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.}

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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.}

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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.}

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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,

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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.]

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MOZART 42

BY DAVID WIDGER