93, -166).] - -[Footnote 25: Herder lays stress on the predominating idea of the struggle -between light and darkness as a main reason for the great success of the -"Zauberflöte" (Adrastea, II., p. 284).] - -[Footnote 26: Reichardt writes to Tieck (March 17, 1812): "Thus numberless -mongrel and prodigious creations have taken form, round which music has -been developed and almost perfected. Mozart's highest performances owe -their existence to Schikaneder and Co. Without the 'Zauberflöte' and -'Don Juan,' one side of Mozart's genius would have remained unknown to -us" (Briefe an L. Tieck, III., p. no).] - -[Footnote 27: An interpretation from the Masonic point of view is given by L. v. -Batzko (Journ. d. Lux. u. d. Mod., 1794, p. 364). A ludicrous allusion -to the Revolution was imputed to the "Zauberflöte" by a pamphlet, -Geheime Gesch. d. Verschworungssy stems d. Jacobiner in d. österr. -Staaten, 1795.] - -[Footnote 28: André has published the score of the overture, so that the -alterations and additions can be recognised as such. The autograph of -the opera is complete (N. Ztschr. fur Mus., XLV., p. 41).] - -[Footnote 29: Cäcilia, XX., p. 132.] - -[Footnote 30: Cf. Marx, Lehre v. d. mus. Kompos., IV., p. 181.] - -[Footnote 31: Allg. Wiener Mus. Ztg., 1842, p. 521. Niederrh. Mus. Ztg., 1856, -pp. 68,89. N. Ztschr. f. Mus., XLV., p. 41.] - -[Footnote 32: Ulibicheff, who has devoted careful study to this overture, -continually, and with justice, recurs to the idea of light and -brilliancy, which is irresistibly brought home to the hearer, as Mozart -no doubt fully intended.] - -[Footnote 33: Koch, Journal der Tonkunst (1795, I., p. 103).] - -[Footnote 34: The use made of the old choral melody was first remarked by -Rochlitz, but he calls the chorale, "Aus tiefer Noth schrei ich zu dir" -(A. M. Z., I., p. 148), while Gerber (N. Lex., III., p. 496) calls it, -"Christ unser Herr zum Jordan kam," and Zelter (Briefw., III., p. -415; IV., p. 354), "Wenn wir in hochsten Nöthen"--variations which are -capable of explanation, and sometimes of justification (Càcilia, VIII., -p. 134. A. M. Z., XLVIII., p. 481).] - -[Footnote 35: The antiquated melody treated by Mozart is the song, "Ach Gott vom -Himmel sieh darein," in use from 1524 (Winterfeld, Evang. Kirchengesang, -I., Beil. 14; II., p. 7. Tucher, Schatz des evang. Kirchengesanges Mel., -236).] - -[Footnote 36: Kirnberger, Kunst d. reinen Satzes, I., p. 237.] - -[Footnote 37: Kirnberger, I., p. 243. Cf. Stadler, Nachr., p. 12.] - -[Footnote 38: Wien. Mus. Ztg., 1842, p. 58.] - -[Footnote 39: Two choral melodies, "O Gottes Lamm," and "Als aus Egypten," with -partially figured bass, are written by Mozart upon one sheet (343 K.), -perhaps with a similar object.] - -[Footnote 40: Cf. Marx, Lehre v. d. mus. Kompos., II., pp. 536, 568.] - -[Footnote 41: Whether any special Masonic wisdom lurks in the choice of this song -I cannot say; it is worthy of remark that even in the Masonic funeral -music a figured Cantus firmus is made use of (Vol. II., p. 411).] - -[Footnote 42: The resemblance traced by C. F. Becker (Hausmusik, p. 37) to a -passage from Joh. Kuhnau's "Frisch e Clavierfrüchte".(1696) has been -proved illusory by Faiszt (Cäcilia, XXV., p. 150).] - -[Footnote 43: This curious combination recalls to mind the piece for trumpets and -flutes which Mozart formerly wrote in Salzburg (Vol. I., p. 308).] - -[Footnote 44: It is not without purpose that they are made to accompany Tamino's -words, "Der Lieb' und Tugend Heiligthum" in the recitative of the -first finale where Mozart first selected flutes, but then changed to -clarinets, which only recur in this place.] - -[Footnote 45: This is pointed out in an article on the characteristics of -different keys (A. M. ZM XXVII., p. 228).] - -[Footnote 46: The last words which Mozart wrote to his wife at Baden contained -an allusion to this terzet: "Die Stunde schlägt--leb wohl--wir sehen uns -wieder."] - -[Footnote 47: Mozart, as an ear-witness noted (A. M. Z., XVII., p. 571), accented -the first quaver of this figure, and took the tempo of the terzet almost -as quick as it has since been played, following the direction _andante -moderato_. In Mozart, as in other older composers, andante ("going") by -no means exclusively implies a slow tempo.] - -[Footnote 48: Siebigke gives an elaborate analysis of this terzet (Mozart, p. -38).] - -[Footnote 49: Meyer, L. Schroder, II.; I., p. 85.] - -[Footnote 50: Lipowsky, Baier. Musik-Lex., p. 297. A. M. Z., XXIX., p. 519. -Meyer, L. Schroder, II.; I., p. 85.] - -[Footnote 51: Anna Gottlieb, born in Vienna, 1774, sang Barberina in "Figaro" -in 1786, and was then engaged by Schikaneder; in 1792 she went as prima -donna to the Leopoldstadt Theater. She took part in the Mozart Festival -at Salzburg in 1842, and in the Jubilee of 1856, and died there soon -afterwards.] - -[Footnote 52: G. Weber's remark (A. M. Z., XVII., p. 247) that the tempo of this -air is generally taken too slow, is confirmed by the contemporary of -Mozart already mentioned, with a reference to his own directions (Ibid., -p. 571). Here again the direction andante was misleading.] - -[Footnote 53: It is interesting to note how the rhythmic movement of the -beginning--[See Page Image] gives the impulse to the whole of the music.] - -[Footnote 54: Cäcilia, XX., p. 133.] - -[Footnote 55: The original words were: "Dem grimmigen Löwen zum Opfer -erkoren--schon nahet er sich." Mozart substituted the poisonous serpent -later. In the Fliegende Blatter fur Mus. (I., p. 441), the description -of this serpent is compared with that in Weber's "Euryanthe."] - -[Footnote 56: The autograph score shows traces of abbreviation, the complete -cadenza having been made known by Al. Fuchs from an old copy (Allg. -Wien. Mus. Ztg., 1841, p. 244).] - -[Footnote 57: The parts of the three boys are treated in similar fashion, only -that the working-out is appropriately much simpler.] - -[Footnote 58: Marx, Kompositionslehre, IV., p. 541.] - -[Footnote 59: In the Parisian travesty of the "Zauberflöte" the virtuous shepherd -Bochoris sings this song to induce the guard to liberate Pamina, and -by this means gradually works up the twelve Moorish slaves and the guard -into such a state of comic and exhilarated emotion that they form -round him during his song, and execute an exceedingly characteristic -pantomimic dance, expressive of curiosity and delight. Then the chorus -of the guard falls in, interspersed with Lais' lovely singing, -which continues until the chorus sink at his feet in delight. "It is -impossible," adds Reichardt, in describing this scene (Vertraute Briefe -aus Paris, I., p. 438), "to imagine anything more piquant or perfect. -It made such an impression that it had to be repeated, a thing which had -never happened there before" (A. M. Z., IV., p. 72). The rearrangement -of the music necessitated is described in A. M. Z., IV., Beil. I.] - -[Footnote 60: At a performance of the "Zauberflöte" at Godesberg, in June, 1793, -a steel keyed instrument was substituted for the bells with good effect -(Berl. Mus. Ztg., 1793, p. 151).] - -[Footnote 61: Castelli (111. Familienbuch, 1852, p. 119), quoting from the -bass-player Seb. Mayer.] - -[Footnote 62: "Herr Schikaneder has made it his habit to dabble in all the operas -composed for him, altering the keys and sometimes striking out the -best-passages and substituting bad ones. Even Mozart had to submit to -his criticism in the composition of the 'Zauberflöte,' and underwent not -a little annoyance in consequence. For instance, the duet 'Bei Männern' -had to be composed five times before it pleased him" (A. M. Z., I., p. -448.)] - -[Footnote 63: Berl. Mus. Ztg., 1793, p. 148.] - -[Footnote 64: N. Ztschr. fur Mus., XLV., p. 43.] - -[Footnote 65: Allg. Wien. Mus. Ztg., 1842, p. 58.] - -[Footnote 66: A duet composed by Mozart (625 K.) for Schikaneder's "Stein der -Weisen," performed in 1792, is not known.] - -[Footnote 67: Cf. Hotho, Vorstudien, p. 79.] - -[Footnote 68: Strauss, Lessing's Nathan d. Weise, p. 77.] - -[Footnote 69: Beethoven, according to Seyfried (Beethoven's Studien, Anhang, p. -21), declared the "Zauberflöte" to be Mozart's greatest work, for in it -he first shows himself as a _German_ composer. Schindler adds (Biogr., -II., pp. 164, 322) that he thought so highly of it because it contained -every species of song, even to the chorale and the fugue. If we reflect -that this praise from Beethoven can only refer to the intellectual power -which succeeded in combining the most varied forms into an artistic -whole, born of one conception, we shall be convinced how deep was his -appreciation of that power.] - -[Footnote 70: Berl. Mus. Ztg., 1793, p. 142.] - -[Footnote 71: A. M. Z., I., pp. 73, 447.] - -[Footnote 72: A. M. Z., II., p. 811.] - -[Footnote 73: A. M. ZM V., pp. 778, 794. Zelter, Briefw., I., p. 74.] - -[Footnote 74: A. M. Z., III., p. 484. Ztg. fur d. Eleg. Welt, 1801, No. 40, p. -315.] - -[Footnote 75: Mozart und Schikaneder, ein theatralisches Gespräch uber die -Auffuhrung der Zauberflöte im Stadttheater, in Knittelversen von * *. -Wien, 1801 (Ztg. fur d. Eleg. Welt, 1801, No. 41, p. 326). Mozart's -Traum nach Anhörung seiner Oper die Zauberflöte im Stadttheater, -Jupitern und Schikanedem erzahlt im Olymp in Knittelversen von F. H. von -TZ. Wien, 1801.] - -[Footnote 76: Treitschke, Orpheus, p. 248. A. M. Z., III., p. 484.] - -[Footnote 77: Jupiter, Mozart und Schikaneder nach der ersten Vorstellung der -Zauberflöte im neun Theater an der Wien (Wien, 1802).] - -[Footnote 78: A. M. Z., XII., p. 1057.] - -[Footnote 79: A. M. Z., XIV., p. 558. Treitschke, Orpheus, p. 249.] - -[Footnote 80: Reichardt, Vertr. Briefe aus Paris, I., p. 163.] - -[Footnote 81: Schneider, Gesch. d. Oper, p. 63.] - -[Footnote 82: A. M. Z., XLVI., p. 443. Rellstab, Ges. Schr., XX., p. 379.] - -[Footnote 83: Meyer, L. Schroder, II., i, p. 115.] - -[Footnote 84: A. M. Z., VII., p. 208.] - -[Footnote 85: A. M. Z., I., p. 341.] - -[Footnote 86: Treitschke, Orpheus, p. 250.] - -[Footnote 87: A. M. Z., XX., p. 839. Cäcilia, VIII., p. 170.] - -[Footnote 88: A. M. ZM XIV., p. 239.] - -[Footnote 89: A. M. Z., XIV., pp. 593, 804, 864.] - -[Footnote 90: A. M. Z., XXXI., p. 820.] - -[Footnote 91: A. M. Z., XIV., p. 327.] - -[Footnote 92: An attempt at Milan, in 1886, had a doubtful success (A. M. Z., -XVIII., pp. 346, 485), and a second in Florence, 1818, was a decided -failure (A. M. Z., XXI., p. 42).] - -[Footnote 93: Pohl, Mozart u. Haydn in London, p. 147.] - -[Footnote 94: Hogarth, Mem. of the Opera, II., p. 193.] - -[Footnote 95: A. M. Z., XLII., p. 736; XLIV., p. 610.] - -[Footnote 96: A. M. Z., III., p. 335.] - -[Footnote 97: A closer analysis by a German musician is to be found in A. M. Z., -IV., p. 69.] - -[Footnote 98: A. M. Z., IV., p. 47.] - -[Footnote 99: Reichardt, Vertr. Briefe aus Paris, I., pp. 162, 457. Solger, -Nachgel.Schr., I., p. 69. Engel, Journal de Paris, 1801, No. 346. -Schlegel, Europa, II., I., p. 178.] - -[Footnote 100: Cramer, Anecd. sur Mozart, p. 18. Cf. Ztg. f. d. eleg. Welt, 1801, -No. 101.] - -[Footnote 101: Castil-Blaze, L'Acad. Imp. de Mus., II., p. 86.] - -[Footnote 102: A. M. Z., XX., p. 858; XXXIII., pp. 82, 142. In the year 1829, the -German performance of the "Zauberflöte" was very successful in Paris. -(A. M. Z., XXXI., p. 466.)] - -[Footnote 103: Niederrhein. Mus. Ztg., 1865, p. 68. Berl. Mus. Ztg., Echo, 1865, -p. 73. Henry Blaze de Bury, Revue des Deux Mondes, 1865, LVI., p. 412.] - - -=== - - - - - - -MOZART 44 - -BY DAVID WIDGER - - - -CHAPTER XLIV. ILLNESS AND DEATH. - -NO sooner was the "Zauberflöte" completed and performed than Mozart set -to work with restless eagerness upon his still unfinished Requiem.[1] -His friend, Jos. von Jacquin, calling upon him one day to request him to -give pianoforte lessons to a lady who was already an admirable performer -on the instrument, found him at his writing-table, hard at work on the -Requiem. Mozart readily acceeded to the request, provided he might -postpone the lessons for a time; "for," said he, "I have a work on hand -which lies very near my heart, and until that is finished I can think of -nothing else."[2] Other friends remembered - -{SAD FOREBODINGS.} - -(353) - -afterwards how engrossed he had been in his task up to a very short time -before his death.[3] The feverish excitement with which he laboured at -it increased the indisposition which had attacked him at Prague. Even -before the completion of the "Zauberflöte" he had become subject to -fainting fits which exhausted his strength and increased his depression. -The state of Mozart's mind at this time may be gathered from a curious -note in Italian, written by him in September, 1791, to an unknown friend -(Da Ponte? cf., - -Affmo Signore,--Vorrei seguire il vostro consiglio, ma come riuscirvi? -ho il capo frastemato, conto a forza e non posso levarmi dagli occhi -1' immagine di questo incognito. Lo vedo di continuo, esso mi prega, -mi sollecita, ed impaziente mi chiede il lavoro. Continuo perché il -comporre mi stanca meno del riposo. Altronde non ho più da tremere. Lo -sento a quel che provo, che l' ora suona; sono in procinto di spirare; -ho finito prima di aver goduto del mio talento. La vita era pur si -bella, la camera s' apriva sotto auspici tanto fortunati, ma non si puö -cangiar il proprio destino. Nessuno micura [assicura] i propri giomi, -bisogna rassenarsi, sarà quel che piacerà alla providenza, termino ecco -il mio canto funebre, non devo lasciarlo imperfetto. - -It was in vain that his wife, who had returned from Baden, sought to -withdraw him from his work, and to induce him to seek relief from gloomy -thoughts in the society of his friends.[5] One beautiful day, when they -had driven to the Prater, and were sitting there quite alone, Mozart -began to speak of death, and told his wife, with tears in his eyes, -that he was writing his Requiem for himself. "I feel it too well," he -continued; "my end is drawing near. I must have taken poison; I cannot -get this idea out of my mind."[6] Horrified at this disclosure, Frau -Mozart sought, - -{ILLNESS AND DEATH.} - -(354) - -by every possible argument, to reason him out of such imaginations.[7] -Fully persuaded that the assiduity with which he was working at the -Requiem was increasing his illness, she took the score away from him and -called in a medical adviser, Dr. Closset. - -Some improvement in Mozart's state of health followed, and he was able -to compose a cantata written by Schikaneder for a Masonic festival (623 -K.), which was finished November 15, and the first performance conducted -by himself. He was so pleased with the execution of this work, and -with the applause it received, that his courage and pleasure in his -art revived, and he was ready to believe that his idea of having taken -poison was a result of his diseased imagination. He demanded the score -of the Requiem from his wife, who gave it to him without any misgiving. -The improvement, however, was of short duration, and Mozart soon -relapsed into his former state of melancholy, talked much of having been -poisoned, and grew weaker and weaker. His hands and feet began to swell, -and partial paralysis set in, accompanied by violent vomiting. Good old -Joseph Deiner (Vol. II., p. 300) used to tell how Mozart had come to -him in November, 1791, looking wretched, and complaining of illness. -He directed him to come to his house next morning to receive his wife's -orders for their - -{SERIOUS ILLNESS.} - -(355) - -winter supply of fuel. Deiner kept the appointment, but was informed by -the maid-servant that her master had become so ill during the night that -she had been obliged to fetch the doctor. The wife called him into the -bedroom where Mozart was in bed. When he heard Deiner he opened his -eyes and said, almost inaudibly, "Not to-day, Joseph; we have to do with -doctors and apothecaries to-day."[8] On November 28 his condition was -so critical that Dr. Closset called into consultation Dr. Sallaba, chief -physician at the hospital. During the fortnight that he was confined to -bed consciousness never left him. The idea of death was ever before his -eyes, and he looked forward to it with composure, albeit loth to part -with life. The success of the "Zauberflöte" seemed likely at last to -open the door to fame and fortune; and during his last days of life he -was assured of an annual subscription of one thousand florins from -some of the Hungarian nobility, and of a still larger yearly sum -from Amsterdam, in return for the periodical production of some few -compositions exclusively for the subscribers.[9] It was hard to leave -his art just when he was put in a position to devote himself to it, -unharassed by the daily pressure of poverty; hard, too, to leave his -wife and his two little children to an anxious and uncertain future.[10] -Sometimes these ideas overpowered him, but generally he was tranquil and -resigned, and never betrayed the slightest impatience. He unwillingly -allowed his canary, of which he was very fond, to be removed to the next -room, that he might not be disturbed by its noise. It was afterwards -carried still farther out of hearing. Sophie Haibl says:-- - -When he was taken ill we made him night-shirts which could be put on -without giving him the pain of turning round; and, not realising how -ill he was, we made him a wadded dressing-gown against the time that he -should be able to sit up; it amused him very much to follow our work as -it proceeded. I came to him daily. Once he said to me, - -(ILLNESS AND DEATH.) - -(356) - -"Tell the mother that I am going on very well, and that I shall be -able to come and offer my congratulations on her fête-day (November 22) -within the week." - -He heard with intense interest of the repetition of the "Zauberflote," -and when evening came he used to lay his watch beside him, and follow -the performance in imagination: "Now the first act is over--now comes -the mighty Queen of Night."[11] The day before his death he said to -his wife: "I should like to have heard my 'Zauberflote' once more," -and began to hum the birdcatcher's song in a scarcely audible voice. -Kapellmeister Roser, who was sitting at his bedside, went to the piano -and sang the song, to Mozart's evident delight.[12] The Requiem, too, -was constantly in his mind. While he had been at work upon it he used to -sing every number as it was finished, playing the orchestral part on the -piano. The afternoon before his death he had the score brought to his -bed, and himself sang the alto part.[13] Schack, as usual, took the -soprano, Hofer, Mozart's brother-in-law, the tenor, and Gerl the bass. -They got as far as the first bars of the Lacrimosa when Mozart, with -the feeling that it would never be finished, burst into a violent fit of -weeping, and laid the score aside.[14] - -When Frau Haibl came towards evening her sister, who was not usually -wanting in self-control, met her in a state of agitation at the door, -exclaiming: "Thank God you are here! He was so ill last night, I thought -he could not live through the day; if it comes on again, he must die in -the night." Seeing her at his bedside, Mozart said: "I am glad you are -here; stay with me to-night, and see me die." Controlling her emotion, -she strove to reason him out of such thoughts, but he answered: "I have -the flavour of death on my - -{THE END.} - -(357) - -tongue--I taste death; and who will support my dearest Constanze if you -do not stay with her?" She left him for a moment to carry the tidings to -her mother, who was looking anxiously for them. At her sister's wish she -went to the priests of St. Peter's, and begged that one might be sent -to Mozart as if by chance; they refused for a long time, and it was -with difficulty she persuaded "these clerical barbarians" to grant her -request. When she returned she found Süssmayr at Mozart's bedside in -earnest conversation over the Requiem. "Did I not say that I was writing -the Requiem for myself?" said he, looking at it through his tears. And -he was so convinced of his approaching death that he enjoined his wife -to inform Albrechtsberger of it before it became generally known, in -order that he might secure Mozart's place at the Stephanskirche, which -belonged to him by every right (Vol. II., p. 277, note). Late in the -evening the physician arrived, having been long sought, and found in -the theatre, which he could not persuade himself to leave before the -conclusion of the piece. He told Süssmayr in confidence that there was -no hope, but ordered cold bandages round the head, which caused such -violent shuddering that delirium and unconsciousness came on, from which -Mozart never recovered. Even in his latest fancies he was busy with -the Requiem, blowing out his cheeks to imitate the trumpets and drums. -Towards midnight he raised himself, opened his eyes wide, then lay down -with his face to the wall, and seemed to fall asleep. At one o'clock -(December 5) he expired.[15] - -At early morning the faithful Deiner was roused by the maid-servant -"to come and dress" her master; he went at once and performed the last -friendly offices for Mozart. The body was clothed in a black robe and -laid on a bier, which was carried into the sitting-room and deposited -near the piano. A constant flow of visitors mourned and wept as they -gazed on him; those who had known him intimately loved him; his fame as -an artist had become universal, and his sudden death brought home to all -men the extent of their - -{ILLNESS AND DEATH.} - -(358) - -loss. The "Wiener Zeitung" (1791, No. 98) made the following -announcement:-- - -We have to announce with regret the death of the Imperial Court -Composer, Wolfgang Mozart, which took place between four and five -o'clock this morning. Famous throughout Europe from earliest childhood -for his singular musical genius, he had developed his natural gifts, -and by dint of study had raised himself to an equality with the greatest -masters; his universally favourite and admired compositions testify -to this fact, and enable us to estimate the irreparable loss which the -musical world has sustained in his death. - -A letter from Prague, of December 12, 1791, announced:[16]-- - -Mozart is--dead. He returned from Prague in a state of suffering, which -gradually increased; dropsy set in, and he died in Vienna at the end of -last week. The swelling of his body after death led to the suspicion of -his having been poisoned. His last work was a funeral Mass, which was -performed at his obsequies. His death will cause the Viennese to realise -for the first time what they have lost in him.[17] His life was troubled -by the constant machination of cabals, whose enmity was doubtless -sometimes provoked by his _sans souci_ manner. Neither his "Figaro" nor -his "Don Juan" were as enthusiastically received in Vienna as they were -in Prague. Peace be to his ashes! - -Mozart's wife, who had been so unwell the day before his death that the -physician had prescribed for her, was rendered completely prostrate in -mind and body by his death. In her despair she lay down upon his bed, -desiring to be seized with the same illness, and to die with him. Van -Swieten, who had hastened to bring her what consolation and assistance -he could, persuaded her to leave the house of death, and to take up her -abode for the present with some friends living near. He undertook the -care of the funeral, and having regard to the needy circumstances of -the widow, he made the necessary arrangements as simply and cheaply -as possible. The funeral expenses (on the scale of the third class) -amounted to 8 fl. 36 kr., and there was an additional charge of 3 fl. -for the hearse. Rich man and distinguished patron - -{INTERMENT AND GRAVE.} - -(359) - -as he was, it seems never to have occurred to Van Swieten that it would -have been becoming in him to undertake the cost as well as the care of -a fitting burial for the greatest genius of his age. At three o'clock -in the afternoon of December 6 the corpse of Mozart received the -benediction in the transept chapel on the north side of St. Stephen's -Church. A violent storm of snow and rain was raging, and the few friends -who were assembled--among them Van Swieten, Salieri, Süssmayr, Kapellm. -Roser, and the violoncellist Orsler[18]--stood under umbrellas round -the bier, which, was then carried through the Schulerstrasse to the -churchyard of St. Mark's. The storm continued to rage so fiercely -that the mourners decided upon turning back before they reached their -destination,[19] and not a friend stood by when the body of Mozart was -lowered into the grave. For reasons of economy no grave had been bought, -and the corpse was consigned to a common vault, made to contain from -fifteen to twenty coffins, which was dug up about every ten years and -filled anew: no stone marked the resting-place of Mozart. Good old -Deiner, who had been present at the benediction, asked the widow if she -did not intend to erect a cross to the departed; she answered that there -was to be one. She no doubt imagined that the priest who had performed -the ceremony would see to the erection of the cross. When she was -sufficiently recovered from her first grief to visit the churchyard, she -found a fresh gravedigger, who was unable to point out Mozart's grave; -and all her inquiries after it were fruitless. Thus it is that, in spite -of repeated attempts to discover it, the resting-place of Mozart remains -unknown.[20] - -{ILLNESS AND DEATH.} - -(360) - -Poor Constanze and her two children were now placed in the saddest -possible position. Not more than sixty florins of ready money were -available at Mozart's death; to this might be added 133 fl. 20 kr. of -outstanding accounts, the furniture, wardrobe, and scanty library, which -were valued at less than 400 florins. But there were debts to be -paid, not only to generous creditors like Puchberg, who rendered every -assistance in settling the affairs of his deceased friend without any -thought of his own claim, but to workmen and tradesmen, who must be paid -at all costs; the doctor's bill alone amounted to 250 florins.[21] -In this emergency, Constanze appealed first to the generosity of the -Emperor. One of Mozart's attached pupils informed her that the Emperor -had been very unfavourably disposed towards her, in consequence of -the calumnies spread abroad by Mozart's enemies to the effect that his -dissipation and extravagance had involved him in debts amounting to -more than 30,000 florins; and she was advised to make her application -in person, so as to persuade the Emperor of the falsehood of such -reports.[22] At the audience which was granted to her, she boldly -declared that Mozart's great genius had raised up enemies against him, -who had embittered his existence by their intrigues and calumnies. These -slanderers had multiplied tenfold the amount of his debts, and she was -prepared to satisfy all claims with a sum of 3,000 florins. Even this -amount of liability was not the result of thoughtless extravagance, -but had been inevitably incurred by the uncertainty of their income, by -frequent illnesses and unforeseen calls on their resources. Appeased by -Frau Mozart's representations, the Emperor encouraged her to give a -concert, in which he took so generous an interest that the proceeds -enabled her to pay all her husband's debts. - - - -FOOTNOTES OF CHAPTER XLIV. - - -[Footnote 1: The narrative which follows is founded chiefly upon the widow's -statements in Niemetschek (p. 50. Nissen, p. 563), which agree with -those made by her to an English lady at Salzburg in 1829 (The Musical -World, 1837, August and September. Hogarth, Mem. of the Opera, II., p. -196), and upon a letter from Sophie Haibl (April 7, 1827), extracts from -which are given by Nissen (p, 573), and of which Köchel has sent me a -copy in full.] - -[Footnote 2: Mosel, Ueb. d. Orig. Part, des Requiem, p. 5.] - -[Footnote 3: Stadler, Nachtr., p. 17.] - -[Footnote 4: In the possession of Mr. Gouny [? Young], of London, copied from the -original by Köchel.] - -[Footnote 5: A. M. Z., I., p. 147.] - -[Footnote 6: This idea was very prevalent, and was not altogether rejected by -Niemetschek, who, remarking on his early death, adds: "if indeed it was -not purposely hastened" (p. 67). Detouche relates it to Sulp. Boisserée -(I., p. 292. Mar. Sessi was convinced of its truth. N. Berlin Mus., -1860, p. 340). Even the widow says in a letter to Reg. Rath Ziegler, of -Munich (August 25, 1837', that her son giving no signs of his father's -greatness, would therefore have nothing to fear from envious attempts on -his life. p. 285):[4]--] - -[Footnote 7: Mozart's diseased fancies were made the grounds for shameful -suspicions of Salieri, who was said to have acknowledged on his deathbed -having administered poison to Mozart (cf. A. M. Z., XXVII., p. 413). -Carpani exonerated Salieri in a long article (Biblioteca Italiana, -1824), and brought forward medical testimony that Mozart's death was -caused by inflammation of the brain, besides the assertions of Salieri's -attendants during his last illness, that he had made no mention of any -poisoning at all. Neukomm also, relying on his intimacy both with the -Mozarts and with Salieri, has energetically protested against a calumny -(Berlin, allg. mus. Ztg., 1824, p. 172) which no sane person would -entertain. The grounds on which the rumour was discredited by -Kapellmeister Schwanenberg of Braunschweig, a friend of Salieri, are -peculiar. When Sievers, then his pupil, read to him from a newspaper -the report of Mozart's having been the victim of the Italian's envy, he -answered: "Pazzi! non ha fatto niente per meritar un tal onore" (A. M. -Z., XXI., p. 120. Sievers, Mozart u. Sussmayr, p. 3). Daumer has striven -to support the untenable conjecture that Mozart was poisoned by the -Freemasons (Aus der Mansarde, IV., p. 75). Finally, the report of the -poisoning furnished the subject of a dreary novel, "Der Musikfeind," by -Gustav Nicolai (Arabesken für Musikfreunde, I. Leipzig, 1825).] - -[Footnote 8: Wiener Morgen-Post, 1856, No. 28.] - -[Footnote 9: This is on the authority of the widow's petition to the Emperor.] - -[Footnote 10: He had prophesied of his little son Wolfgang at four months old -that he would be a true Mozart, for that he cried in the same key in -which his father had just been playing (Niemetschek, p. 41).] - -[Footnote 11: A. M. Z., I., p. 149.] - -[Footnote 12: Monatsschr. für Theat. u. Mus., 1857, p. 446.] - -[Footnote 13: He had a tenor voice, gentle in speaking, unless when he grew -excited in conducting; then he spoke loud and emphatically (Hogarth, -Mem. of the Opera, II., p. 198).] - -[Footnote 14: So says the unquestionably trustworthy account of Schack (A. M. Z., -XXIX., p. 520. Nissen, Nachtr., p. 169).] - -[Footnote 15: So also says the Joum. d. Lux. u. d. Mode, 1808, II., p. 803.] - -[Footnote 16: Mus. Wochenbl., p. 94.] - -[Footnote 17: A contemporary musician (Salieri must be meant) did not scruple to -say to his acquaintance: "It is a pity to lose so great a genius, but a -good thing for us that he is dead. For if he had lived much longer, -we should not have earned a crust of bread by our compositions" -(Niemetschek, p. 81).] - -[Footnote 18: Monatsschr., 1857, p. 446. Schikaneder was not present; the news -of Mozart's death had affected him most deeply; he walked up and down, -crying out: "His spirit follows me everywhere; he is ever before my -eyes!" (Nissen, p. 572).] - -[Footnote 19: Wiener Morgen-Post, 1856, No. 28.] - -[Footnote 20: Journ. d. Lux. u. d. Moden, 1808, II., p. 801. Al. Fuchs related -the negative result of his careful inquiries in Gräffer's Kl. Wiener -Memoiren (I., p. 227). Ritter von Lucam has at last (Die Grabesfrage -Mozart, Wien, 1856) elicited by inquiries from two old musicians who had -known Mozart, Freystadter and Scholl, that the grave was on the right of -the churchyard cross, in the third or fourth row of graves. This agrees -with the statement of the gravedigger in Nissen (p. 576), and inquiries -officially set on foot in 1856 make it probable that it was in the -fourth row to the right of the cross near a willow-tree (Wien. Blatter -Mus. Theat. u. Kunst, 1859, No. 97).] - -[Footnote 21: The list of effects--which owing to the kindness of my friends, -Karajan and Laimegger, lies before me--is copied in the Deutsche Mus. -Ztg., 1861, p. 284. It is affecting to see from it how simple, even -poverty-stricken, was the whole _ménage_. The collection of books and -music is valued at 23 fl. 41 kr.; and among the bad debts is one of -300 fl. to Frz. Gilowsky, who was advertised in July, 1787, as having -absconded insolvent; 500 fl. are put down as borrowed by Ant. Stadler -(Posttägl. Anzeig., 1787, No. 35).] - -[Footnote 22: On a malicious rumour of the kind see O. Jahn, Ges. Aufs. über -Musik, p. 230.] - -=== - - - - - -MOZART 44 - -BY DAVID WIDGER - - - -CHAPTER XLIV. ILLNESS AND DEATH. - -NO sooner was the "Zauberflöte" completed and performed than Mozart set -to work with restless eagerness upon his still unfinished Requiem.[1] -His friend, Jos. von Jacquin, calling upon him one day to request him to -give pianoforte lessons to a lady who was already an admirable performer -on the instrument, found him at his writing-table, hard at work on the -Requiem. Mozart readily acceeded to the request, provided he might -postpone the lessons for a time; "for," said he, "I have a work on hand -which lies very near my heart, and until that is finished I can think of -nothing else."[2] Other friends remembered - -{SAD FOREBODINGS.} - -(353) - -afterwards how engrossed he had been in his task up to a very short time -before his death.[3] The feverish excitement with which he laboured at -it increased the indisposition which had attacked him at Prague. Even -before the completion of the "Zauberflöte" he had become subject to -fainting fits which exhausted his strength and increased his depression. -The state of Mozart's mind at this time may be gathered from a curious -note in Italian, written by him in September, 1791, to an unknown friend -(Da Ponte? cf., - -Affmo Signore,--Vorrei seguire il vostro consiglio, ma come riuscirvi? -ho il capo frastemato, conto a forza e non posso levarmi dagli occhi -1' immagine di questo incognito. Lo vedo di continuo, esso mi prega, -mi sollecita, ed impaziente mi chiede il lavoro. Continuo perché il -comporre mi stanca meno del riposo. Altronde non ho più da tremere. Lo -sento a quel che provo, che l' ora suona; sono in procinto di spirare; -ho finito prima di aver goduto del mio talento. La vita era pur si -bella, la camera s' apriva sotto auspici tanto fortunati, ma non si puö -cangiar il proprio destino. Nessuno micura [assicura] i propri giomi, -bisogna rassenarsi, sarà quel che piacerà alla providenza, termino ecco -il mio canto funebre, non devo lasciarlo imperfetto. - -It was in vain that his wife, who had returned from Baden, sought to -withdraw him from his work, and to induce him to seek relief from gloomy -thoughts in the society of his friends.[5] One beautiful day, when they -had driven to the Prater, and were sitting there quite alone, Mozart -began to speak of death, and told his wife, with tears in his eyes, -that he was writing his Requiem for himself. "I feel it too well," he -continued; "my end is drawing near. I must have taken poison; I cannot -get this idea out of my mind."[6] Horrified at this disclosure, Frau -Mozart sought, - -{ILLNESS AND DEATH.} - -(354) - -by every possible argument, to reason him out of such imaginations.[7] -Fully persuaded that the assiduity with which he was working at the -Requiem was increasing his illness, she took the score away from him and -called in a medical adviser, Dr. Closset. - -Some improvement in Mozart's state of health followed, and he was able -to compose a cantata written by Schikaneder for a Masonic festival (623 -K.), which was finished November 15, and the first performance conducted -by himself. He was so pleased with the execution of this work, and -with the applause it received, that his courage and pleasure in his -art revived, and he was ready to believe that his idea of having taken -poison was a result of his diseased imagination. He demanded the score -of the Requiem from his wife, who gave it to him without any misgiving. -The improvement, however, was of short duration, and Mozart soon -relapsed into his former state of melancholy, talked much of having been -poisoned, and grew weaker and weaker. His hands and feet began to swell, -and partial paralysis set in, accompanied by violent vomiting. Good old -Joseph Deiner (Vol. II., p. 300) used to tell how Mozart had come to -him in November, 1791, looking wretched, and complaining of illness. -He directed him to come to his house next morning to receive his wife's -orders for their - -{SERIOUS ILLNESS.} - -(355) - -winter supply of fuel. Deiner kept the appointment, but was informed by -the maid-servant that her master had become so ill during the night that -she had been obliged to fetch the doctor. The wife called him into the -bedroom where Mozart was in bed. When he heard Deiner he opened his -eyes and said, almost inaudibly, "Not to-day, Joseph; we have to do with -doctors and apothecaries to-day."[8] On November 28 his condition was -so critical that Dr. Closset called into consultation Dr. Sallaba, chief -physician at the hospital. During the fortnight that he was confined to -bed consciousness never left him. The idea of death was ever before his -eyes, and he looked forward to it with composure, albeit loth to part -with life. The success of the "Zauberflöte" seemed likely at last to -open the door to fame and fortune; and during his last days of life he -was assured of an annual subscription of one thousand florins from -some of the Hungarian nobility, and of a still larger yearly sum -from Amsterdam, in return for the periodical production of some few -compositions exclusively for the subscribers.[9] It was hard to leave -his art just when he was put in a position to devote himself to it, -unharassed by the daily pressure of poverty; hard, too, to leave his -wife and his two little children to an anxious and uncertain future.[10] -Sometimes these ideas overpowered him, but generally he was tranquil and -resigned, and never betrayed the slightest impatience. He unwillingly -allowed his canary, of which he was very fond, to be removed to the next -room, that he might not be disturbed by its noise. It was afterwards -carried still farther out of hearing. Sophie Haibl says:-- - -When he was taken ill we made him night-shirts which could be put on -without giving him the pain of turning round; and, not realising how -ill he was, we made him a wadded dressing-gown against the time that he -should be able to sit up; it amused him very much to follow our work as -it proceeded. I came to him daily. Once he said to me, - -(ILLNESS AND DEATH.) - -(356) - -"Tell the mother that I am going on very well, and that I shall be -able to come and offer my congratulations on her fête-day (November 22) -within the week." - -He heard with intense interest of the repetition of the "Zauberflote," -and when evening came he used to lay his watch beside him, and follow -the performance in imagination: "Now the first act is over--now comes -the mighty Queen of Night."[11] The day before his death he said to -his wife: "I should like to have heard my 'Zauberflote' once more," -and began to hum the birdcatcher's song in a scarcely audible voice. -Kapellmeister Roser, who was sitting at his bedside, went to the piano -and sang the song, to Mozart's evident delight.[12] The Requiem, too, -was constantly in his mind. While he had been at work upon it he used to -sing every number as it was finished, playing the orchestral part on the -piano. The afternoon before his death he had the score brought to his -bed, and himself sang the alto part.[13] Schack, as usual, took the -soprano, Hofer, Mozart's brother-in-law, the tenor, and Gerl the bass. -They got as far as the first bars of the Lacrimosa when Mozart, with -the feeling that it would never be finished, burst into a violent fit of -weeping, and laid the score aside.[14] - -When Frau Haibl came towards evening her sister, who was not usually -wanting in self-control, met her in a state of agitation at the door, -exclaiming: "Thank God you are here! He was so ill last night, I thought -he could not live through the day; if it comes on again, he must die in -the night." Seeing her at his bedside, Mozart said: "I am glad you are -here; stay with me to-night, and see me die." Controlling her emotion, -she strove to reason him out of such thoughts, but he answered: "I have -the flavour of death on my - -{THE END.} - -(357) - -tongue--I taste death; and who will support my dearest Constanze if you -do not stay with her?" She left him for a moment to carry the tidings to -her mother, who was looking anxiously for them. At her sister's wish she -went to the priests of St. Peter's, and begged that one might be sent -to Mozart as if by chance; they refused for a long time, and it was -with difficulty she persuaded "these clerical barbarians" to grant her -request. When she returned she found Süssmayr at Mozart's bedside in -earnest conversation over the Requiem. "Did I not say that I was writing -the Requiem for myself?" said he, looking at it through his tears. And -he was so convinced of his approaching death that he enjoined his wife -to inform Albrechtsberger of it before it became generally known, in -order that he might secure Mozart's place at the Stephanskirche, which -belonged to him by every right (Vol. II., p. 277, note). Late in the -evening the physician arrived, having been long sought, and found in -the theatre, which he could not persuade himself to leave before the -conclusion of the piece. He told Süssmayr in confidence that there was -no hope, but ordered cold bandages round the head, which caused such -violent shuddering that delirium and unconsciousness came on, from which -Mozart never recovered. Even in his latest fancies he was busy with -the Requiem, blowing out his cheeks to imitate the trumpets and drums. -Towards midnight he raised himself, opened his eyes wide, then lay down -with his face to the wall, and seemed to fall asleep. At one o'clock -(December 5) he expired.[15] - -At early morning the faithful Deiner was roused by the maid-servant -"to come and dress" her master; he went at once and performed the last -friendly offices for Mozart. The body was clothed in a black robe and -laid on a bier, which was carried into the sitting-room and deposited -near the piano. A constant flow of visitors mourned and wept as they -gazed on him; those who had known him intimately loved him; his fame as -an artist had become universal, and his sudden death brought home to all -men the extent of their - -{ILLNESS AND DEATH.} - -(358) - -loss. The "Wiener Zeitung" (1791, No. 98) made the following -announcement:-- - -We have to announce with regret the death of the Imperial Court -Composer, Wolfgang Mozart, which took place between four and five -o'clock this morning. Famous throughout Europe from earliest childhood -for his singular musical genius, he had developed his natural gifts, -and by dint of study had raised himself to an equality with the greatest -masters; his universally favourite and admired compositions testify -to this fact, and enable us to estimate the irreparable loss which the -musical world has sustained in his death. - -A letter from Prague, of December 12, 1791, announced:[16]-- - -Mozart is--dead. He returned from Prague in a state of suffering, which -gradually increased; dropsy set in, and he died in Vienna at the end of -last week. The swelling of his body after death led to the suspicion of -his having been poisoned. His last work was a funeral Mass, which was -performed at his obsequies. His death will cause the Viennese to realise -for the first time what they have lost in him.[17] His life was troubled -by the constant machination of cabals, whose enmity was doubtless -sometimes provoked by his _sans souci_ manner. Neither his "Figaro" nor -his "Don Juan" were as enthusiastically received in Vienna as they were -in Prague. Peace be to his ashes! - -Mozart's wife, who had been so unwell the day before his death that the -physician had prescribed for her, was rendered completely prostrate in -mind and body by his death. In her despair she lay down upon his bed, -desiring to be seized with the same illness, and to die with him. Van -Swieten, who had hastened to bring her what consolation and assistance -he could, persuaded her to leave the house of death, and to take up her -abode for the present with some friends living near. He undertook the -care of the funeral, and having regard to the needy circumstances of -the widow, he made the necessary arrangements as simply and cheaply -as possible. The funeral expenses (on the scale of the third class) -amounted to 8 fl. 36 kr., and there was an additional charge of 3 fl. -for the hearse. Rich man and distinguished patron - -{INTERMENT AND GRAVE.} - -(359) - -as he was, it seems never to have occurred to Van Swieten that it would -have been becoming in him to undertake the cost as well as the care of -a fitting burial for the greatest genius of his age. At three o'clock -in the afternoon of December 6 the corpse of Mozart received the -benediction in the transept chapel on the north side of St. Stephen's -Church. A violent storm of snow and rain was raging, and the few friends -who were assembled--among them Van Swieten, Salieri, Süssmayr, Kapellm. -Roser, and the violoncellist Orsler[18]--stood under umbrellas round -the bier, which, was then carried through the Schulerstrasse to the -churchyard of St. Mark's. The storm continued to rage so fiercely -that the mourners decided upon turning back before they reached their -destination,[19] and not a friend stood by when the body of Mozart was -lowered into the grave. For reasons of economy no grave had been bought, -and the corpse was consigned to a common vault, made to contain from -fifteen to twenty coffins, which was dug up about every ten years and -filled anew: no stone marked the resting-place of Mozart. Good old -Deiner, who had been present at the benediction, asked the widow if she -did not intend to erect a cross to the departed; she answered that there -was to be one. She no doubt imagined that the priest who had performed -the ceremony would see to the erection of the cross. When she was -sufficiently recovered from her first grief to visit the churchyard, she -found a fresh gravedigger, who was unable to point out Mozart's grave; -and all her inquiries after it were fruitless. Thus it is that, in spite -of repeated attempts to discover it, the resting-place of Mozart remains -unknown.[20] - -{ILLNESS AND DEATH.} - -(360) - -Poor Constanze and her two children were now placed in the saddest -possible position. Not more than sixty florins of ready money were -available at Mozart's death; to this might be added 133 fl. 20 kr. of -outstanding accounts, the furniture, wardrobe, and scanty library, which -were valued at less than 400 florins. But there were debts to be -paid, not only to generous creditors like Puchberg, who rendered every -assistance in settling the affairs of his deceased friend without any -thought of his own claim, but to workmen and tradesmen, who must be paid -at all costs; the doctor's bill alone amounted to 250 florins.[21] -In this emergency, Constanze appealed first to the generosity of the -Emperor. One of Mozart's attached pupils informed her that the Emperor -had been very unfavourably disposed towards her, in consequence of -the calumnies spread abroad by Mozart's enemies to the effect that his -dissipation and extravagance had involved him in debts amounting to -more than 30,000 florins; and she was advised to make her application -in person, so as to persuade the Emperor of the falsehood of such -reports.[22] At the audience which was granted to her, she boldly -declared that Mozart's great genius had raised up enemies against him, -who had embittered his existence by their intrigues and calumnies. These -slanderers had multiplied tenfold the amount of his debts, and she was -prepared to satisfy all claims with a sum of 3,000 florins. Even this -amount of liability was not the result of thoughtless extravagance, -but had been inevitably incurred by the uncertainty of their income, by -frequent illnesses and unforeseen calls on their resources. Appeased by -Frau Mozart's representations, the Emperor encouraged her to give a -concert, in which he took so generous an interest that the proceeds -enabled her to pay all her husband's debts. - - - -FOOTNOTES OF CHAPTER XLIV. - - -[Footnote 1: The narrative which follows is founded chiefly upon the widow's -statements in Niemetschek (p. 50. Nissen, p. 563), which agree with -those made by her to an English lady at Salzburg in 1829 (The Musical -World, 1837, August and September. Hogarth, Mem. of the Opera, II., p. -196), and upon a letter from Sophie Haibl (April 7, 1827), extracts from -which are given by Nissen (p, 573), and of which Köchel has sent me a -copy in full.] - -[Footnote 2: Mosel, Ueb. d. Orig. Part, des Requiem, p. 5.] - -[Footnote 3: Stadler, Nachtr., p. 17.] - -[Footnote 4: In the possession of Mr. Gouny [? Young], of London, copied from the -original by Köchel.] - -[Footnote 5: A. M. Z., I., p. 147.] - -[Footnote 6: This idea was very prevalent, and was not altogether rejected by -Niemetschek, who, remarking on his early death, adds: "if indeed it was -not purposely hastened" (p. 67). Detouche relates it to Sulp. Boisserée -(I., p. 292. Mar. Sessi was convinced of its truth. N. Berlin Mus., -1860, p. 340). Even the widow says in a letter to Reg. Rath Ziegler, of -Munich (August 25, 1837', that her son giving no signs of his father's -greatness, would therefore have nothing to fear from envious attempts on -his life. p. 285):[4]--] - -[Footnote 7: Mozart's diseased fancies were made the grounds for shameful -suspicions of Salieri, who was said to have acknowledged on his deathbed -having administered poison to Mozart (cf. A. M. Z., XXVII., p. 413). -Carpani exonerated Salieri in a long article (Biblioteca Italiana, -1824), and brought forward medical testimony that Mozart's death was -caused by inflammation of the brain, besides the assertions of Salieri's -attendants during his last illness, that he had made no mention of any -poisoning at all. Neukomm also, relying on his intimacy both with the -Mozarts and with Salieri, has energetically protested against a calumny -(Berlin, allg. mus. Ztg., 1824, p. 172) which no sane person would -entertain. The grounds on which the rumour was discredited by -Kapellmeister Schwanenberg of Braunschweig, a friend of Salieri, are -peculiar. When Sievers, then his pupil, read to him from a newspaper -the report of Mozart's having been the victim of the Italian's envy, he -answered: "Pazzi! non ha fatto niente per meritar un tal onore" (A. M. -Z., XXI., p. 120. Sievers, Mozart u. Sussmayr, p. 3). Daumer has striven -to support the untenable conjecture that Mozart was poisoned by the -Freemasons (Aus der Mansarde, IV., p. 75). Finally, the report of the -poisoning furnished the subject of a dreary novel, "Der Musikfeind," by -Gustav Nicolai (Arabesken für Musikfreunde, I. Leipzig, 1825).] - -[Footnote 8: Wiener Morgen-Post, 1856, No. 28.] - -[Footnote 9: This is on the authority of the widow's petition to the Emperor.] - -[Footnote 10: He had prophesied of his little son Wolfgang at four months old -that he would be a true Mozart, for that he cried in the same key in -which his father had just been playing (Niemetschek, p. 41).] - -[Footnote 11: A. M. Z., I., p. 149.] - -[Footnote 12: Monatsschr. für Theat. u. Mus., 1857, p. 446.] - -[Footnote 13: He had a tenor voice, gentle in speaking, unless when he grew -excited in conducting; then he spoke loud and emphatically (Hogarth, -Mem. of the Opera, II., p. 198).] - -[Footnote 14: So says the unquestionably trustworthy account of Schack (A. M. Z., -XXIX., p. 520. Nissen, Nachtr., p. 169).] - -[Footnote 15: So also says the Joum. d. Lux. u. d. Mode, 1808, II., p. 803.] - -[Footnote 16: Mus. Wochenbl., p. 94.] - -[Footnote 17: A contemporary musician (Salieri must be meant) did not scruple to -say to his acquaintance: "It is a pity to lose so great a genius, but a -good thing for us that he is dead. For if he had lived much longer, -we should not have earned a crust of bread by our compositions" -(Niemetschek, p. 81).] - -[Footnote 18: Monatsschr., 1857, p. 446. Schikaneder was not present; the news -of Mozart's death had affected him most deeply; he walked up and down, -crying out: "His spirit follows me everywhere; he is ever before my -eyes!" (Nissen, p. 572).] - -[Footnote 19: Wiener Morgen-Post, 1856, No. 28.] - -[Footnote 20: Journ. d. Lux. u. d. Moden, 1808, II., p. 801. Al. Fuchs related -the negative result of his careful inquiries in Gräffer's Kl. Wiener -Memoiren (I., p. 227). Ritter von Lucam has at last (Die Grabesfrage -Mozart, Wien, 1856) elicited by inquiries from two old musicians who had -known Mozart, Freystadter and Scholl, that the grave was on the right of -the churchyard cross, in the third or fourth row of graves. This agrees -with the statement of the gravedigger in Nissen (p. 576), and inquiries -officially set on foot in 1856 make it probable that it was in the -fourth row to the right of the cross near a willow-tree (Wien. Blatter -Mus. Theat. u. Kunst, 1859, No. 97).] - -[Footnote 21: The list of effects--which owing to the kindness of my friends, -Karajan and Laimegger, lies before me--is copied in the Deutsche Mus. -Ztg., 1861, p. 284. It is affecting to see from it how simple, even -poverty-stricken, was the whole _ménage_. The collection of books and -music is valued at 23 fl. 41 kr.; and among the bad debts is one of -300 fl. to Frz. Gilowsky, who was advertised in July, 1787, as having -absconded insolvent; 500 fl. are put down as borrowed by Ant. Stadler -(Posttägl. Anzeig., 1787, No. 35).] - -[Footnote 22: On a malicious rumour of the kind see O. Jahn, Ges. Aufs. über -Musik, p. 230.] - -=== - - - -MOZART 45 - -BY DAVID WIDGER - - - - -CHAPTER XLV. THE REQUIEM. - - - -ONE of the first cares of Mozart's widow was the Requiem (626 K.).[1] -Mozart having left it unfinished, she could not but fear that the -Unknown would not only refuse to complete the stipulated payment, but -would demand the return of what had been already paid. In this dilemma, -she called various friends into counsel, and hit upon the idea of -continuing such portions of the work as Mozart had left, and of -presenting it entire to the Unknown. The completion was first intrusted -to Joh. Eybler;[2] witness the following certificate from him:-- - -The undersigned hereby acknowledges that the widow Frau Konstanze -Mozart has intrusted to him, for completion, the Requiem begun by her -late husband. He undertakes to finish it by the middle of the ensuing -Lent; and also gives his assurance that it shall neither be copied nor -given into other hands than those of the widow. - -Joseph Eybler. - -Vienna, December 21, 1791. - -He began his task by filling in the instrumentation in Mozart's -manuscript as far as the Confutatis, - -{THE REQUIEM.} - -(362) - -and writing two bars of a continuation of the Lacrimosa,[3] but he then -abandoned the work in despair. Other musicians seem to have declined -it after him until it finally fell to the lot of Süssmayr. He had been -Mozart's pupil in composition, had lent a hand in "Titus" (p. 288), -and had often gone over the parts of the Requiem already composed with -Mozart, who had consulted him as to the working-out of the composition -and the principal points of the instrumentation. The widow, at a later -time, said to Stadler: - -As Mozart grew weaker Süssmayr had often to sing through with him and -me what had been written, and thus received regular instruction from -Mozart. I seem to hear Mozart saying, as he often did: "Ah, the oxen are -on the hill again! You have not, mastered that yet, by a long way."[4] - -This expression was also well remembered by her sister Sophie, and we -can enter into it, remembering the manner in which Mozart himself wrote -and developed his compositions (Vol. II., p. 423). - -The first two movements, Requiem and Kyrie, were finished and written -out in full score by Mozart; there can be no question about them.[5] The -Dies iræ was sketched out in his usual way, the voice parts completely -written out, together with the fundamental bass--sometimes figured--and -the instrumental parts where they had to go without the voices; where -the accompaniment was at all independent the subject was indicated -sufficiently clearly to be carried on and filled in subsequently. The -score was left in this state as far as the last verse of the Dies iræ; -Mozart stopped at the words:-- - - Qua resurget ex favilla - Iudicandus homo reus. - -{SUSSMAYR'S WORK.} - -(363) - -He had not set himself, however, to compose the Requiem straight -through, but had thrown off different parts of it according to the -mood he happened to be in. Thus before the Dies iræ was finished he -had composed the Offertorium, of which the two movements, Domine Jesu -Christe and Hostias, were left virtually complete in the same state as -those mentioned above. - -It will now be understood how Mozart, going through the score, either -at the piano or the desk with his pupil Süssmayr, would discuss the -various points of the instrumentation, would encourage him to make -suggestions, and explain his own ideas and intentions, so that Süssmayr -would in many respects have formed a lively image in his mind of what -the completed score would be, and would often be able faithfully to -reproduce Mozart's own intentions. Of the remaining movements, Sanctus, -Benedictus, and Agnus Dei, there were no such sketches in existence. - -Süssmayer's first care was to copy out all that Mozart had left -imperfect, "that there might not be two handwritings together," as the -widow wrote to André (Càcilia, VI., p. 202)--she must have had Eybler's -promised completion in her mind--and then to fill in the instrumentation -according to Mozart's apparent design. Pages 11-32 of Mozart's original -manuscript, containing the Dies iræ as far as the Confutatis, fell -into the hands of the Abbé Stadler, and were by him bequeathed to the -Imperial Library in Vienna. The remaining sheets (33-45) containing the -Lacrimosa, Domine, and Hostias, belonged to Eybler, who presented them -to the same library. That Mozart had contemplated carrying them out, and -uniting them into one score with the Requiem and Kyrie is proved by the -continuous numbering of the pages in his own handwriting; there is no -instance to be found of his having recopied a score so sketched out when -filling it in.[6] - -{THE REQUIEM.} - -(364) - -Süssmayr's appointed task, therefore, was the composition "from his own -head" (ganz neu) of the concluding part of the Lacrimosa, the Sanctus, -Benedictus, and Agnus Dei; only "in order to give the work more unity" -he repeated the fugue of the Kyrie with the words "cum sanctis." The -Requiem thus completed--the two first movements in Mozart's handwriting, -the remainder in Süssmayr's--was delivered over to the owner.[7] If it -was intended that the latter should accept the whole composition as by -Mozart, appearances were certainly not calculated to undeceive him. The -score in question passed in 1838 into the possession of the Imperial -Library.[8] The first impression of every one who sees it, and who is -familiar with Mozart's handwriting, must be that the whole of it was -written by him, and that the autograph of Mozart's Requiem in its -entirety is before him.[9] Closer examination and comparison raise -suspicion, many discrepancies are discovered, although perhaps only -trifling ones, and the fact must be borne in mind that, to a question -addressed to her on the subject, Mozart's widow answered (February 10, -1839) that a full score of the Requiem in Mozart's handwriting could not -exist, since it was finished not by him but by Süssmayr. - -A comparison of the manuscript with several scores undoubtedly written -by Süssmayr--a terzet and bass air, composed by him in 1793 for -insertion in the "Serva Padrona"--solved the riddle. It was the same -handwriting, closely resembling that of Mozart, with the same deviations -from it which had been pointed out in the Requiem. There could - -{SÜSSMAYR'S WORK.} - -(365) - -no longer be any doubt that Süssmayr had written the score from the Dies -iræ--the paging begins afresh, starting with page 1 at the Sanctus. In -one place the transcriber betrays himself by a mistake. The closing bars -of the Tuba mirum are noted for the stringed instruments by Mozart, as -follows:--[See Page Image] - -In his copy Süssmayr has omitted the octave passage for the violins, and -the characteristic instrumentation for the violas, and has filled up the -omission in a way which is certainly no improvement on the original.[10] - -Süssmayr, it is clear, had so modelled his handwriting on that of Mozart -that the two could only be distinguished by trifling idiosyncrasies. -There are other instances of the same kind--Joh. Seb. Bach's second -wife, for instance, writing a hand which only an expert could -distinguish from her husband's, and Joachim's manuscript being, at one -time at least, almost identical with Mendelssohn's. As far as the score -of the Requiem was concerned, the wish to persuade the owner of the -Requiem that he was possessed of a composition exclusively by Mozart may -have come to the aid of - -{THE REQUIEM.} - -(366) - -custom and natural aptitude. There is no doubt that Count Walsegg -accepted the score as having been completed and written by Mozart at -least as far as the Sanctus.[11] Whether this was expressly stated, or -merely taken for granted by him, does not appear, and the fact that -the composition had been ordered by him with a view to a deception of -another kind is a curious coincidence, but does not make the case any -the better. - -Under these circumstances it was to the interest of the widow to -maintain that the Requiem had been completed by Mozart. This explains -the assertion of Rochlitz[12] (who according to his own account had -questioned Mozart's widow at Leipzig in 1796 concerning the whole -story of the Requiem) that Mozart had completed the Requiem before his -death.[13] But a secret known to so many could hardly be long kept. -The widow had retained a copy of the work, and a performance of it -took place soon after in Jahn's Hall at Vienna, the hall being densely -crowded. It was pretty well known to the performers what portions were -by Mozart and what by Süssmayr,[14] and the knowledge was not slow to -spread. It reached Munich[15] and Prague, where at the first performance -of the Requiem no secret was made of the fact that the Sanctus was -composed by Süssmayr.[16] The widow sold manuscript copies of the -Requiem to various noblemen,[17] and allowed others to make copies of -it;[18] Hiller copied the - -{PUBLICATION.} - -(367) - -score note for note with his own hand, and wrote on the title-page -"Opus,summum viri summi," expressing no doubt whatever as to the -whole work being that of Mozart.[19] Not content with the profits thus -accruing from the Requiem, the widow turned her attention towards -its publication. The idea occurred to her that a public appeal to the -Unknown might induce him to forego his claim on the composition.[20] The -appeal, however, was not made, for the publishers, Breitkopf and Hàrtel, -not conceiving themselves to be bound by the agreement made with Mozart, -resolved on bringing out the work from the several transcripts of it -which had fallen into their hands. Desirous, however, that the work -should be produced with all possible correctness, they applied to the -widow for her copy, with which, having no power to stop the publication, -she saw no objection to furnishing them. To their question (prompted -by the reports current as to the authorship of the work) whether -the Requiem was wholly and solely composed by Mozart, she answered -explicitly as follows (March 27, 1799):-- - -As to the Requiem, it is true that I possess the celebrated one, written -shortly before his death. I know of no Requiem but this, and declare all -others to be spurious.[21] How far it is his own composition--it is -so to near the end--I will inform you when you receive it from me. The -circumstances were as follows: Seeing his end approaching, he spoke with -Herr Süssmayr, the present Imperial Kapellmeister, and requested him, if -he should die without completing it, to repeat the first fugue in - -{THE REQUIEM.} - -(368) - -the last part, as is customary; and told him also how he should develop -the conclusion, of which the principal subjects were here and there -already carried out in some of the parts. And this Herr Süssmayr -actually did. - -On being pressed for further information she referred the publishers to -Süssmayr himself, who answered in the letter already mentioned (February -8, 1800). He nowhere asserts having received a decided commission from -Mozart, nor does he mention the concluding fugue, so that it is plain -that the widow turned her not very clear recollection of the transaction -as far as possible in favour of the integrity of the Requiem. Count -Walsegg, who had already given himself out as the composer of the -Requiem, must have felt considerable annoyance at its wide dissemination -as Mozart's work; but as yet he had made no sign. When however, in -1799, Breitkopf and Hàrtel announced the publication of the Requiem -from the manuscript in the possession of Mozart's widow, he thought it -time to put forward his claim. He sent his own copy of the score to his -advocate, Dr. Sortschan, at Vienna, and through him demanded explanation -and compensation from the widow. Stadler and Nissen negotiated with the -advocate in her name. Stadler pointed out which parts had Mozart and -which Süssmayr for their author, and the advocate wrote down all that -he said for the information of the Count, to whom he returned his -score.[23] As to compensation, the widow wrote to Hàrtel (January 30, -1800) that the Count had demanded the restitution of fifty ducats, but -that he would perhaps be satisfied with receiving a number of copies of -the work. Nissen at length induced the Count "with much difficulty -and after many threats" to accept as payment transcripts of several -unpublished compositions by Mozart,[24] and even to allow the widow to -revise the printed score by a comparison of it with his own.[25] - -{SÜSSMAYR'S SHARE IN THE WORK.} - -(369) - -As the result of this unsatisfactory transaction to all concerned in it, -we may conclude that the Requiem and Kyrie are the work of Mozart as we -have them, that the movements from the Dies iræ to the first eight bars -of the Lacrimosa, also the Domine Jesu and Hostias, were finished by -Mozart in the voice part and the bass, and that the principal points of -the instrumentation were also indicated by him, leaving only the details -to be elaborated. This, however, is not by any means so easy and purely -mechanical an undertaking as has been supposed, and Mozart's verbal -suggestions must not be underrated. As regards the last three numbers, -Süssmayr's statement that they had been "composed (verfertigt) entirely -afresh" by him offers no decided testimony on the point. Stadler's -account[26] ("the widow told me that after Mozart's death a few scraps -of paper with music on them had been found on his writing-desk, and -had been handed over to Herr Süssmayr; what they contained, or what use -Süssmayr made of them, I do not know") admits the possibility, but -only the possibility, that these scraps were sketches for the last -movements.[27] The repeatedly expressed doubt as to whether "these -flowers really grew in Süssmayr's garden" can only be supported upon -internal evidence. - -The serious spirit in which Mozart undertook the composition of his -Requiem, the intensity of his absorption in it, and the artistic labour -which he bestowed upon it, are best evidenced by the work itself.[28] -It is remarkable that towards the close of his life, when increasing -illness disposed his mind to serious reflection, his musical labours -should have been calculated to turn his thoughts upon death and the -grave. On the one hand his views as a Freemason, which were both earnest -and sincere, found their expression in the "Zauberflote"; and, on the -other, his religious convictions - -{THE REQUIEM.} - -(370) - -asserted for the last time in the Requiem the sway over his mind -and conscience which they had never lost.[29] The two sets of mental -activities thus roused found their common centre in Mozart's mind, and -impelled him to the production of his most powerful and most important -works. The similarity of thought and tendency displayed in the Requiem -and the "Zauberflöte" is observable even in the combinations of external -means in corresponding parts of the two works. The combination of -basset-horns, bassoons, and trombones, and here and there of trumpets -and drums, with the stringed instruments, which gave so singular -an expression of earnest solemnity to the tone-colouring of the -"Zauberflöte," is made use of again in the Requiem. - -But the tone-blending of the latter work is nevertheless limited, -the clearer wind instruments--flutes, oboes, clarinets and the -softer horns--being left out altogether, and the frequent orchestral -characterisation depending altogether upon the varied combinations of -the instruments named above. - -The view upheld in the opera that serious ideas must be expressed in -corresponding severity of form is even more decided in the Requiem, -in so far as Mozart must have regarded as natural and inevitable the -identification of certain fixed forms with the musical expression of -religious emotion in an act of worship. The praiseworthy feeling which -leads an artist, who believes himself to be offering his work for the -service of the Most High, to bestow his best thoughts and his best -workmanship upon it, cannot fail also to have influenced him. The -pleasure which, after his study of Handel's oratorios and the strong -impression made on him by Bach's motetts, Mozart took in the severely -contrapuntal style of composition is evinced both in the "Zauberflöte" -and in the two organ pieces composed in December, 1790, and March, 1791. -But the main inducement to this form was doubtless the facility with -which it expressed a serious, controlled and concentrated frame of mind, -allowing at the same - -{KYRIE--INTROITUS.} - -(371) - -time much freedom of characteristic and individual expression. The chief -significance of the Requiem rests herein, that it proves these forms, -with their fixed laws and strongly marked features, to have more than a -merely abstract or historical value; it proves them to be in fact, when -artistically conceived and scientifically handled, capable of giving -appropriate expression to the deepest emotion in which the human heart -finds vent.[30] - -In considering the Requiem, a distinction must be made between the -different parts of this kind of Mass and the different degrees of -importance which they receive in relation to the act of worship with -which they are associated. - -The Kyrie is preceded by the Introitus, beginning with a prayer for the -departed. The bassoons and basset-horns, in successive imitation, give -utterance to the soft, sustained melody of the prayer, supported by a -simple accompaniment on the stringed instruments; it is interrupted by -four clashing trumpet chords announcing the approach of judgment, and -not again recurring until the day of doom is there. Thereupon the voices -immediately enter, falling in from the bass upwards; but a syncopated -figure for the violins gives the petition for repose an expression -of painful unrest, called forth by the contemplation of death and the -coming judgment; soon, however, the clouds are pierced by the divine -light which is finally to disperse them, and the movement comes to a -peaceful end after an outburst of confidence and strength rendered by -the orchestra. After a short transition passage come the words of the -psalm, "Lord, we will magnify Thee upon Zion, and pay our vows unto -the Most High." In order to emphasise these as the words of Scripture, -Mozart has set them to an old chorale melody and given them to a soprano -voice, which utters them in clear, pure tones, like consolation from -above. The chorale, as has been already remarked (Vol. I., p. 200), is -the two-part _tropus_ of the ninth church mode to the psalm "In exitu -Israel de Ægypto," and had previously been made use of by Mozart as a -Cantus firmus - -{THE REQUIEM.} - -(372) - -in his "Betulia Liberata"; but what a difference between the work of the -youth and that of the matured master![31] While the soprano chorus takes -up the same melody firmly and forcibly with the words "Thou that hearest -prayer, unto Thee shall all flesh come!" the other voices fall in in -animated movement, and an energetic figure for the violins increases the -force of the expression. Then the petition for eternal rest is renewed -with a stronger expression of confidence, but still with the ground-tone -of painful agitation, rendered, by the union with the first motif of a -second, more animated and more forcible. This second subject has already -been hinted at in the transition passage to the psalm texts, from which -also the passage accompanying the texts is taken, and here first fully -asserts itself, the psychological development thus coinciding with the -musical climax. The climax reaches its highest point in the petition for -eternal light, which the divided voices utter alternately and repeat in -concert with tender, pleading supplication. - -The ejaculations "Kyrie eleison!" and "Christe eleison!" are bound -together as the two themes of a double fugue (the first strong and firm, -the second agitated and impulsive), which are carried out together in -inextricable entanglement--their expression heightened by the chromatic -construction towards the close, until in constantly increasing climax -they come to a pause on a harshly dissonant chord, and then, as it were, -collect themselves and unite in quiet composure. This fugue[32] has -given rise to the extremes of criticism, laudatory and the reverse;[33] -G. Weber could not bear to believe that Mozart - -{KYRIE.} - -(373) - -could have written such "Gurgeleien" as the chromatic passages of -the Christe eleison,[34] and others have looked in vain for the pious -humility of expression proper to such a solemn appeal to the mercy of -the Redeemer.[35] Whether the treatment of the keys adopted in this -movement is in accordance with the requirements of a strict fugue, must -be decided by the masters of the school; it is undeniable that on it -depends the character and effect of the movement, and that the essential -laws of counterpoint are here apprehended and turned to account with -deep insight into their true nature.[36] - -The execution of the chromatic passages is difficult certainly; but, -apart from the fact that both older and contemporary masters, who -wrote for trained choirs--Bach, for instance, or Handel, or Haydn--made -similar demands on the skill of their performers, they are perfectly -possible if taken in the right time, and the effect produced by them is -probably that which Mozart intended. The conception of the movement is -clearly expressed, and requires neither explanation nor apology.[37] -The exclamation, "Lord, have mercy upon us!" is capable of very varied -expression; in the mouth of one in the agony of death, burdened with sin -and about to appear before the Judge of all men, it becomes an agonising -appeal for mercy. This state of mind has already been expressed, and -rises at the close of the Requiem into such an intensity of longing -after eternal light, that the anguished yet not despairing cry of the -Kyrie is perfectly naturally led up to. The two feelings are expressed -in the two themes of the fugue, although, in accordance with the -character of the - -{THE REQUIEM.} - -(374) - -Mass, even the confidence is penetrated with a feeling of grief. In such -a mood the element of agitation naturally rises higher and higher, until -at length the anguish of suspense finds vent in the heartrending cry for -mercy which leads to composure and resignation. The two movements of the -Requiem and the Kyrie are thus formed into a whole of perfect harmonic -unity, and lead the way to the Dies iræ. - -In view of this unmistakable unity of conception and construction it -appears strange that decided traces of Handel's influence should appear -in the principal subjects. Stadler remarks that Mozart has borrowed -the motif of the Requiem from the first motif of Handel's "Dirge on -the death of Queen Caroline"--"as some loose sheets among his retrains -show"--and has worked it out after his own manner.[38] This can only -allude to the preliminary sketches of this portion of the Requiem such -as Mozart was accustomed to make for contrapuntal work before writing -the score (Vol. II., p. 433), and of such there must have been a great -number during the composition of his Requiem. Stadler's conjecture that -they were vestiges of Mozart's youthful studies is unfounded; he was -not acquainted with Handel's works in his youth, nor until they were -introduced to him by Van Swieten (Vol. II., p. 386), under whose -direction he rearranged Handel's oratorios between 1788-1790 (p. 218). -Before this, the anthem in question cannot have been known to him. In -this beautiful work, composed in December, 1737,[39] Handel has taken -the Chorale, "Herr Jesu Christ, du wahres Gut," or, "Wenn mein Stündlein -vorhanden ist',[40] as Cantus firmus to the first chorus, and has made -further use of the same theme in the fugued concluding chorus. It is -very unlikely that Mozart deliberately chose out the subject in order -to work it out in a different way to Handel; it was more probably so -stamped on his memory as to have suggested itself naturally as suited to -the words before him, and to have then - -{HANDEL'S INFLUENCE.} - -(375) - -been quite independently worked out by him. Stadler also points out that -Mozart has taken the motif to the Kyrie from one of Handel's oratorios. -The chorus "Halleluja! we will rejoice in Thy salvation." from Handel's -"Joseph," contains both the themes of Mozart's Kyrie, but in the major -key; again, the principal subject of the Kyrie eleison has been carried -out as a fugue in the minor in the well-known and beautiful chorus of -the Messiah, "By His stripes." A comparison of this fugue with that of -the Requiem, shows that the adaptation has not merely consisted in the -change from a major to a minor key, and that the actual motif, a very -favourable one for treatment in counterpoint--[See Page Image] - -and one constantly occurring in the fugal movements of every age, here -serves only as a nucleus from which the master proceeds to develop his -own independent creation. The essential principle in the construction -of a double fugue is the combination of two themes, each bearing a -necessary relation to the other. In the chorus in "Joseph" are two -motifs exactly answering to each other; and it can scarcely be doubted -that Mozart was struck with the combination and adopted it, although, -as the examples adduced will show, his working-out of the motifs -is essentially his own. Handel only really worked out the second -motif--one, by the way, which often recurs in others of his works--and -this in very free treatment; the first only occasionally emerges from -the passages which play around it, like a huge rock almost overwhelmed -by the billows. Mozart has undertaken such a fugal elaboration of both -motifs as presupposes a radically different treatment impossible -without a new intellectual conception of the task before him. Still more -essential does this reconception appear when it is remembered that the -supplication of a sinner for mercy was to take the place of a joyful -offering of praise and thanksgiving. The transposition to a minor key -involves at the outset so complete a reconstruction of the harmonic -treatment as to point to a new creation - -{THE REQUIEM.} - -(376) - -rather than an adaptation. We here stand in the presence of one of -the mysteries of music; how it is that one and the same musical idea, -embodied in one definite form, should be capable by means of artistic -arrangement of expressing different and even totally opposite emotions. -It is true, doubtless, that invention is the characteristic gift of -genius, but absolute novelty is not to be considered as altogether -indispensable to invention. In music, as in every other art, the -creation of an individual becomes common property for his successors, -whose task it is so to develop and carry it on as in their turn to -create and construct an original and undying work. Richly endowed -natures, in the consciousness of their power of producing what is -perfectly original from?any given point, often undisguisedly follow the -impulse given by a predecessor to their imagination. A striking proof -of this is given by Haydn, who has written a double fugue as the last -movement of his Quartet in F minor, which might appear a deliberate -attempt at rivalry, but which has in reality every claim to -independence. To what extent Handel himself has employed, retouched, -and re-elaborated melodies, not only of previous occurrence in his own -works, but borrowed from other musicians, has lately been pointed out -by Chrysander; and one of the most striking examples of such musical -plagiarism is Gluck's expressive air from "Iphigenie in Tauris," "Je -t'implore, et je tremble," which was unmistakably suggested by the -beautiful Gigue in Seb. Bach's Clavier Studies (I., part I.).[41] -Neither of these two great masters could be suspected of borrowing ideas -for lack of invention.[42] - -A curious part of the Requiem, of special prominence in the musical -construction of the Mass, is the old Latin hymn, - -{DIES IRÆ.} - -(377) - -Dies iræ, which is generally not quite accurately described as a -Sequence.[43] It had grown into a custom in the service of the Mass that -at the Alleluja of the Gradual in High Mass, which was repeated by the -congregation, and then again by the choir, the last syllable "ja" -should be extended into a jubilus, upon which long-drawn-out florid -progressions (_sequentæ_) were sung, of different forms for different -festivals. Gradually these became so elaborate as to offer great -difficulties in execution and to require special practice, and the -idea arose of providing these merely vocalised melodies (_neumæ_, or -divisions) with words which were called _prosæ_, because they were -confined to no particular metre or rhythm, but followed the melody, a -syllable to every note. The greatest development of these _prosæ_, which -were now called _sequentiæ_, was made in the ninth century by Notker the -Stammerer for his scholars and successors in the musical school of -St. Gall.[44] If he did not actually invent them, he gave them their -essential form. Proceeding from the old alleluja jubilation, he founded -upon it a fixed form, consisting partly in regularly recurring cadences, -partly in the twofold repetition of each melodic progression, with -the frequent employment of a kind of refrain. This gave to the words a -certain amount of regularity, still however far from any strictness of -rhythm or metre. These Sequences introduced a fresh element of animated -movement into the rigid uniformity of the ritual, and, coming in the -place of the responses, gave the congregation an effective share in the -service. They had therefore a reciprocal effect on the national poetry, -and were developed side by side with it. In process of time rhyme, at -first only occasionally appearing, became general. The two lines set to -the corresponding melodic choral progressions were connected by rhyme, -as well as the lines of the refrain. Then they were united into - -{THE REQUIEM.} - -(378) - -verses, and gradually the number of syllables in each line was made -equal. The Sequences, which allowed of very great variety of form, were -extremely popular in Germany, France, and England--less so in Italy; and -so many were written, often set to well-known melodies, that they seemed -to imperil the strictly conventional character of the Mass. The Church -therefore forbade the use of all but three--"Victimæ Paschali," "Veni, -sancte Spiritus," and "Lauda Sion salvatorem"--which alone are included -in the revised Breviary after the Council of Trent in 1568. - -There can be no Sequence properly so-called in a Requiem, because there -is no Alleluja to which it can serve as the supplement; but, following -the analogy of the Sequence, a hymn on the last judgment was added to -the Tractus, which follows the Gradual, as a preparation for the reading -of the Gospel. The date of the introduction of this hymn is uncertain, -but it is mentioned as an integral portion of the Requiem by Barthol. -Albizzi in 1385, and was acknowledged and retained as such, together -with the three Sequences named above. The author of the hymn is not -certainly identified, but it was most probably the Franciscan Thomas, of -Celano, who was living in 1255.[45] - -The importance of the Dies iræ from a musical point of view is -determined by the fact that it takes the place of the Gloria and -the Credo, which are not sung in the Requiem. Instead of the joyful -confidence of these movements, the reflections of sinful man in the -presence of judgment here find their expression, and this obviously -determines the tone of the whole. The euphonious force and beauty of the -hymn, which have not been attained in any of the numerous translations -made of it, distinguish it as made for music,[46] the subject being -also very favourable to composition. With graphic force the terrors of -judgment are painted with all ecclesiastical severity, and with constant -reference to the actual words of Scripture, while the mercy and - -{DIES IRÆ.} - -(379) - -loving-kindness of the Redeemer are dwelt on with equal emphasis. The -fear of damnation is tempered by the hope of salvation, and from the -waitings of remorse rises the prayer of the trusting believer. Intense -and varied emotions are thrown into relief by strong contrast. Brief -but pregnant suggestions give occasion for powerful musical -characterisation, favoured also by the isolated position of the hymn in -the service. Just as the preacher addresses his solemn warning to the -congregation with more of individual emphasis than the priest who offers -the sacrifice of the Mass, so the composer who depicts the terrors of -the last judgment, so as to bring them home to the imagination of his -hearers, has freer individual scope than if he were merely following the -different acts of worship. In the Dies iræ, therefore, we have a freer -style, a more vivid expression than elsewhere. Nor is it so bound by the -usages of tradition as the other parts of the Mass, although a division -of the hymn into particular sections is indicated by the arrangement of -the subject, and necessitated by the conditions of musical construction. - -The hymn begins by representing the destruction of the world, which is -to precede the coming of the Lord, and the expression must therefore be -forcible and animated even to excess. Here, then, for the first time -the chorus enters as a compact mass, only dividing once, when the -basses exclaim: "Quantus tremor est futurus!" the only attempt at -tone-painting, while the other voices wail: "Dies iræ! dies illa!" until -they all unite to express the fearful majesty in which the Judge shall -appear. The effect of this chorus in contrast to what has gone before -rests in great measure on the high position of the voices; their shrill, -clear tone, heightened by the string accompaniment of semiquavers or -syncopated notes, is expressive of strong agitation. Without having -recourse to any new devices--trombones are omitted here that the shrill -effect may not be impaired--an altered tone-colouring transports the -hearer to an altogether new region of ideas. The harmonising adds to -the effect by the occurrence of harsh, rugged chords--especially by the -transition from E major to C minor at the repetition of the "Quantus - -{THE REQUIEM.} - -(380) - -tremor" and the return to A major; not to mention other striking -features, such as the imitative passage for the tenor at the first -"Quantus tremor," which expresses amazement in the most vivid manner. - -After bringing before the mind of the hearers the tumult and horror of -the destruction of the world, the judgment begins--the trumpets call all -created beings before the throne of the Judge. A tenor trumpet makes the -announcement in a simple passage, which is taken up by a bass voice, -and the two unite with a solemn and dignified effect.[47] Then one after -another a tenor, alto, and soprano voice describe the judgment and its -unmitigated severity, and at last combine in trembling supplication at -the words, "Cum vix iustus sit securus." Mozart has here, apparently, -intentionally refrained from emphasising the terrors of judgment, -wishing to heighten the contrast of the destruction of the world with -the appearance of the Judge, and its effect on the conscience as well as -the senses of mankind; he aimed at expressing this effect by means of -a soul-elevating calm; but he has fallen short of his endeavours. The -movement is in itself expressive, dignified, and full of euphonious -beauty, especially towards the close, but it fails to rouse in us a -sense of the grandeur and elevation which belong to the subject.[48] - -The idea that no created being is justified before God recalls the -conception of the Judge throned in His awful glory, which is expressed -with terrible force in the chorus that follows. The plan of it shows -clearly the influence of the words on the musical conception. The -thrice-repeated exclamation "Rex!" and then "Rex tremendæ majestatis," -makes, even when spoken, a strong impression, but when sung by the whole -strength of the chorus in simple, powerful chords, supported by the wind -instruments, the effect is almost overpowering, and is heightened by the -strongly - -{DIES IRÆ.} - -(381) - -punctuated passage for the strings, sinking, as it were; into terrified -silence at each recurrence of the exclamation. The idea of the mercy of -the Redeemer is at first subordinate to this impression: while sopranos -and altos in strict imitation repeat the "Rex tremendae majestatis," and -the stringed instruments elaborate their figure in two-part imitation, -the tenors and basses announce "Qui salvandos salvas gratis" with a -characteristic motif, also in strict imitation; and this is repeated, -with alternations of the upper and lower parts, until they all four -unite in the whole sentence, forming a movement of concisest strength -and severity. The declaration of mercy calls forth the prayer, beginning -with the single appeal, "Salva me!" repeated to the gradually dying -passage for the stringed instruments, and finally concentrating all its -strength and intensity of emotion in the prayer:[49] "Salva me, Fons -pietatis!"[50] - -And now the idea gains ground of the merciful Saviour and His work in -reconciling mankind with God; Him we beseech to intercede for souls -conscious of their sinfulness. The verses which are devoted to this -division of the subject are given to a quartet of solo voices, as -appropriate to the gentler and more individual tone of the emotions -depicted. The quartet in question is one of the longest and most -elaborate movements of the Requiem, and in its plan and arrangement, in -the wealth and importance of its different motifs, in the delicacy of -its detail, and the spirit which breathes from it throughout, it is -perhaps the finest of them all; nor is it too much to say that no more -beautiful and noble piece of music of the kind has ever been written. -Mozart himself recognised the fact, telling his wife, after writing down -the Recorders, that if he were to die before finishing the Requiem it -was of the greatest importance that - -{THE REQUIEM.} - -(382) - -this movement should have been completed.[51] The chief part of the -movement, after its introduction by the ritornello, is formed by a motif -given by two voices in imitation at the beginning, the middle, and -again towards the close, the fervent expression of which is tinged with -severity by means of suspensions of the second. It is supported by a -figured bass, the first bar of which--[See Page Image] - -contains the germ from which most of the motifs of the accompaniment -and the interludes are developed, and finally winds up the ritornello in -two-part canonic imitation on the violins, with a figure for the -violas in counter-movement to an organ point on the bass. This two-part -movement having been executed first by the alto and bass, then by the -soprano and tenor, the four unite in free movement to bring the whole -to an expressive close with the supplicating appeal, "Ne me perdas illa -die!" In the first episode the parts are at first divided into short -responding phrases, held together by the figured bass, and coming to a -close together, whereupon the first movement, abbreviated, is repeated. -Then there occurs a new motif of essentially harmonic character, the -effect of which depends upon the thrice-heightened climax of the chords, -intensified by the contrast of the high and low voices. Then the parts -divide again and lead the way for the last entry of the first movement, -which is repeated with a short parenthesis inserted; the final close is -brought about in a very interesting and satisfying manner by the fine -successive or parallel motion of the different parts. But we despair of -reproducing in words anything but a mere skeleton of the beauty of this -wonderful quartet--a beauty whose peculiar charm consists in the union -of loveliest grace with chaste severity and earnest depth of thought. -This charm it owes to the simplicity and truth of feeling which led the -master to seek and to find the best expression - -{DIES IRÆ.} - -(383) - -for what was in his mind; and never in any art, be it what it may, has -the comforting feeling of pious trust in the mercy of God, arising from -the consciousness of human weakness, been more truly and beautifully -expressed than in this Recordare. - -The verse which follows contrasts the torments of the damned with the -hopes of believers, and could not therefore be suitably rendered with -the same composure of tone. It had become customary to emphasise the -contrast very strongly, depicting the torments of hell as graphically as -the joys of Paradise. In this movement, therefore, the men's voices are -opposed to the women's, and describe the torments in short, imitative -phrases, emphasised when repeated by rapid changes from major to minor -and sharp suspensions and rendered still more forcible by a frequent -pregnant rhythmical figure borne by the stringed instruments in unison. -The women's voices, supported only by a quiet violin passage, express -a low and fervent appeal for redemption, intensified upon repetition by -some suspensions.[52] All the emotions and reflections represented so -far have tended to turn the thoughts inwards, with such feelings of -remorse and repentance as alone can lead to the trust in divine mercy, -and it is with the feeling of deep self-abasement that the supremest -point of the hymn is approached. The voices unite soft and low in a -succession of harmonies such as no mortal ear had ever heard:--[See Page -Image] - -{THE REQUIEM.} - -(384) - -Involuntarily we bow before the declaration of a mystery which no mouth -may utter; irresistibly impelled by the stream of harmony, we feel our -spirits loosed from the bondage which has held them, and born again to -life and light; we feel a breath of the immortality which had already -touched the brow of the master as he wrote. To the contrite and broken -spirit the Day of Wrath becomes a day of mourning, and so the "Lacrimosa -dies illa" begins with a gentle plaint hushed by the terrifying -representation of the rising of the dead from their graves, which is -grandly expressed in a powerful crescendo, brought about by the rising -climax of the melody and the onward motion of the harmonies. With the -anguished cry of "Homo reus!" the pen dropped from the hand of the -master; the emotion which shook his whole being was too strong for -expression: "Huic ergo parce Deus, pie Jesu Domine!" - -How far Süssmayr's continuation has fulfilled Mozart's intentions cannot -of course be absolutely decided; he has rightly taken up and carried out -the suggestion of the first few bars, and his conclusion has an imposing -solemnity. It is worthy of note that henceforward the trombones are much -more frequently employed than heretofore. When we compare the scanty and -peculiar use made of them in the Requiem and the Tuba mirum, with their -characteristic occurrence in the "Zauberflote," it appears doubtful -whether Mozart himself would so often have introduced them as supports -to the voices; although this was no doubt the custom in contemporary -church music. - -The Offertorium belongs again to the service, and requires on that -account another and a more conventional character in the music than the -Dies iræ. It falls into two sections, of which the first (Domine Jesu -Christe) prefers the petition that the soul of the departed may not go -down into hell, but - -{OFFERTORIUM.} - -(385) - -may be carried into light by the Archangel Michael. The earnest and -affecting character of the music is tinged with a certain amount of -harshness and unrest, arising from the constant recurrence of the -mention of hell and its torments, which distinguishes the movement from -the otherwise similar one of the Requiem. The vivid contrasts of the -words are accentuated by the music, and the result is a succession of -short phrases, combining into larger groups, which correspond with each -other. The words "ne absorbeat eas Tartarus" are worked out into a short -fugue, which has an unusually harsh effect owing to the characteristic -sevenths of the theme and the powerful semiquaver passage carried out by -the stringed instruments in unison. The gentle melody, supported by the -solo voices in canonic imitation, "sed sanctus signifer Michael," has, -on the contrary, a soothing effect, and is the only ray of light which -is allowed to shine through the surrounding gloom. The whole movement -closes with the words "Quam (lucem sanctam) olim Abrahæ promisisti" -in an elaborate fugue, the effect of which is heightened by the -accompaniment which carries out a motif of its own in close imitation. -G. Weber found fault with this fugue, with its aimless elaboration of -a subordinate idea and superfluous repetition of the same unimportant -words;[53] and Seyfried defended it on the ground that a fugue was -considered indispensable at this point,[54] and indeed was not unsuited -to it. The idea is, in truth, not a subordinate one, it is the ground -of the confidence with which the prayer is offered, and so becomes -the basis of the whole movement. The fugue is the form best fitted for -short, pithy sentences, and the one in question has the same singular -mixture of trust in the divine mercy and tortured anxiety at the thought -of death which was expressed in the first movement of the Requiem, -although it there assumed a milder form. Separate passages are of great, -though somewhat rugged beauty, as befitted the movement; more especially -the closing passage, "de profundo lacu, in obscurum, et semini eius." - -{THE REQUIEM.} - -(386) - -The second part (Hostias et preces) has a much more composed character, -as becomes the offering by the spirit of its sacrifice to the Almighty. -The idea, therefore, of still lingering disquiet is left to be expressed -by the syncopated passage for the violins, the voices going together -almost throughout the movement, and declaiming the words with strikingly -appropriate expression. The very simplicity of this movement reveals the -hand of the master, and gives it an individuality especially noticeable -at the words "tu suscipe pro animabus illis, quarum hodie memoriam -facimus." Thus far a reference to Mozart's own manuscript suffices -to determine how much was left to Süssmayr's carrying out. Although -sufficient indications were given even of the more elaborate and -independent instrumental parts to serve as a guide to a well-educated -musician, yet the example adduced above shows how much freedom in -matters of detail was left for the further elaboration; and, not to -mention various oversights, it is probable that had Mozart completed -the composition many delicate touches would have been added to the -accompanying parts which cannot now be even conjectured. Very few -indications are given for the wind instruments, and even if Mozart gave -verbal instructions concerning them, much must still remain in doubt. It -must be allowed, however, that Süssmayr's share in the work has been on -the whole successfully performed; it is quite in keeping with the -rest, and he has plainly refrained from making any alterations or -surreptitious interpolations. With the last three movements we enter -the domain of conjecture, if we are to reject the positive testimony of -Süssmayr, supported by Mozart's widow, as to the share of the former in -the work. Rochlitz, reviewing Süssmayr's letter on the subject, remarks -that "the works already known to be by Herr Süssmayr subject his -claim to an important share in this great composition to considerable -doubt";[55] and he expressed his suspicions more decidedly at a later -time.[56] G. Weber, who failed to recognise Mozart in many - -{SÜSSMAYR'S SHARE IN THE WORK.} - -(387) - -parts of the first movements, has, on the contrary, assigned to him a -distinct share in the last movements.[57] Marx emphatically expressed -his conviction that the principal subjects throughout showed traces of -Mozart's handiwork.[58] This view is founded on the assumption that the -movements are worthy of Mozart, and are such as Süssmayr himself could -not have produced; but the critic must be careful not to bring forward -on aesthetic grounds alone accusations which involve so much of grave -moral delinquency. - -Seyfried's assertion that,[59] according to the generally accepted -opinion in Vienna, Süssmayr found note-books containing sketches of -these movements, and showing Mozart's intention of elaborating the -Osanna fugue after the Benedictus, as well as the new theme for the -concluding fugue, Cum sanctis, has scarcely been investigated with the -care which it demands. One circumstance has, as far as I know, been -left altogether out of account. If the last three movements had been -altogether wanting at Mozart's death, it would have appeared, one would -think, both easier and simpler to supply them from one of his manuscript -Masses, which were entirely unknown, than to commission Süssmayr to -write them afresh; and such a proceeding would doubtless have been -far more capable of justification to the owner of the work. But the -confusion and embarrassment in which Mozart's death threw his widow and -her affairs may have occasioned many things to be done which would not -otherwise have taken place. - -Frz. Xav. Süssmayr, who, as a young man of twenty-seven, enjoyed the -friendship of Salieri[60] and Mozart, became so intimate with the -latter[61] that he was, as Seyfried - -{THE REQUIEM.} - -(388) - -expresses it, "the inseparable companion of the immortal Amphion." He -adopted Mozart's style of writing with such success that, although his -ideas often fell far short of his master's, many of his works in the -serious style might, Seyfred maintains, be taken for Mozart's, did we -not know that they were Süssmayr's;[62] Hauptmann has informed me of -instrumental works by him which show quite Mozart's manner of work, and -might pass for lighter compositions by the latter. - -Sievers, who warmly espoused Süssmayr's cause, speaks of his "Spiegel -von Arkadien," which he ranks with the "Zauberflote," - -and of various pieces which may serve as models of the graceful -and characteristic as well as of the tragico-serio styles of -composition.[63] I have carefully examined his operas, "Der Spiegel -von Arkadien" (1794) and "Soliman II." (1800), as well as some of his -lighter church compositions, and find nothing in them beyond an easy but -superficial inventive power, a smooth practised workmanship, and almost -throughout an obvious imitation of Mozart's manner. - -The Sanctus and Osanna are scarcely of a kind to admit of a decided -opinion as to their authorship. The brevity and conciseness of the -Sanctus do not by any means prove it not to have been by Mozart, for all -the movements of the Requiem, when not lengthened by a fugal treatment, -are similarly compressed. Nor must an unpleasing progression for the -violins be taken as decisive against his authorship, for the working-out -is in any case not his. On the other hand, it must not be concluded that -because the movement has a general character of dignified grandeur, and -the commencement of the Pleni sunt is truly majestic, that therefore -Süssmayr could not have written it. It is not on the whole equal to -the best of the preceding movements. The short fugue of the Osanna is -animated, vigorous, and faultlessly concise; there is nothing against -the supposition that Mozart might have written it; but, on the other -hand, it would be difficult to prove with certainty that it might not -have been - -{SÜSSMAYR'S SHARE IN THE WORK.} - -(389) - -the work of a musician with the amount of talent and cultivation -unquestionably possessed by Süssmayr. - -The case is somewhat different with the Benedictus, where, according to -custom, solo voices are introduced in a long and elaborate quartet of -pleasing character. Zelter says of it: "The Benedictus is as excellent -as it can be, but the school decides against it being by Mozart. -Süssmayr knew Mozart's school of music, but had not been trained in it -from early youth, and indications of this may be found here and there -in the beautiful Benedictus."[64] He is doubtless right. The first motif -for the alto, and the idea of making the several voices reply to each -other, might very well be Mozart's; but certainly not the working-out. -The motion is obviously interrupted when the soprano, after the alto, -again enters in the tonic; and the passage into the dominant is very -lame. Still lamer, after the conclusion of the first part, are the -laborious continuance in F major, and (instead of the development -naturally expected here) the immediate return by the chord of the -seventh to the first part, which is then repeated in its entirety. -Neither the design nor the execution is worthy of Mozart; nor is -it credible that in the interlude he would have copied the "et lux -perpetua" from the Requiem in such a strange fashion as it has here been -done, without any reason for an allusion to that place. - -The abnormally thick and full instrumentation must also be taken into -consideration. The instrumentation has, it is true, not been worked out -by Mozart in the other movements, but here it can scarcely be separated -from the general design, and it is distinguished from that of all the -other movements by the use of two trombones, which Mozart never employed -elsewhere, and which here supply the place of horns. Finally, the -character of the movement is in many passages soft and effeminate, -contrasting in this respect with the earnestness of the other movements, -even of the Tuba mirum.[65] The - -{THE REQUIEM.} - -(390) - -Osanna is, according to custom, an exact repetition of the previous one, -only that the voices are transposed on account of the altered key. - -The Agnus Dei transports us to quite a different region. Here we find -the depth and intensity of feeling, the noble beauty and the originality -of invention, which we admire in the first movements of the Requiem. The -fine expressive violin figure of the first period--[See Page Image] -is full of vigour, and is admirably enhanced by its harmonic treatment, -and the gentle counter-phrase in its peaceful motion brings about a -soothing conclusion. The twofold repetition is effectively varied, -and the close is emphasised by a novel and beautiful turn. The whole -displays the perfect mastery of a musician. "If Mozart did not write -this," says Marx,[66] "well, then he who wrote it is another Mozart!" - -I have seen nothing in Süssmayr's works which can justify me in -ascribing to him the conception of this movement; much, on the contrary, -to convince me that the chief ideas at least are Mozart's, and that -Süssmayr can hardly have had a more important share in this movement -than in the earlier ones. His whole statement loses, no doubt, its full -credibility if a well-grounded doubt can be thrown on any one point; -but I should not like to assert with confidence that in the Sanctus and -Benedictus Süssmayr must have availed himself of sketches by Mozart. - -The repetition of the first movement at the conclusion of the Mass was -not unusual at the time. Hasse in his Requiem intones the Lux æterna to -the same chorale as the Te decet, and then repeats the Requiem; Zelenka -does the same; Jomelli repeats the Requiem, but adds a fresh conclusion -to it. Contemplating that portion of the Requiem which Mozart completed, -or which he left in such a state that to the initiated it is easy to -distinguish his handiwork, - -{GENERAL REVIEW OF THE WORK.} - -(391) - -we have no hesitation in placing this work on the pinnacle of that -artistic perfection to which the great works of Mozart's later years -had attained.[67] We see revealed the depth of feeling, the nobility -of beauty, the mastery of form, the complete spiritual and mental -absorption in the task before him which have combined to produce this -marvellous creation. A comparison of the Requiem with other similar -compositions, both by Mozart himself and his contemporaries, serves to -emphasise the vast superiority of the former;[68] for Mozart even here -does not absolutely reject the forms hallowed by long tradition; he -shows his individual genius all the more strongly by keeping within -them. Still less does he run counter to the views which the Requiem, by -virtue of its position in the Catholic ritual, is meant to express, -by any endeavour of his own to go further or to introduce something -peculiar to himself; that full, unfettered devotion which is the -indispensable condition of genuine artistic production is never -disturbed, but human emotion, religious belief, and artistic conception -go hand in hand in fullest harmony. On this unity rests the significance -of the Requiem, for on this ground alone could Mozart's individuality -arrive at full expression, and--working freely and boldly, yet never -without consciousness of the limits within which it moved--produce the -masterpiece which reveals at every point the innermost spirit of its -author. In this sense we may indorse his own expression, that he wrote -the Requiem for himself; it is the truest and most genuine - -{THE REQUIEM.} - -(392) - -expression of his nature as an artist; it is his imperishable -monument.[69] - -The Requiem met with immediate recognition and approval. "If Mozart had -written nothing except his violin quintets and his Requiem," Haydn used -to say, "they would have rendered his name immortal."[70] It was more -especially received with enthusiasm in North Germany, where church -music, unmindful of J. S. Bach, had degenerated into all the triviality -and insipidity which a slavish adherence to form could produce. It was -with delight and astonishment that men recognised the union of classical -severity of form with depth of poetic feeling--an oasis in the desert -to those who had long wandered in a waste of sand. The old organist, -Kittel, at Erfurt, a pupil of Sebastian Bach, received one day the organ -part of a Requiem which he did not know; the further he proceeded in it, -the more entranced he became, and on inquiring the composer's name, and -hearing that it was Mozart, he could scarcely believe his ears, having -been accustomed to regard Mozart only as the composer of popular operas -which he knew nothing about. He procured the operas however, and was -unprejudiced enough to recognise and admire in them the composer of the -Requiem. So I was told by my music-master, Apel, Kittel's pupil. - -Hiller, grown grey in reverence for Hasse and Graun, lifted his hands -in amazement on first hearing the Requiem, and soon brought it to -performance at Leipzig.[71] At Berlin the Singakademie produced the -Requiem at their first public performance, October 8; 1800,[72] in -memory of their founder, Fasch, who had lately died; it has ever since -been chosen, both there[73] and elsewhere, when it is sought to honour -the memory of great men, especially of musicians,[74] and Zelter - -{SYMPATHY FOR THE FAMILY.} - -(393) - -expressed his opinion that the Requiem would never be brought into -disfavour either by adverse criticism or mediocre performance.[75] -Cherubini[76] produced the Requiem in Paris in the year 1804,[77] and -it has comforted and sustained innumerable mourners,[78] not only -throughout Europe, but in the New World.[79] - - - - -FOOTNOTES OF CHAPTER XLV. - -[Footnote 1: The more detailed accounts of the composition and completion of the -Requiem have been given chiefly on the authority of Süssmayr (A. M. -Z., IV., p. 2) and Stadler (Vertheidigung der Echtheit des Mozartschen -Requiems, mit zwei Nachtr.; Wien, 1827), and they have been verified -and elucidated by the discovery of the score delivered over to Count -Walsegg. Cf. Deutsche Mus. Ztg., 1861, p. 380. The narrative in -the text, therefore, is given without regard to the dust-clouds of -controversy in which a dispute carried on with so much animosity on all -sides was sure to envelop the facts of the case.] - -[Footnote 2: Mozart made the following declaration, May 30, 1790: "I, the -undersigned, hereby declare that I consider the bearer of this, -Herr Joseph Eybler, to be a worthy pupil of his famous master, -Albrechtsberger, a thoroughly learned composer both in chamber and -church music, experienced in the art of composition, and also an -accomplished organ and pianoforte-player; in short, it is only to be -regretted that young musicians of his talents and attainments are so -seldom to be met with" (N. Berl. Mus. Ztg., 1858, p. 244).] - -[Footnote 3: Köchel, Recensionen, 1864, p. 753.] - -[Footnote 4: Stadler, Nachtr., p. 40.] - -[Footnote 5: These two movements are written on five sheets of twelve-line -Italian music-paper in quarto, which Mozart generally used, and are, -according to his custom _folioed_, not _paged_, from one to ten, the -last three pages being left blank. The signature is "Di me W. A. Mozart, -1792." This mistake, or anticipation of the date, was destined to give -rise to much confusion.] - -[Footnote 6: An accurate copy of these sheets by Mozart was published by André -in 1829, with the title: "Partitur des Dies iræ welche Abbé Stadler bald -nach Mozart's Tode fur sich copirt hatte,--Hostias von W. A. Mozart's -Requiem, so wie solche Mozart eigenhändig geschrieben und Abbé Stadler -in genauer Uebereinstimmung mit dem Mozartschen Original copirt hat, -nebst Vorschrift und Anhang." The "Anhang" is a similar sketch of the -Requiem and Kyrie, evolved by André himself--a curious idea and a very -useless labour.] - -[Footnote 7: Stadler, Vertheidigung, p. 13.] - -[Footnote 8: The sister and heiress of Count Walsegg, the Countess Sternberg, -sold his collection of music to his steward, Leitner, from whom the -score of the Requiem was obtained by his clerk, Karl Haag; it was -bequeathed by the latter to Katharina Adelpoller. Commissary Novak, of -Schottwien, who had formerly been steward to Count Walsegg, drew the -attention of Count Moritz von Dietrichstein, Imperial Librarian, to the -existence of the treasure, and it was purchased for fifty ducats and -placed in the Library.] - -[Footnote 9: A. M. Z., XLI., p. 81. N. Ztschr. f. Mus., X., p. 10. Cäcilia, XX., -p. 279.] - -[Footnote 10: J. F. von Mosel, Ueber die Original-Partitur de Requiem von W. A. -Mozart (Wien, 1839). Cf. A. M. Z., XLI., p. 317.] - -[Footnote 11: Niemetschek, who had his information from the widow, says that -directly after Mozart's death the messenger demanded and received the -work, "incomplete as it was" (p. 52). The Count himself signified that -the Requiem was only Mozart's as far as the Sanctus.] - -[Footnote 12: Càcilia, IV., p. 288.] - -[Footnote 13: A. M. Z., I., p. 178.] - -[Footnote 14: Stadler, Nachtr., p. 6.] - -[Footnote 15: A. M. Z., XXIX., p. 520.] - -[Footnote 16: Càcilia, IV., p. 308. The singer, Mariottini, of Dresden, made a -copy of the Requiem, Kyrie, and Dies iræ, and appended the following -observation: "L' Offertorio, il Sanctus e l' Agnus Dei non gl' ho -transcritti, perche non mi anno parso essere del valore del precedente, -ne credo ingannarmi nel crederli opera di un' altra penna" (Càcilia, -VI., pp. 303, 310).] - -[Footnote 17: Frederick William II. paid her 100 ducats for one (Càcilia, VI., p. -211).] - -[Footnote 18: Hàfer relates that a "Thomaner" Jost, who wrote music very -well, copied the score twice for the widow during her stay in Leipzig -(Càcilia, IV., p. 297).] - -[Footnote 19: Rochlitz, Für Freunde der Tonk., I., p. 25.] - -[Footnote 20: In a letter to Härtel (October 10, 1799) she sends him a draft of -such an appeal: "The noble Unknown, who, a few months before Mozart's -death, commissioned him to compose a Requiem, not having declared -himself during the seven years which have elapsed since that time, the -widow of the composer gratefully accepts this silence as a permission -to her to publish the work to her own advantage. At the same time she -considers it as safer for herself, and more in accordance with the -sentiments inspired in her by the noble patron of her late husband, to -call upon him to express his wishes on the subject to her within three -months through the Wiener, Hamburger, or Frankfurter Zeitung, at -the expiration of which time she will consider herself justified in -publishing the Requiem among the collected works of her late husband."] - -[Footnote 21: The "Requiem Brevis" in D minor (237, Anh., K.), published by -Simrock, of Bonn, under Mozart's name, may be at once pronounced -spurious, having neither external nor internal credibility.] - -[Footnote 23: A. M. Z., I. Int. Bl., p. 97. Stadler, Vertheidigung, p. 14.] - -[Footnote 24: Nissen, Nachtrag, p. 169.] - -[Footnote 25: There were only a few emendations in the score published by -Breitkopf and Hàrtel in 1800, and these had been communicated to Hàrtel -by the widow (August 6, 10, 1800; cf. A. M. Z., IV., p. 30). The revised -copy served as a foundation for André's pianoforte arrangement, and his -edition of the score (1827). In this the letters M. and S. distinguish -what is Mozart's and what Sussmayr's. The preface was reprinted in the -Càcilia (VI., p. 200).] - -[Footnote 26: Stadler, Vertheidigung, p. 46.] - -[Footnote 27: Even Seyfried only conjectures this (Càcilia, IV., p. 296).] - -[Footnote 28: A searching notice, written by Schwencke and revised by Rochlitz, -appeared after the publication of the score (A. M. Z., IV., p. 1). It -was soon after translated into French in the Journal de Paris, and then -noticed in the German papers as an example of French criticism (A. M. -Z., XXX., p. 209).] - -[Footnote 29: The minor compositions of the "Ave verum corpus" (Vol III., p. 281) -and the Freemasonic Cantata (Vol. II., p. 408) complete this parallel.] - -[Footnote 30: Cf. Lorenz, Deutsche Mus. Ztg., 1861, p. 257. A. Hahn, Mozart's -Requiem (Bielef., 1867). Kriebitzsch, Fur Freunde d. Tonk., p. 61.] - -[Footnote 31: Mich. Haydn has introduced the same into his unfinished Requiem, at -the words "Te decet hymnus"; according to Rochlitz (A. M. Z., IV., p. -7) and Zelter (Briefw. m. Goethe, IV., p. 353 ) the chorale "Meine -Seel erhebet den Herrn," is sung to this melody. The treatment of this -passage is decided by the ritual. In Jomelli's Requiem both verses of -the Psalm are intoned, in Hasse and Zelenka the first ("Te Jerusalem" -in Asola; Proske's Musica Divina) only the words "Te decet hymnus in -Sion in Pitoni both verses are freely composed.] - -[Footnote 32: Rochlitz, Fur Freunde der Tonknnst, I., p. 159. A detailed analysis -is given by Lobe (Compositionslehre, III., p. 195).] - -[Footnote 33: According to Kàgeli the violent changes of key and arbitrary -alternations of major and minor have turned the fugue into a barbarous -confusion of sounds (Vorlesungen üb. Musik., p. 99).] - -[Footnote 34: Cäcilia, III., p. 216.] - -[Footnote 35: Schwencke, A. M. Z., IV., p. 8.] - -[Footnote 36: The theme stands with its counter-theme in doubled counterpoint of -the twelfth. It is perhaps worthy of note that the Christe begins in -the minor passages a third above the Kyrie, and in its major passages a -third below the Kyrie--an arrangement not wanting in original effect.] - -[Footnote 37: Marx remarks, in answer to Weber's criticism (Lehre v. d. Mus. -Compos. III., p. 500), that "here--following the whole spirit of the work--the -point to be considered was not so much a literally faithful expression -of the words as a thoroughly religious and solemn rounding and balancing -of a whole section of the service, the prayer for the departed in all -its amplitude of detail" (Cf. Berl. Mus. Ztg., 1825, p. 881).] - -[Footnote 38: Stadler, Vertheidigung, p. 17.] - -[Footnote 39: Chrysander, Händel, II., p. 436.] - -[Footnote 40: Tucker, Schatz d. evang. Kirchenges., II., p. 151, No. 282.] - -[Footnote 41: This has been already pointed out by Cramer (Anecd. sur Mozart, p. -26), whose attention was drawn to it by J. A. P. Schulz.] - -[Footnote 42: G. C. P. Sievers says (Mozart u. Süssmayr, p. 15) that a -kapellmeister at Ferrara told him that in one of Mozart's Masses a whole -piece was copied from an early Italian master, which was confirmed by -Santini; Sievers had forgotten the key of the Mass and the name of the -ill-used composer. That Mozart should have inserted a strange piece in -a Mass written for Salzburg Cathedral under the eye of his father is -incredible. A. Schiffner asserted (A. M. Z., XLV., p. 581) that Handel -and Mattheson, Telemann and Mozart, had all stolen from Reinhard Keiser. -Al. Fuchs (Cäcilia, XXIII., p. 95) called on him for proof; Schiffner, -who probably knew as little of Reiser's scores as did Mozart, made no -response to the challenge.] - -[Footnote 43: Ferd. Wolf, Ueb. die Lais, Sequenzen und Leiche, pp. 29, 76, 91.] - -[Footnote 44: Schubiger, Die Sàngerschule St. Gallens, p. 39.] - -[Footnote 45: Mohnike, Kirchen-u. litterar-histor. Studien u. Mittheilungen, I., -p. 3.] - -[Footnote 46: The translations have been collected by F. G. Lisco (Dies iræ, -Hymnus auf das Weltgericht, Beitrag zur Hymnologie. Berlin, 1840).] - -[Footnote 47: Hiller, in consequence of the unsatisfactory trombone-players, -transposed the solo after bar 5 to the bassoons, which was copied in the -printed score (Cäcilia, VIII., p. 54. Cf. A. M. Z., IV., p. 10).] - -[Footnote 48: In this a very enthusiastic admirer of the Requiem (A. M. Z., XVI., -p. 617) and (as to the close) Ulibicheff agree (I., p. 252).] - -[Footnote 49: Indescribably beautiful is the occurrence here of the chord of the -minor sixth on G, instead of the minor common chord which one expects.] - -[Footnote 50: The close in D minor of the movement in G minor appeared so -striking to Schwencke (A. M. Z., IV., p. 11), that he conjectured that -Mozart must have intended a further revision of these choruses. But -the different movements of the Sequence, although detached, are yet in -immediate relation with each other; and Mozart made the transition into -D minor because the following movement is in F major.] - -[Footnote 51: Hogarth, Mem. of the Opera, II., p. 199.] - -[Footnote 52: G. Weber could not bring himself to attribute to Mozart a treatment -which "emphasises, _con amore_, the egotistical baseness of the words, -and by the ferocious unison of the stringed instruments maliciously -incites the Judge of the World to hurl the cursed crowd of sinners into -the deepest abyss, and then to call the singers to all the joys of the -blessed" (Càcilia, III., p. 220). He has clearly misunderstood both -the words and the intention of the composer so to bring before the -imagination the torments of the damned as to lead to an intenser longing -for the mercies of Redemption.] - -[Footnote 53: Cäcilia, III., p. 222.] - -[Footnote 54: Cäcilia, IV., p. 296.] - -[Footnote 55: A. M. z., IV., p. 4.] - -[Footnote 56: Cäcilia, IV., p. 289. A. M. Z., XXV., p. 687.] - -[Footnote 57: Cäcilia, III., p. 226; IV., p. 279.] - -[Footnote 58: Berl. Mus. Ztg., 1825, p. 378.] - -[Footnote 59: Cäcilia, IV., p. 307.] - -[Footnote 60: The Wiener Zeitung announces that the music of the opera "L' -Incanto Superato," first performed July 8,1793, is arranged by Herr -Franz Siessmayr, "pupil of Herr Salieri."] - -[Footnote 61: Jahrb. d. Tonk., 1796, p. 61: "It is no small recommendation to him -that he was a pupil of Mozart, and very highly thought of by him. He has -also completed some works left unfinished by this great genius"--which -can only refer to the Requiem.] - -[Footnote 62: Cäcilia, III., p. 295.] - -[Footnote 63: G. L. P. Sievers, Mozart u. Sussmaier, p. 8.] - -[Footnote 64: Zelter, Briefw. m. Goethe, IV., p. 353.] - -[Footnote 65: A correspondent of G. Weber had heard that André possessed MSS. -which would prove that every note of the Benedictus was an adaptation of -an earlier and favourite air of Mozart (Cäcilia, IV., p. 292). It need -scarcely be said that there is not a word of truth in this.] - -[Footnote 66: Berl. Mas. Ztg., 1825, p. 379.] - -[Footnote 67: Zelter (Briefw. m. Goethe, IV., p. 353) pronounces the Requiem to -be "disjointed, unequal; some of the pieces might be inserted, and it -would be a mistake to consider it as a whole; the same thing is the case -with many excellent composers; and though the Requiem consists entirely -of detached pieces, it is the best production that I know of the last -century." The story of the Requiem may have had some influence on this -judgment.] - -[Footnote 68: A. M. Z., XVI., p. 812: "Mozart has disclosed his whole inner being -in this one sacred work, and who can fail to be affected by the fervour -of devotion and holy transport which streams from it? His Requiem is -unquestionably the highest and best that modern art has to offer for -sacred worship." Unfavourable criticism was not wanting. "I should be -without feeling," says Ernst, in Tieck's Phantasus (Schriften, IV., p. -426), "if I failed to love and honour the marvellous depth and richness -of Mozart's mind--if I failed to be carried away by his works. Only, let -me have none of his Requiem."] - -[Footnote 69: Cf. O. Lindner, Zur Tonkunst, p. 176.] - -[Footnote 70: Stadler, Vertheidigung, p. 27.] - -[Footnote 71: Rochlitz, Für Freunde d. Tonk., I., p. 25. Häser, Cäcilia, IV., p. -297.] - -[Footnote 72: Zur Geschichte der Singakademie, p. 15.] - -[Footnote 73: It was performed in memory of the Queen in 1805; of the -Akademie-director Frisch in 1815; of Prince Radziwill in 1833; of Count -Brühl in 1837; of Frederick William III. in 1840; and of Frederick -William IV. in 1861.] - -[Footnote 74: At Leipzig, in memory of Schicht, in 1823; at Berlin, in memory of -Andr. Romberg, in 1821; of Bemh. Klein, in 1832; of Ludwig Berger, 1839; -in Vienna, in memory of C. M. von Weber and Beethoven; and in Munich, -1867, in memory of P. von Cornelius.] - -[Footnote 75: Zelter, Briefw. m. Goethe, VI., p. 243.] - -[Footnote 76: Rochlitz has attempted to prove (A. M. Z., XXV., p. 685) how -Vogler, in composing his Requiem, had Mozart's always in view, in order -to avoid imitating it; a similar negative influence is apparent in -Cherubini's magnificent Requiem in C minor, with which the second in D -minor is quite in keeping (Cf. Gum-precht, Recensionen, 1864, No. 21).] - -[Footnote 77: Berl. Mus. Ztg., 1805, p. 26.] - -[Footnote 78: A lover of music in Venice left a considerable legacy for the -performance annually of three Requiems, of which one was to be Mozart's -(A. M. Z., XLII., p. 54). A society was founded at' Senftenberg in -Bohemia, 1857, in order to perform Mozart's Requiem annually on June 18 -(N. Wien. Mus. Ztg., 1857, p. 167; Niederrh. Mus. Ztg., 1857, p. 343).] - -[Footnote 79: Neukomm mentions an excellent performance in Rio Janeiro in 1819 -(A. M. Z., XXII., p. 501).] - - - -=== - - - -MOZART 46 - -BY DAVID WIDGER - - - -CHAPTER XLVI. AT THE GRAVE. - -MOZART'S early and unexpected death, removing him from the eyes of the -world at the moment when he might seem to have attained the height of -his artistic greatness, had the effect of silencing the detractions and -the envy of the few who were blinded by jealousy to his merits, and -of exalting his works in the minds of those who felt his loss to be -an irreparable one. Public feeling took the form of sympathy for his -bereaved family, who were left in pressing need; and they found generous -support, not in Vienna and Prague alone, but in many other places to -which the widow made professional visits. When she was in Berlin, in -1796, Frederick William II. allowed her the use of the opera-house and -the royal musicians for a benefit concert, at which she - -{AT THE GRAVE.} - -(394) - -appeared as a vocalist (February 28). The King, as was stated in the -programme (Niemetschek, p. 63), "took great pleasure in thus proving to -the widow how highly he esteemed the talent of her late husband, and how -much he regretted the unfortunate circumstances which had prevented his -reaping the due reward of his labours." But such efforts as these -could not assure her a livelihood for any length of time; nor would the -manuscripts left by Mozart realise, as matters then stood, anything like -a sum sufficient for her future needs. His compositions might be spread -abroad, either in MS. or in print, without her consent or authorisation. -Indeed, when reference was made to her, she considered it as a -favour,[1] and was well pleased when, in 1799, André purchased from her -all the manuscripts in her possession for a sum of one thousand ducats. - -Some of Mozart's manuscripts had been lost before his death, others have -been made over to other people by André himself, and the remainder are -included in the "Thematic Catalogue of Mozart's Original Manuscripts -in the Possession of Hofrath André of Offenbach" (Offenbach, 1841). -Unhappily, no public library has been able to obtain this most important -collection, and its dispersion, owing to testamentary dispositions, must -be a source of regret to all musicians. - -Mozart's widow found a means of secure and untroubled existence in her -second marriage. Georg Nic. Nissen (b. 1765) made her acquaintance, -in 1797, at Vienna, where he was attached to the diplomatic service -of Denmark, and rendered her great service in the arrangement of her -affairs, as the numerous letters written by him in her name sufficiently -show. He appears to have been a tiresome, but an upright and honourable -man, and to have acted well towards Constanze and her children from the -time of their marriage in 1809. After resigning his state service, in -1820, he lived with her in Salzburg, where also Mozart's sister resided -(App. I.). He died in 1826, and was followed by his widow on - -{COMMEMORATIONS.} - -(395) - -March 6, 1842, a few hours after the arrival of the model for Mozart's -statue; after Nissen's death she had lived with her widowed sister, -Sophie Haibl.[2] - -Karl, the elder of Mozart's two surviving sons, began life as a -merchant, then tried music,[3] and finally embraced an official career. -He was a good pianist, and conducted musical performances, first at -the house of Colonel Casella, afterwards at his own;[4] he died in a -subordinate official post at Milan in 1859. The younger son, Wolfgang, -became a musician. He first appeared in public in 1805,[5] made repeated -professional tours, and after 1814 lived as musical director, first -at Lemberg, afterwards in Vienna; he died at Carlsbad in 1844. He was -esteemed both as a pianist and composer, but the greatness of his name -prevented his attaining to more.[6] - -Appreciation and honour had not been wanting to Mozart in his lifetime, -but they had been far from unalloyed; after his death they were showered -in fullest measure on his memory.[7] His loss was commemorated in many -places by the performance of his own works or of specially composed -funeral cantatas,[8] and the anniversaries of his birth and of his death -are still kept, both in private musical circles[9] and publicly, by -concerts. The hundredth anniversary of his birth, which in 1856 caused -all Germany to ring with Mozart's name and Mozart's music, united every -voice into a chorus of praise and honour, and gave a new impulse to the -study of his works.[10] - -Mozart's personal appearance has become so familiar by means of -well-known portraits that he may in this respect - -{AT THE GRAVE.} - -(396) - -be compared to Frederick the Great or Luther; his music and his -countenance have alike become common property (App. III.). - -In the year 1799 the Duchess Amalie of Weimar placed a memorial of -Mozart in the park of Siefurt; it is in terra cotta: a lyre on a -pedestal, and leaning on it a tragic and a comic mask.[11] Bridi (Vol. -II., p. 359), in the "Temple to Harmony" which he erected in his garden, -has given to Mozart the first place among the seven musicians there -represented, and has placed a monument dedicated to him in a melancholy -grotto, with the inscription, "Herrscher der Seele durch melodische -Denkkraft."[12] The same inscription is on the reverse of a medal by -Guillemard together with a muse playing a lyre and a Cupid with a flute; -the other side has a portrait of Mozart. A medallion by Bàrend has also -a portrait in front, the reverse representing Orpheus and a captive -lion, with the inscription, "Auditus saxis intellectusque ferarum -sensibus." The design for a medallion by Böhm, which was never struck, -was shown to me by my friend Karajan. It consists of a refined and -intellectual representation of Mozart's profile. - -In 1835 the idea took shape of erecting a statue to Mozart in Salzburg. -An appeal for subscriptions was made in September, 1836,[13] and the -cast of the statue was completed on May 22, 1841. The ceremony of -unveiling the figure took place on the Michaelsplatz, September 4, -1842.[14] Unhappily it cannot be said that Schwanthaler has succeeded -in investing the accepted idea of Mozart as an artist and a man with any -ideal force and dignity. He is represented clothed in the traditional -toga, standing with his head turned sidewards and upwards, and in his -hand a scroll with the inscription, "Tuba mirum." In bas-relief on -the pedestal are allegorical representations of church, concert, and -dramatic music, and an eagle flying heavenwards with - -{MEMORIALS OP MOZART.} - -(397) - -a lyre. The simple inscription is "Mozart."[15] In 1856 the city of -Vienna determined upon erecting a monument to Mozart in the churchyard -of St. Mark's. It was designed by Hans Gasser, and solemnly unveiled -December 5, 1859. A mourning muse reposes on a granite pillar, holding -in her right hand the score of the Requiem, and resting her left, with a -laurel wreath, on a pile of Mozart's works. On the pedestal are Mozart's -portrait and the Vienna arms, with a short inscription.[16] - -Mozart's name has been more worthily honoured by the foundation of -various institutions. The Salzburg Mozarteum, founded in 1842, not only -preserves the most important family documents and interesting relics -which were in the possession of Mozart's sons; it has the further aim -of fostering and advancing music, and more especially church music, in -Mozart's native town.[17] The Mozart Institution at Frankfort, founded -in 1838, encourages talent by means of prizes and scholarships;[18] -and a Mozart Society, founded in 1855, undertakes to assist needy -musicians.[19] - -But after all that may be accomplished in honour of Mozart by the most -enthusiastic of his admirers, his true and imperishable fame rests upon -his works. A history of modern music will be concerned to show how his -influence has worked upon his successors, displaying itself sometimes -in conscious or slavish imitation, sometimes in the freer impulse it has -given to closely allied natures; and it may truly be said that of all -the composers who have lived and worked since Mozart there is not one -who has not felt his inspiration, not one who has not learnt from him, -not one who at some time or another has not encroached upon his domain. -Like all great and original geniuses, he belongs to two ages which it -was his mission to bring together; while quickening and transforming all -that his own age can offer him as the - -{AT THE GRAVE.} - -(398) - -inheritance of the past, he leaves to posterity the offspring of his -individual mind to serve as a germ for new and more perfect life. - -It would be presumptuous to attempt to summarise in a few phrases the -result of a life of ceaseless mental activity, and of strongly marked -individuality. In view of this difficulty many biographers take refuge -in a comparison of the subject of their work with other great men, and -thus emphasise the points of resemblance or divergence which exist in -their natures. No such parallel appears to me more justifiable than one -between Mozart and Raphael.[20] The majestic beauty which appears to -absorb all the other conditions of art production, and to blend them -into purest harmony, is so overpoweringly present in the works of both -masters that there is no need to enforce the comparison by dwelling on -the many points of resemblance in their career both as men and artists, -and in their moral and intellectual natures. Such a comparison, however, -is not profitable unless it can be shown how and under what conditions -this beauty, so varied in its manifestations, so similar in its effects, -is produced.[21] Although it will readily be acknowledged that Mozart is -closely related to Shakespeare[22] in fertility, force, and reality -of dramatic invention and in breadth of humour, and to Goethe[23] in -simplicity and naturalness of human sentiment and in plastic clearness -of idea, yet here again we are confronted with the distinguishing -qualities of great artists in different provinces of art, and Mozart's -individuality in his own art is as far as ever from explanation. The -frequently attempted parallels with great - -{CONCLUSION.} - -(399) - -musicians, with Haydn[24] or Beethoven,[25] bring out still more clearly -the characteristics which distinguish him from all others; and it is to -be feared that the more ingeniously these comparisons are carried out in -detail the more the images are distorted and the judgment biassed. - -With whatever feelings, and from whatever point of view, we regard -Mozart, we are invariably met by the genuine purity of an artist's -nature, with its irrepressible impulses, its inexhaustible power of -production, its overflowing love; it is a nature which rejoices in -nothing but in the manifestation of beauty which is inspired by the -spirit of truth; it infuses all that it approaches with the breath of -its own life, and, while conscientious in serious work, it never ceases -to rejoice in the freedom of genius. All human emotions took a musical -form for him, and were by him embodied in music; his quick mind grasped -at once all that could fittingly be expressed in music, and made it -his own according to the laws of his art. This universality, which is -rightly prized as Mozart's distinguishing quality, is not confined to -the external phenomena which he has successfully portrayed in every -region of his art--in vocal and instrumental, in chamber and orchestral, -in sacred and secular music. His fertility and many-sidedness, even from -this outward point of view, can scarcely indeed be too highly extolled; -but there is something higher to be sought in Mozart: that which makes -music to him not a conquered territory but a native home, that which -renders every form of musical expression the necessary outcome of his -inner experience, that by means of which he touches every one of his -conceptions with the torch of genius whose undying flame is visible to -all who approach his works with the eyes - -{AT THE GRAVE.} - -(400) - -of their imagination unbound. His universality has its limits only -in the limits of human nature, and consequently of his own individual -nature. It cannot be considered apart from the harmony of his artistic -nature, which never allowed his will and his power, his intentions and -his resources, to come into conflict with each other; the centre of his -being was the point from which his compositions proceeded as by natural -necessity. All that his mind perceived, or that his spirit felt, every -experience of his inner life, was turned by him into music; from his -inner life proceeded those works of imperishable truth and beauty, -clothed in the forms and obedient to the laws of his art, just as the -works of the Divine Spirit are manifested in the forms and the laws of -nature and history.[26] - -And, while our gaze is lifted in reverence and admiration to the great -musician, it may rest with equal sympathy and love upon the pure-hearted -man. We can trace in his career, lying clear and open before us, the -dispensation which led him to the goal of his desires; and, hard as -he was pressed by life's needs and sorrows, the highest joy which is -granted to mortals, the joy of successful attainment, was his in fullest -measure. - -"And he was one of us!" his countrymen may exclaim with just pride.[27] -For, wherever the highest and best names of every art and every age are -called for, there, among the first, will be the name of Wolfgang Amade -Mozart. - -{MARIANNE MOZART.} - -(401) - - - - -APPENDIX I. MARIANNE MOZART. - -OLFGANG MOZART'S sister, Maria Anna Walburga Ignatia, known to her -family and friends as Nannerl, was born July 30, 1751, and was thus -five years older than her brother. She early showed a decided talent for -music, and made extraordinary progress under her father's tuition. She -made her appearance as a clavier-player during the early professional -tours of the Mozart family in 1762, 1763-1766, and 1767, competing -successfully with the first performers of the day, and overshadowed -only by the accomplishments of her younger brother. Her father writes -(London, June 8, 1764): "It suffices to say that my little lass at -twelve years old is one of the most accomplished players in Europe"; -and independent accounts which have come down to us coincide in this -expression of opinion. During their stay at the Hague in October, 1765, -she was seized with a serious illness and brought to the brink of the -grave; her recovery, which had been despaired of by her parents, was -hailed by them with delight. In November, 1767, she and Wolfgang were -both struck down by smallpox at Olmütz; this also she happily recovered. - -She did not accompany her father and brother in their subsequent -journeys to Italy, but remained at home with her mother. Nevertheless -she continued her studies as a clavier-player, and made good her claim -to be considered a virtuoso; as such she was recognised by Burney's -informant in 1772 (Burney, Reise, III., p. 262). She owed much, as she -was the first to acknowledge, to the example and instruction of her -brother, who threw himself eagerly into her studies whenever he was -in Salzburg. Leopold writes to his son (January 26, 1778) that the -violinist Janitsch and the violoncellist Reicha of the Wallerstein -Capelle, who were giving a concert in Salzburg, "absolutely insisted -upon hearing Nannerl play. They let out by their great anxiety to hear -your compositions that their object was to judge from her _gusto_ of -your way of playing. She played your Mannheim sonata excellently well, -with charming expression. They were delighted both with her playing and -with the composition. They accompanied Nannerl in your trio in B flat -(254 K.) exceedingly well." He goes on to tell Wolfgang of the high -opinions formed by these musicians both of his compositions and of -Nannerl's style of playing; and how she always repeated: "I am but -the pupil of my brother." Wolfgang used in after years, when they were -separated, to send her his pianoforte compositions, and set great store -on her - -{APPENDIX I.} - -(402) - -judgment, frequently also giving her his own opinions and criticisms on -music and musicians--as, for instance, on Clementi. - -Marianne made some few attempts at composition; a song which she sent to -her brother in Rome excited Wolfgang's astonishment at its excellence, -and she wrote exercises in thorough-bass which were quite free from -mistakes, and gave him great satisfaction. Her father remarks at a later -date (February 25, 1778) that she had learnt to play thoroughbass and to -prelude exceedingly well, feeling that she would have to support herself -and her mother after his death. Once (July 20, 1779) when Wolfgang -sent her from Paris a prelude--"a sort of capriccio to try the piano -with"--as a birthday greeting, she jokingly put her father to the test. -She received it at four o'clock in the afternoon, and at once set to -work to practise it till she knew it by heart. When her father came -in at five she told him that she had an idea, and that if he liked -she would write it down, and thereupon began the prelude. "I rubbed my -eyes," says Leopold Mozart, "and said, 'Where the deuce did you get that -idea?' She laughed and drew the letter from her pocket." - -She early began to give lessons on the clavier, her father writing from -Milan (December 12, 1772): "Tell Nannerl that I wish her to teach -little Zezi carefully and patiently; it will be to her own advantage to -instruct another person thoroughly and with patience; I know what I am -saying." These lessons afterwards became a source of income which could -hardly have been dispensed with in the needy circumstances of the Mozart -family; they enabled her to support herself as long as she lived at -home, and thus lightened her father's pecuniary anxieties. She was -considered even by her own family as somewhat parsimonious, and her -father was agreeably surprised at hearing her exclaim, when told of -Wolfgang's difficulties on his Parisian journey: "Thank God that it is -no worse!" although she well knew that her own interests would have to -be sacrificed to help her brother out of his scrape. But there is in -fact every reason to believe that her heart was a tender one, and -easily touched; she felt the loss of her mother very deeply, and had the -warmest sympathy for her brother; sometimes indeed this took a livelier -form than he cared for, and we find him once writing with ill-humour -(Mannheim, February 19, 1778): "My best love to my sister, and pray tell -her not to cry over every trifle, or I shall take good care never to -come back"--an expression which did not fail to call down a reproof from -his father. The relation of the brother and sister to each other was -from childhood of the tenderest and closest description. The severe -discipline to which they were both subjected, the journeys they took -together, and above all the concentration of all the thoughts and -energies of both upon music, increased their natural affection, in -which there was not a trace of envy or jealousy on either side. Wolfgang -vented his love of joking and teasing upon his "Schwester Canaglie"; -and the letters which he wrote to her while on his Italian tour give -abundant proofs of their unrestrained and innocent intercourse. The -joking tone of - -{MARIANNE MOZART.} - -(403) - -Wolfgang's correspondence with his sister was not entirely dropped even -when they had passed their childhood, but they also shared the more -serious concerns of life together in fullest sympathy. We have seen how -unendurable life at Salzburg became to Wolfgang as he grew up, and his -sister's position was in no way a more enviable one. When her mother and -brother left home for their journey to Paris, she remained to keep -house for her father, who praised her for her attention, economy, and -industry, and for her good management of the maid-servant, who was both -dirty and untruthful. After her mother's death she continued her care -of the household, which was occasionally increased by their receiving -boarders. Pianoforte practice, generally with her father for some hours -in the evening, and lessons to various young ladies, filled up her time. -She was much liked as a teacher, and her pupils were distinguished for -precision and accuracy of playing. When Wolfgang was at home, the house -was full of life, her father was cheerful, and she had a companion with -whom to share her joys and sorrows; but if he was away, the father, who -could scarcely live without him, was often gloomy and preoccupied, and -not even her tender ministrations could compensate him for the absence -of his son. Marianne had but few distractions from her quiet domestic -life in the form of gaiety or company; she took a lively interest in -the persons and concerns of her few acquaintances, an interest which -was shared by Wolfgang even when he had left Salzburg. "Write to me -often--that is, of course, when you have nothing better to do," he -writes from Vienna (July 4, 1781) "for a bit of news is a great treat -to me, and you are the veritable Salzburg Intelligencer, for you write -about everything that ever happens, and sometimes, no doubt to please -me, you write the same thing twice over." Their father had impressed -upon them the importance of keeping a regular diary, and this Wolfgang -did in his earlier years; Marianne continued the habit much longer. -Fragments of her diary still exist, and among her letters to her brother -are two which contain very detailed accounts of the performances of -Schikaneder's theatrical company at Salzburg. - -Towards the end of 1780, while Wolfgang was at Munich busy with his -"Idomeneo," Marianne was seized with an illness which for a time -threatened to turn into consumption; it was long before she completely -recovered. It appears probable that an attachment which did not turn out -happily had something to do with this illness. Marianne, who had been -a pretty and attractive child, became, as the family picture in the -Mozarteum shows, a handsome woman, to whom suitors would not be -wanting. Wolfgang's jokes about Herr von Mölk, an unfavoured admirer of -Marianne's, as well as other mysterious allusions in his letters, prove -that the brother and sister shared with each other their tenderest -feelings. When Mozart was finally settled in Vienna, he lost no -opportunity of being useful to his sister: "Ma très chère soeur," -he writes (Vienna, July 4, 1781)--"I am very glad that you liked the -ribbons, and will inquire as to the price of them; at - -{APPENDIX I.} - -(404) - -present I do not know it, since Fr. von Auerhammer, who was so kind as -to get them for me, would accept no payment, but begged me to say all -that was nice to you from her as a stranger, and to assure you that -it gives her very great pleasure to be of any service to you; I have -already expressed your acknowledgments to her for her kindness. Dearest -sister! I have already told our father that if you would like anything -from Vienna, whatever it may be, I will get it for you with the utmost -pleasure; this I now repeat to you, with the addition that I shall be -extremely vexed if I hear that you have intrusted your commissions to -any one else in Vienna." Constanze was always ready at a later time to -perform the same sort of service for her sister-in-law. But Wolfgang's -sympathy with his sister was displayed in more serious matters. On July -4, 1781, he writes: "And now I should like to know how it stands with -you and our very good friend? Write and tell me about it. Or have I lost -your confidence in this affair?" This good friend was Franz D'Yppold, -captain in the imperial army, who came to Salzburg as Governor to -the Pages, and was made Councillor of War in 1777. He conceived an -attachment to Marianne, which she returned, but his circumstances did -not allow him to marry. Mozart, seeing that his sister's health and -happiness were at stake, represented to her that there was nothing -to hope for in Salzburg, and begged her to induce D'Yppold to try his -fortune in Vienna, where he, Wolfgang, would do his utmost to advance -his prospects. She would be able to earn far more by giving lessons in -Vienna than in Salzburg, and there could be no doubt they would soon be -able to marry; then the father would be obliged to give up his service -at Salzburg, and join his children in Vienna. Unfortunately these -promising plans remained unfulfilled; and as there appeared to the -lovers no prospect of a possible union, the connection between them -ceased. D'Yppold never ceased to be on friendly terms with L. Mozart, -and always testified great sympathy and esteem for Marianne herself. He -was very fond of her little son, who lived with his grandfather; and, -during an absence from home of L. Mozart, he came to the house every day -to see how the child was getting on. - -Marianne returned in kind her brother's interest and sympathy in her -love affairs. To her he poured out his complaints of the hard fate of -himself and his Constanze, and the latter began a correspondence with -her long before her father had reconciled himself to the connection. -Correspondence between the brother and sister naturally flagged somewhat -when Wolfgang became engrossed in his life and occupation at Vienna. He -justifies himself against her reproaches (February 13, 1782): "You must -not think because I do not answer your letters that I do not like to -have them. I shall always accept the favour of a letter from you, my -dear sister, with the utmost pleasure; and if my necessary occupations -(for my livelihood) allow of it, I will most certainly answer it. You do -not mean that I never answer your letters? You cannot suppose that - -{MARIANNE MOZART.} - -(405) - -I forget, or that I am careless--therefore they must be real hindrances, -real impossibilities that come in the way. Bad enough, you will say! -But, good heavens I do I write any oftener to my father? You both know -Vienna t How can a man without a penny of income do anything here but -work day and night to earn a living? My father, when his church service -is over, and you, when you have given a couple of music lessons, can -sit down and write letters all day if you choose; but not I.... Dearest -sister, if you could imagine that I should ever forget my best and -dearest father or yourself, then--but no! God knows, and that is enough -for me--He will punish me if it should ever happen." - -In 1784 Marianne married Johann Baptist, Baron von Berchthold, of -Sonnenburg, councillor of Salzburg and steward of St. Gilgen. Wolfgang -wrote on her marriage (August 18, 1784): "Ma très chère soeur,--_Potz -Sapperment!_ it is time that I write to you if my letter is to find you -still a virgin! In a couple of days it will be all over! My wife and I -wish you all manner of happiness and good fortune in your new life, and -are full of regret that we cannot be present at your wedding; but we are -in hopes of meeting you and your husband next spring at Salzburg, and -perhaps also at St. Gilgen. We regret nothing now but the solitude in -which our father will be left. True, you will be near him, and he -can often walk over to see you, but he is so tied to that confounded -Kapelle! If I were in my father's place, this is what I should do: I -should ask the Archbishop in consideration of my long service to set -me free--and I should take my pension and go and live quietly with my -daughter at St. Gilgen; if the Archbishop refused, I should hand in my -resignation and join my son in Vienna. And to this I wish you would -try every means of persuading him. I have written the same thing in my -letter to him to-day. And now I send you a thousand good wishes from -Vienna to Salzburg, summed up in the hope that you two may live as -happily together as we two. Your loving brother, W. A. Mozart." - -A long list of letters from L. Mozart to his daughter testify to his -care for her welfare. He is indefatigable in his attention to household -matters, and occasionally receives from her presents of game or fish; he -also keeps her constantly informed of what is going on in town. He is, -as may be supposed, always ready with advice or remonstrance, both to -his daughter and her husband, whom he considers "too absorbed in the -spirit of economy"; he makes plenty of sarcastic remarks, but is, on -the whole, under more restraint with them than with Wolfgang. His -keen glance and shrewd sense never fail him. His son-in-law's hasty -application for the stewardship of Neumark drew from him serious advice -to weigh everything well beforehand, and then to be resigned to what -should happen. "I write all this," he adds (November 20, 1786), "because -I can easily imagine how many useless and vexatious ideas and remarks -will be let fall upon the subject; whereas, if it is to be, the course -of Providence cannot be withstood." Report said that Marianne - -{APPENDIX I.} - -(406) - -had not always an easy time of it with her husband; and five -stepchildren cannot have left her much leisure for repining. L. Mozart -describes them as naughty, ill brought up, and ignorant; one of the -boys, Wolfgang, was heard to boast that "he had got the better of his -second mamma, and, when he was naughty, papa always laid the blame on -her and the servants, and blew them up." - -In June, 1785, she came to Salzburg to be confined in her father's -house. As her health long remained delicate, L. Mozart kept his little -grandson, bestowing upon it the tenderest care, and informing his -daughter of the child's well-being in every letter. "I can never look at -the child's right hand without emotion," he writes (November 11,1785); -"the cleverest pianist could not place his hand upon the keys more -charmingly than he holds his little hand; whenever he is not moving his -fingers they are all in position for playing, and when he is asleep the -tiny fingers are bent or stretched exactly in the right proportion, -as if they were resting on the keys; in short, it is the most charming -sight in the world. It often makes me sad to see it, and I wish he were -three years old, so that he might begin to play at once." He could not -persuade himself to part with the child, and although he often abused -the father for never coming to see it, he declared himself: "I tell you -I mean to keep little Leopold as long as I live." - -After their father's death Wolfgang wrote to Marianne (June 16, 1787): -"Dearest Sister,--I am not at all surprised at your not writing to me -yourself the sad and totally unexpected news of our dear father's death; -I can readily imagine the cause of your silence. May God receive him to -Himself! Be assured, my darling, that if you are in need of a faithful, -loving brother, you will find one in me. My dearest sister, if you were -still unprovided for, there would be no need of all this. I would, as -I have intended and said over and over again, have left all to you with -the greatest pleasure; but as it is, one may almost say, useless to you, -while to me, on the contrary, it would be of the greatest advantage, I -think it my duty to consider my wife and child." - -This letter affords no clue to the share of his father's inheritance -claimed by Mozart, and it is not known how the matter was arranged. It -was doubtless not without some reference to this that a letter written -soon after by Mozart to his sister (August, 1787) treated of his -pecuniary position. "In answer to your question as to my service," he -says, "the Emperor has taken me into the household, and I am formally -appointed, but have only 800 florins--this is more, however, than any -other member of the household. The announcement of my Prague opera 'Don -Giovanni' (which is to be given again to-day) ran: 'The music is by Herr -Mozart, Kapellmeister in the actual service of his Imperial Majesty.'" - -I do not know of any later letters. Marianne kept up no correspondence -with her brother's widow; from a letter to Sonnleithner (July 2, 1819), -we gather that she had not heard from her sister-in-law - -{ARRANGEMENTS OF MOZART'S CHURCH MUSIC.} - -(407) - -since 1801, that she knew nothing of the children, and had only heard of -her second marriage by chance. - -In 1801 the Baron von Sonnenburg died, and his widow retired with her -children to Salzburg, where she lived in comfort, if not in wealth. -She returned to her old occupation, and gave music lessons--for money -certainly, but not from need, since her simple and frugal way of life -enabled her even to lay by a portion of her income. She was always much -respected and liked in Salzburg. In 1820 she became blind, a misfortune -which she bore with equanimity, and even cheerfulness, as the -following anecdote will show: Receiving a visit from a lady whom she -disliked--people who were fond of her paid her frequent visits to afford -her amusement in her misfortune--she exclaimed, when at last the visitor -had departed, "What an infliction to be obliged to converse with that -person! I am glad that I cannot see her!" - -She died at an advanced age in her native town, October 29, 1829. - -APPENDIX II. ARRANGEMENTS OF MOZART'S CHURCH MUSIC. - -EVEN cantatas which appeared under Mozart's name (Leipzig: Breitkopf and -Hartel, and elsewhere) are perhaps, after his operas, the most widely -known of his works, and upon them in a great measure rests his fame as -a composer of church music. Of these cantatas, however, only one, the -second (and that with altered words), was left in its present state by -Mozart; the others were all put together after his death from separate -portions of various church compositions, often widely differing in -the time, the object and the style of their composition, and having -undergone arbitrary alterations and additions. Nothing but the newly -adopted words holds them together, and these are generally trivial, -often in direct contradiction to the spirit of the original words. - -The parody of Goethe's song "Der du Leid und Sehnsucht stillest," which -in Cantata III. replaces the original "Alma redemptoris," may serve as -an example. This double injustice done to the composer may be explained -as arising from the tendency of an age which turned to its own immediate -convenience any music which came to hand, with little feeling for the -work of art as a whole and little respect for the right of the author to -the integrity of his work or for the claims of historical accuracy. - -The following is the result of a survey of the cantatas and their -component parts (Anh., 124-130 K.):--[See Page Image] - -{APPENDIX II.} - -(408) - -Cantata I. consists of the Kyrie (p. i), Panis omnipotent!ae (p. 10), -Viaticum (p. 15), and Pignus futurz gloriae (p. 16) of the Litany 125 K- - -Cantata II. is the Litany 109 K. - -Cantata III. is pot together from the Sanctus of the Mass 259 K. (p. 3); -the Benedictus of the Mass 220 K.; the Gloria of the Mass 259 K. (p. 9); -the Offertorium 72 K. (p. 15); and the Credo of the Mass 259 K. (p. 25). - -Cantata IV. consists of the Kyrie and Gloria of the Mass 220 K. (p. 3); -Motetto 277 K. (p. 12); Gratias (p. 19); and Domine (p. 21) of the -Mass in C minor 427 K. [employed in the "Davidde Penitente" 469 K. as -Chorus 4» "Si pur sempre," and Duet 5, "Sorgi o Signore **]; Magnificat -of the Vesper 193 K. (p. 26). - -Cantata V. is formed of the Kyrie (p. 1), Et incarnatus, to the close of -the Credo (p. 6), Benedictus (p. 12), Agnus Dei (p. 20), and Gloria (p. -25) of the Mass 258 K. - -Cantata VI. contains the Dixit of the Vesper 193 K. (p. 1); Laudate -Dominum (p. 13) and Magnificat (p. 20) of the Vesper 321 K. Cantata VII. -is put together from the Kyrie (p. 1) and Benedictus (p. 5) of the Mass -259 K.; an air from "Davidde Penitente" (469 IL, 3) "Lungi le cure -ingrate" (p. 14); the Agnus Dei (p. 26) and Dona nobis (p. 29) of the -Mass 259 K.; and the Dixit of the Vesper 321 K. (p. 33). - -After this, it was not surprising that the choruses from "Konig -Tham os" should have been used as sacred music, or that the -"Frei-maurercantaten" (429,471 K.) should have been treated in the same -way (Vol. II., p. 407). Nor was it unusual to find an altered text -(church-like in character) supplied to sacred compositions. But secular -music was also appropriated by the Church. The beautiful adagio of the -grand serenata for wind instruments (361 K.) has been turned into an -offertory, "Quis te comprehendat" (Anh., 110 K.). The air for Nancy -Storace (405 K.),"Ch' io mi scordi di te," has been fitted to the -words "In te domine speravi," and the obbligato piano part transferred -to the organ (Anh., 120 K.). The air from "Titus" (19),"Deh per -questo istante," with the words "O Deus, ego te amo" (Anh., 112 K.), -and Adamberger's air, "Per pietà non ricercate" (420), with the words -"Omni die die Mariae" (Anh., hi K.), are both used as offertories. V. -Novello published the wonderful ensemble from the second finale in -"Figaro" "Più docile io sono e dico di si," with the words "O Jesu -mi, miserere nobis!" as a motett with organ accompaniment, and has -appended the remark: "This motett may be used at Benediction." It is to -be hoped that there is no truth in the report that Leparello's "Notte -e giorno faticar" and Don Giovanni's "Fin che dal vino," have been -travestied as a "Docti sacris" and a "Lauda Sion." - -{ARRANGEMENTS OP MOZART'S CHURCH MUSIC.} - -(409) - -Further than this, however, whole Masses have been arranged from -Mozart's operas; and at the beginning of this century a "Missa di -Figaro. Don Giovanni" was not unknown to church choirs. One example of -the kind may be described as evidence of the fact. In the collection -of K. Zulehner of Mayence there was preserved a "Coronation Mass" in C -major, with Mozart's name as composer, of which a copy was sent to me -by Herr Schott of Mayence. All the movements, with the exception of the -Credo, are identical with whole movements or smaller portions of "Cosî -fan Tutte," with alterations of key and instrumentation, and here and -there the addition or omission of a part, as follows:-- - -The Kyrie is the terzet (10) "Soave sio il vento," transposed into C -major and turned into a four-part chorus by the addition of a tenor -part, and with two flutes to fill in the harmonies. Christe eleison is -the first movement of the duet (4), "Ah guarda sorella," transposed into -G major, for soprano and tenor, with two oboes and two horns, shortened -here and there, and the ritomello placed at the end. At the beginning -of the Gloria, after a few unimportant bars by the adapter, the motif -of the first chorus of the second finale is made use of (p. 230); then -follow for the Gratias agimus the first seventy bars of the air (11) -"Smanie implacabile" as a soprano solo in F major. The Qui tollis -consists of seven bars not borrowed, but at the Miserere occur four bars -from the first finale (p. 115), "Ed il polso," and after the repetition -of the original Qui tollis at the word "suscipe," the first finale (p. -115), "Ah se tardo," is continued to the end of the movement. "Quoniam -tu solus" to the end of the Gloria is the terzet (3) "Una bella -serenata," unaltered up to the addition of the fourth part in the tutti -passages; the closing ritornello is omitted. In the Gloria, flutes, -oboes, horns, and drums and trumpets are employed in the customary -alternations. Sanctus and Osanna are the andante of the first finale -shortened by six bars, transposed into C major, and the parts rather -differently arranged to suit the words. Benedictus is the duet and -chorus (21) "Secondate," transposed into F major, and accompanied by -stringed instruments flutes, and oboes; the chorus enters at "Osanna." -Agnus Dei begins with eleven original bars, then follows "Idol mio" from -the second finale, with the part of Despina omitted. Dona nobis is the -closing ensemble of the opera. I gather from a letter addressed to G. -Weber that Zulehner was of opinion that Mozart wrote the Mass before -the opera; that, on the contrary, the Mass was pieced together from -the opera by some church musician, no external evidence is required to -prove. - -APPENDIX III. PORTRAITS OF MOZART. - -HE earliest portrait of Mozart, a half-length in oils, now in the - -{APPENDIX III.} - -(410) - -Mozarteum, lithographed in Nissen, represents him as a boy of seven -years old, standing near the clavier, clad in the violet gold-laced -court dress of the Archduke Maximilian, which had been presented to -him in 1762 (Vol. I., p. 28). His hair is frizzed and powdered, his hat -under his arm, his sword by his side; his left hand is thrust into his -vest; his right on his side. The round good-humoured boyish face, with -its candid eyes, looks out as if from a disguise. During the stay of -the Mozart family in Paris in 1763, an accomplished admirer, L. C. -de Carmontelle, painted them in a group; the picture was engraved by -Delafosse in small folio, with the title under:-- - -"LEOPOLD MOZART, Père de MARIANNE MOZART, Virtuose ägée de onze ans, et -de J. G. WOLFGANG, Compositeur et Maître de Musique ägé de sept ans." - -Wolfgang, finely dressed and frizzed, is sitting at the harpsichord in -a pillared hall, apparently open to the air, and playing from some open -music. The little head is evidently a good likeness, and there is a -charming expression of earnest attention. His father stands close behind -him, and accompanies on the violin; the sister is standing on the other -side of the harpsichord, turning towards her brother and singing from -some music. In the same year a small oil picture, containing many -figures, was painted; it was formerly in the gallery of the Duke of -Rohan-Chabot at Schloss-Rurik, and is now in the Museum at Versailles. -Mozart is seated at the clavier, on which a "basse de viole" is lying, -and playing or singing; he is accompanied on the guitar by the opera-singer -Veliotte. The Prince de Beauveau, in a cherry-coloured coat -decorated with the blue Grand Cross, is seated behind the young -musician, glancing absently at a paper which he holds in his left hand. -The Chevalier de la Laurency, gentilhomme to the Prince de Conti, is -standing in a black velvet coat behind Mozart's chair; the Prince de -Conti is talking to M. de Trudaine; Mdlle. Bagaroty is standing before -a group of ladies, viz.: Madame la Maréchale de Mirepoix, Madame de -Viervelle, Madame la Maréchale de Luxembourg, and Mdlle. de Boufflers, -afterwards Duchesse de Lauzun. The Prince d'Henin is preparing tea, -while listening attentively to Mozart's music. In another group are -Dupont de Velse, brother to M. d'Argentai; the Countesses Egmont, mother -and daughter, and President Henaut at the fireplace. - -{PORTRAITS OF MOZART.} - -(411) - -The last group shows us the Comtesse de Boufflers standing before a -well-spread table; by her side is the Comte de Chabot (Duc de Rohan) -in conversation with the Comte de Jarnac. The Maréchal de Beauveau is -pouring out a glass of wine for Bailli de Chabrillant; Meyrand, the -famous geometrician, stands sidewards. The picture is full of life and -expression. All the company are listening in amazement and delight to -Mozart's bewitching tones. He is in an apple-green silk coat with knee -breeches, and his feet do not touch the floor. His countenance is fresh, -his look full of expression, and the little powdered perruque gives him -a somewhat pedantic look, at which the spectators are evidently amused. - -Wolfgang was painted several times during his Italian tour. At Verona -Lugiati made a life-size portrait of him in oils, in two sittings, -as his father writes home. "La dolce sua effigie mi è di conforto ed -altresi di eccitamento a riprendere qualche fiata la musica," he writes -to the mother (April 22, 1770). Sonnleithner, who discovered the picture -by the aid of the Imperial Sectionsrath W. Booking, gives a detailed -account of it. Mozart is seated playing the clavier, somewhat to -the left of the spectator, in a carved arm-chair; his youthful and -intellectual countenance is turned towards the spectator. He wears a red -court dress embroidered in gold, and has a diamond ring on the little -finger of his left hand. Upon the clavier, above the keyboard, is -written: "Joanni Celestini Veneti, MDLXXXIII." Upon the open music-book -can be distinctly read:--[See Page Image] - -{APPENDIX III.} - -(412) - -This piece, therefore, must have possessed some peculiar interest for -the Veronese. Below, in the centre of the narrow, beautifully carved -gold frame, there is a white plate with the following inscription:-- - -Amadeo Wolfgango Mozarto Salisburgensi puero duodenni - -In arte musica laudem omnem fidemque prætergresso eoque nomine Gallorum -Anglorumque regi caro Petrus Lujatus hospiti suavissimo effigiem in -domestico odeo pingi curavit anno MDCCLXX. - -In the same year the celebrated artist Pompeo Battoni of Rome painted a -life-size head of Mozart, which came into the possession of Mr. Haydon -of London; it is now the property of J. Ella, who has placed it in the -South Kensington Museum, and rendered it familiar in an engraving by H. -Adlard. The head is turned almost full-face towards the spectator, the -right-hand holding a roll of music-paper. The animated countenance has -an évident resemblance to the Verona portrait, but with more of a view -to - -{PORTRAITS OF MOZART.} - -(413) - -effect, being in fact what is called idealised. After his return from -Italy in 1772, a portrait of Wolfgang was painted which his sister -possessed; it is the one of which she wrote to Sonnleithner (July -2, 1819) that he looked yellow and sickly in it, having only lately -recovered from a severe illness. Before Mozart left Salzburg in 1777, a -portrait was painted which, according to his father (November 27, 1777), -was highly successful. Padre Martini, having begged for a likeness of -Wolfgang for his collection, the father had a copy of this one made and -sent it to him in the beginning of December, 1777, "in a black frame, -with a handsomely gilt edge." "I delayed complying with your request -until now," he writes to the Padre (December 22,1777), "for want of a -skilful artist. There is, in fact, none such residing in our town; and -I have always been in hopes that, as does sometimes happen, a clever -artist might visit Salzburg--I therefore postponed it from time to time. -At last, however, I was forced to commission a local artist to undertake -the portrait. As a painting it is of little worth, but, as regards the -likeness, - -I assure you that it resembles him exactly. I have written his name -and age behind the picture." In the library of the Liceo Filarmonico -at Bologna there is an oil picture from Padre Martini's collection, of -which Dr. Zangemeister sent me a photograph and a minute description. At -the top of the frame, in white letters, stands:-- - -CAV. AMADEO WOLFGANGO MOZART ACCAD. - -FILARMON. DI BOLOG. E DI VERONA. - -On the back is written (probably by an Italian, not by L. -Mozart):--Joannes Crisostomus Wolfgangus Amadeus Mozart Salisburgensis -Teuto, auratæ Militiæ Eques - -Bonnoniensis Veronensisque Accademicus Natus 27 Ianuarü 1756: Ætatis suæ -21. - -The portrait represents a man in a brown coat, with the gold cross on -a red ribbon round his neck; to the right is a stool, to the left a -clavier with black under notes and white over notes; on the desk is -a piece of music. But it is impossible to recognise Wolfgang in the -portrait; it is that of a man of middle age, stiff in demeanour, and -with no resemblance to Mozart. It might be meant for his father, who had -promised (August 21, 1778) to send Padre Mardini his own portrait; but -this is contradicted by the cross of the order. Probably some confusion -has taken place in the arrangement of the collection. Wolfgang took with -him on his journey a little medallion as a present to his cousin, among -whose remains it was pointed out to me. He is in a red coat, his hair -simply arranged, and the very youthful face with its - -{APPENDIX III.} - -(414) - -intelligent eyes has an open light-hearted expression. Before Mozart -went to Munich in 1780 the painter Della Croce at Salzburg began a large -family group, and Wolfgang's portrait was fortunately finished before -his departure. This large oil-painting, now in the Mozarteum at -Salzburg, represents the brother and sister seated at the harpsichord -playing a duet. Wolfgang is in a red coat with a white vest and -neckcloth, Marianne in a dark rose-coloured dress trimmed with lace, and -a red ribbon in her high coiffure; the father, in black, with a white -vest and neckcloth, is seated behind the harpsichord, his left hand -holding a violin, his right with the bow resting on the harpsichord. -On the wall hangs an oval portrait of the mother, with a blue -neckhandkerchief, and a blue ribbon in her hair. Wolfgang's sister -considered this portrait very like him; and it does in fact give one an -impression of individuality. The face is young for his age, but not -so gay and animated as in earlier pictures; it has rather a depressed -expression, corresponding very well to his mood at the time. After -his marriage he had himself painted with Constanze, and sent the two -miniatures to Salzburg. "I only hope," he writes (April 3, 1783), "that -you may be pleased with them; they seem to me to be both good, and all -who have seen them are of the same opinion." Mozart's brother-in-law, -the actor Lange, who was an enthusiastic artist, began a portrait of -him, seated at the piano, in a light brown coat and white neckcloth, and -strove to render the expression of the artist absorbed in his reveries. -The picture was only finished as far as the bust, and is now in the -Mozarteum at Salzburg; Carl Mozart considered it very like. Mozart's -short stay in Dresden in April, 1789, was utilised by Dora Stock, -Korner's talented sister-in-law, in taking his portrait in crayons -with much delicacy and animation; it was engraved in Berlin by E. -H. Schroder, and published by Ed. Mandel. The conception of Mozart's -appearance, which afterwards became typical, was formed from a small -medallion carved in boxwood in relief by Posch, and now preserved in the -Salzburg Mozarteum. This was engraved in octavo by J. G. Mans-feld, 1789 -(Viennæ apud Art aria Societ.) with the inscription: "Dignum laude virum -Musa vetat mori." On the lower edge of the medallion, among instruments -and laurel branches, is a sheet of music with "An Chloe" written on -it. This engraving is the foundation of most of the later ones; it was -engraved afresh from the medallion by Thäter (Leipzig: Breitkopf und -Hartel). - -The last portrait of Mozart is a bust, life size, painted by Tischbein -during his stay in Mayence in October, 1790. C. A. André discovered and -obtained possession of it at Mayence in 1849; it was among the remains -of the Electoral court violinist Stutzl. Two men who had themselves seen -Mozart--Professor Arentz, of Mayence, and the former court organist, -Schulz, of Mannheim, on being shown the picture, and asked whom -it represented, recognised their beloved Mozart without a moment's -hesitation. At the same time this likeness differs - -{PORTRAITS OF MOZART.} - -(415) - -considerably from the others current, and it can scarcely be doubted -that Tischbein has idealised the features, especially the nose; but the -expression of the eyes and mouth has a mixture of sensuousness, roguery, -and gentle melancholy, which testify to the artist's intellectual -apprehension; while Posch is probably more accurate in outline, but -more Philistine in conception. It has been engraved by Sichling in the -"Bildnissen berühmter Deutschen" (Leipzig: Breitkopf und Hàrtel), and -afterwards diminished for this book. - -I consider as apocryphal a small medallion in the possession of Karajan, -representing a slender well-dressed youth, inscribed as "Mozart's -Portrait;" also a round miniature, belonging to Frz. Henser, of Cologne, -of a full-grown man in a grey coat, his hand in his vest, which seems -to me to have no resemblance to Mozart. It is signed "Jac. Dorn, pinx., -1780." - -APPENDIX IV. (To the English Edition.) - -A LIST OF MOZART'S WORKS, - -COMPILED FROM THE FIRST COMPLETE - -{APPENDIX IV.} - -(416) - -AND CRITICALLY REVISED EDITION, NOW BEING PUBLISHED BY BREITKOFF AND -HARTEL, LEIPZIG. - -[See Page Image] - -VOCAL MUSIC. - -{APPENDIX IV.} - -(417) - -{APPENDIX IV.} - -(418) - -{APPENDIX IV.} - -(419) - -{APPENDIX IV.} - -(420) - -{APPENDIX IV.} - -(421) - -{APPENDIX IV.} - -(422) - -{APPENDIX IV.} - -(423) - -{APPENDIX IV.} - -(424) - -{APPENDIX IV.} - -(425) - -{APPENDIX IV.} - -(426) - -{APPENDIX IV.} - -(427) - -{APPENDIX IV.} - -(428) - -{INDEX.} - -(429) - -{INDEX.} - -(430) - -{INDEX.} - -(431) - -{INDEX.} - -(432) - -{INDEX.} - -(433) - -{INDEX.} - -(434) - -{INDEX.} - -(435) - -{INDEX.} - -(436) - -{INDEX.} - -(437) - -{INDEX.} - -(438) - -{INDEX.} - -(439) - -{INDEX.} - -(440) - -{INDEX.} - -(441) - -{INDEX.} - -(442) - -{INDEX.} - -(443) - - - -FOOTNOTES OF CHAPTER XLVI. - -[Footnote 1: Breitkopf and Hartel's edition of the "Ouvres" was prepared in -concert with the widow, and from the autograph originals furnished by -her; concerning which the entire correspondence lies before me.] - -[Footnote 2: Wien. Mus. Ztg., 1842, p. 150.] - -[Footnote 3: Reichardt, Briefe aus Wien., I., p. 244.] - -[Footnote 4: A. M. Z.f XX., p. 512.] - -[Footnote 5: A. M. Z., VII., pp. 427, 502.] - -[Footnote 6: Cf. N. Ztschr. fur Mus., XXI., p. 169.] - -[Footnote 7: A solemn funeral mass was celebrated at Prague, December 14, 1791 -(Wien. Ztg., 1791, No. 103).] - -[Footnote 8: Wessely in Berlin (Mus. Wochenbl., p. 191), and Cannabich in Munich, -composed funeral cantatas on Mozart's death (Niemetschek, p. 66).] - -[Footnote 9: A. M. Z., II., p. 239.] - -[Footnote 10: It does not appear that any complete statement of all the -ceremonies by which this jubilee was kept has been made.] - -[Footnote 11: Journ. d. Lux. u. d. Mod., November, 1799. A. M. Z., II., pp. 239, -420.] - -[Footnote 12: Bridi, Brevi Cenni, p. 63. A. M. Z., XXVI., p. 92.] - -[Footnote 13: A. M. Z., XXXIX., p. 309.] - -[Footnote 14: Cf. L. Mielichhofer, Das Mozart-Denkmal zu Salzburg und dessen -Enthüllungsfeier (Salzburg, 1843). The amount subscribed was nearly -25,000 fl.] - -[Footnote 15: The monument is familiar in Amsler's fine engraving.] - -[Footnote 16: Zellner, Blätt. f. Mus., Theat. u. Kunst, 1859. No. 97.] - -[Footnote 17: Since 1843 the Mozarteum has issued annual reports of its doings.] - -[Footnote 18: A. M. Z., XLII., p. 735. The Mozart Institution also issues regular -reports.] - -[Footnote 19: Niederrh. Mus. Ztg., 1855, p. 398; 1856, pp. 296, 303; 1857, p.232.] - -[Footnote 20: Rochlitz, Raphael u. Mozart (A. M. Z., II., p. 641). Alberti, -Raphael u. Mozart: eine Parallele (Stettin, 1856).] - -[Footnote 21: The different conceptions that are here possible is seen from -Carpani's having bracketed in a comparison of Painters and Musicians (Le -Haydine, p. 215) Pergolese and Raphael, Mozart and Giulio Romano. Beyle -compares Mozart with Domenichino (Vie de Haydn, p. 260).] - -[Footnote 22: Fr. Horn, A. M. Z., IV., p. 421.] - -[Footnote 23: Th. Kriebitzsch, Poeten u. Componisten (A. M. Z., L., p. 545; Für -Freunde d. Tonk., p. 52). He puts down the "Messiah" as Mozart's--no -doubt without reflection.] - -[Footnote 24: [Arnold] W. A. Mozart u. J. Haydn. Versuch einer Parallele (Erfurt, -1810). G. L. P. Sievers, Characteristik d. deutschen. Mus., A. M. Z., -IX., p. 698.] - -[Footnote 25: Graham, Account of the First Edinburgh Musical Festival, p. 121 -(A. M. Z., XVIII., p. 635. My readers will be familiar with Reichardt's -comparison of the three masters as quartet composers: Haydn, he says, -built a charming fanciful summer-house, Mozart transformed it into a -palace, and Beethoven crowned the edifice with a bold defiant tower -(Briefe aus Wien., I., p. 231). E. T. A. Hoffmann finds in Haydn's -instrumental works a childlike gaiety, while Mozart leads him into the -depths of the spirit-world, and Beethoven into the region of prodigies -and boundless space (Phantasiestucke, I., 4 Ges. Schr., VII., p. 55).] - -[Footnote 26: O. Lindner, Zur Tonk., p. 173.] - -[Footnote 27: Oehlenschläger, Erinnerungen, IV., p. 225.] - - - - - - - -End of Project Gutenberg's Life Of Mozart, Vol. 3 (of 3), by Otto Jahn - -*** END OF THIS PROJECT GUTENBERG EBOOK LIFE OF MOZART, VOL. 3 (OF 3) *** - -***** This file should be named 43413-8.txt or 43413-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/4/1/43413/ - -Produced by David Widger - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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