MOZART found rules as to the form and technicalities of the opera[1]
seria rigidly laid down even to the minutest details, and he was the
less tempted to disregard these, since the extraordinary ease of
his invention prevented his ever finding a prescribed form to be a
burdensome restriction. Mozart's mission was not to overstep the bounds
of custom, but quietly and gradually to bring to perfection all that was
genuine and true in the diverse elements of his time. He found the opera
already in the hands of the vocalists, and execution had by this time
asserted its victory over characterisation. He did not attempt to
enter the lists against singers and public, but contented himself
with striving for fair conditions. He was willing to write to the
satisfaction of the singers, and for the display of their powers, but he
saw no necessity for
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sacrificing to this object either musical beauty or dramatic force. At
times the dramatic situations in Mozart's early operas are true and even
striking; but the dramatic element yields on the whole to execution and
euphony. It must not be overlooked that the apprehension of dramatic
truth and character varies with different times and different nations,
and that the genius of first-rate artists could inspire life into what
now appears a lifeless assemblage of notes. But it must at the same time
be allowed that Mozart's operas of this period come under the influence
of a taste perverted in many respects, which the youthful master had not
yet overcome; and his forced compliance with many purely conventional
demands must of necessity have left traces on his work as deep and
lasting as those of his creative genius.
The opera of "Mitridate, Re di Ponto" (87 K.) was first adapted from
Racine by the Abbé Parini, and revised by Vitt. Am. Cigna-Santi. The
dramatis persona are as follows:--[See Page Image]
On the news of the death of Mithridates the inhabitants of Nymphæa
deliver up the keys of the town to his son Sifares. Aspasia seeks his
protection against the suit of his brother Pharaaces, thereby betraying
her partiality for Sifares, which he secretly returns. Pharaaces
attempts to force his hand on Aspasia, whereupon Sifares throws himself
between them; Arbates separates the contending brothers with
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the news of the landing of Mithridates; they are reconciled, and agree
to keep secret from their father what has passed. Marzio promises to the
ambitious Phamaces the help of the Romans against his father.
Mithridates enters, proud and courageous in spite of the defeat he has
just suffered, and is received by his sons; he introduces to Pharnaces
his destined bride Ismene, who regards Pharnaces with little favour.
The demeanour of his sons awakens the suspicions of Mithridates, and on
Arbates revealing to him the passion of Pharnaces for Aspasia, he falls
into an extravagant rage. Pharnaces acknowledges to Ismene that he no
longer loves her; whereat, wounded alike in her pride and her love,
she complains to Mithridates. The latter resolves to punish him, and
suspecting from Aspasia's cold demeanour towards himself that she
returns the love of Pharnaces, he sets Sifares to watch her. The lovers
of course now come to an understanding, but Aspasia virtuously commands
Sifares to leave her for ever to the fulfilment of her duty.
Mithridates, in order to test the fidelity of his sons, consults with
them on the prosecution of the war; he discovers the complicity of
Pharnaces with the Romans, and orders his imprisonment; Pharnaces
acknowledges his çuilt, but accuses Sifares of the greater guilt
of complicity with Aspasia. In order to try her, Mithridates offers
generously to resign her hand to Pharnaces, which draws from her the
confession of her love for Sifares; this so infuriates Mithridates that
he resolves to slay his two sons and Aspasia. This is the crisis at
which the second act is brought to a conclusion by a duet, in which the
lovers declare death preferable to separation.
In the third act, Ismene, repenting her resentment, strives to soften
Mithridates, and Aspasia solicits Sifares' life with an assurance of
his innocence; but, as she refuses to give her hand to Mithridates, he
maintains his resolve, and the triple execution is to take place during
a sally which he makes on the Roman host besieging the city. Aspasia is
on the point of emptying the fatal bowl, when Sifares, who has been
set free by Ismene, snatches it from her, and rushes against the enemy.
Pharnaces, who has been released from his dungeon by the besieging
Romans, is seized with compunction and returns to his obedience, setting
fire to the Roman fleet. The Romans are defeated, but Mithridates is
mortally wounded; before he dies he unites Aspasia and Sifares, and
pardons Pharnaces, who has made his peace with Ismene.
The opera consists of twenty-four numbers without counting the overture;
they are all solo songs, except one duet and the concluding quintet.[2]
The original score appears to be lost; but several detached numbers of
this opera are
{ANALYSIS OP "MITRIDATE."}
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preserved in different forms of composition, showing that Mozart had
made various experiments, more, doubtless, to please the singers than
himself. Of the first air of Mithridates (7), "Se di lauri il crino
adomo," there are four different sketched studies; Aspasia's song (13),
"Nel grave tormento," is begun in a different form, but breaks off at
once; five other numbers are completely worked out, but have given place
to later arrangements.[3]
This opera comes in all respects within the rules of the existing opera
seria. Musical etiquette is strictly adhered to; the principal and
secondary parts are divided in the usual way; the secondary parts are
easier (not always simpler), and their character is tamer and less
important, so that they may act as foils and connecting links to
the principal parts. The chief singers had to be furnished with
opportunities for making effect as soon as they appeared; and must have
at least one great aria in each act. All this is carefully provided
for. The compass and executive skill of the artists, more especially of
Bernasconi and d' Ettore, must have been extraordinary. The division of
the aria into two movements, which prevails here as elsewhere, favours
the elaboration of details by affording more than one principal subject.
We must not expect to find a uniform florid song, the ornamental
passages growing out of and entwining the chief melody, like an
architectural ornamentation; they form an integral part of the
composition. The taste in such passages is essentially
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fleeting, for it depended chiefly on the skill of the individual
performer; what is most admired in one age is least pleasing to the
next. The same dismemberment made itself apparent too, in the cantilene.
The various vocal tricks, long notes, sustained melodies, long jumps,
syncopated passages, &c., to which due effect had to be given, could
not be thrown together without some connecting principle. For this
the subjects of the songs were made use of, but the effect was still
disjointed and inartistic. The detached phrases were usually still
further separated by a full or a half cadenza, to which an instrumental
interlude was often attached. No doubt this wealth of variety was then
considered a great charm; now we miss unity of form and conception.
The turns of harmony are generally monotonous and poor, the form of the
cadenza with its trills is just as stereotyped as that of the present
day with its suspended sixth, and both the singer and the public
expected and required that this should be so. No doubt the freedom which
was allowed to the singer in delivery often gave quite a different
form to the cadenza, but the want of conception could at best but be
concealed.
These shortcomings are not to be ascribed in Mozart's case to youthful
immaturity, but to the musical conditions of the time at which he
wrote; they are equally observable in the works of the most experienced
contemporary musicians, and were indeed hardly regarded as blemishes.
The question involuntarily arises what there was in these early operas
which could so enchant the public and draw from a master like Hasse the
prediction that this youth would eclipse them all. A witty artist once
declared that the public always requires novelty, but it must be novelty
that they are acquainted with; anything really new demands too great an
effort of comprehension from them. In this case, no doubt, the public,
agreeably prepossessed by the readiness with which the work complied
with all existing conditions, were quick to appreciate the skill and
taste which were manifest, as well as a certain youthful freshness, and
here and there traits more significant still of genius; traits in which
Hasse recognised the germ of future development. We, who know Mozart in
the full perfection of his powers, seek eagerly in
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these earlier works for such indications as there are of his future
greatness. Sometimes, even in the bravura songs, pure, grand touches of
melody light up their conventional surroundings; these are usually
in the second part, and in the minor key. The more dramatic
"situation-songs" in which the composer made fewer concessions to the
singers, are not only conciser in form, but more pregnant and original
in expression.
The most striking among them is the song of Aspasia (4). Upon the
news of the arrival of Mithridates, whereby she knows Sifares to be
in danger, and her love for him rendered hopeless, she utters these
words:--
Nel sen mi palpita dolente il core
Mi chiama a piangere il mio dolore,
Non resistere, non so restar.
Ma se di lagrime umido è il ciglio
È solo, credimi, il tuo periglio
La cagion barbara del mio penar.
Grief, which seems too deep for words, here breaks forth in such an
uncontrollable flood of song, expressed with so much truth and nature,
that a dramatic artist like Bernasconi would be sure to make an
extraordinary effect by it. The simple, purely musical means
employed, the expressive flowing melodies, rich harmonies, suitable
accompaniments, and charming moderation of expression--all these show us
the genuine Mozart.
Should it be objected that the milk-and-water heroism of the piece
is still further debased by gallantry in powder and gold lace, we can
nevertheless claim for it, after all deductions made, a certain amount
of stateliness and dignity. These qualities are indeed displayed more
according to court etiquette than to classical antiquity, but they
are unmistakably there, conformably to the manners of the time and the
nation, and their artistic significance is not small. Mithridates,
who has most of individual character after Aspasia, never forgets, as
Sonnleithner justly observes, that he is first tenor as well as king;
but on the other hand he always remembers that he is king as well as
first tenor.
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The text of the opera "Lucio Silla," composed in 1772 (135 K.), was
written by Giovanni da Camera, and according to the preface, revised by
Metastasio. The programme runs:--[See Page Image]
Cecilio, a senator, banished by Silla, has secretly returned to Rome to
learn the fate of his betrothed Junia, daughter of C. Marius; his friend
Cinna warns him that Silla has spread the rumour of his death in
order to win the hand of Junia; Cinna counsels him to meet her in a
burial-place. Silla, whose suit has been repulsed by Junia, resolves
to slay her. Cecilio awaits his betrothed in the dusky burial-place,
surrounded by the trophies of Roman heroes. She enters, accompanied by
noble youths and maidens, who call for vengeance on Silla, and lament by
the urn of her father. When she is alone, Cecilio reveals himself. She
takes him at first for a ghost, and they then express their joy in a
duet.
In the second act Aufidio, Silla's evil counsellor, advises him publicly
to declare Junia as his betrothed, and thereby reconcile the contending
factions; she will not be able to oppose the universal wish. Celia, his
sister, who always counsels well, informs him of the ill-success of her
appeal to Junia; he promises to unite Celia to her lover Cinna. Silla
has scarcely departed, when Cecilio rushes in to murder him in obedience
to a vision; Cinna counsels postponement, to which Cecilio at last
consents. Ciàna is now so engrossed in his plans for revenge that he
scarcely heeds Celia, who tells him of their approaching happiness, and
tries to persuade Junia to a feigned submission, and the murder of Silla
in his bed-chamber. But she refuses to be guilty of high treason, and he
resolves to slay Silla himself.
Junia, who declares that she will never give her hand to Silla, is
threatened with death, but nevertheless counsels Cecilio, who wishes to
avenge her, to remain in concealment. Celia seeks in vain to persuade
her by the portrayal of her own happiness, but cannot stifle gloomy
{"LUCIO SILLA."}
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anticipations. Silla announces from the capitol his intended union with
Junia, and is answered by acclamations, but Junia endeavours to stab
herself, which is prevented. Cecilio rushes in with drawn sword, is
disarmed, and his death on the following day decreed by Silla; Cinna,
entering also with drawn sword, sees that his plot has failed, and
feigns to have come to Silla's protection. A terzet between Junia,
Cecilio, and Silla concludes the act.
In the third act Cecilio in fetters is informed by Cinna of the
ill-success of his plot, and calls on him for vengeance. Junia declares
her resolve to slay herself before Cecilio. Aufidio comes to fetch him,
and the lovers take leave.
Silla declares before the assembled people that this day shall give him
vengeance and his heart's desire. Junia accuses him as the mur» derer of
her betrothed, and calls on the people to avenge her. Silla pardons her
and Cecilio, and unites the loving pair. Seized with compunction Cinna
reveals his plot against Silla; he, too, receives pardon and the hand of
Celia. Finally Silla forgives Aufidio his evil counsels, lays down the
dictatorship, and restores freedom to Rome.
The consideration of such a libretto as this renders comprehensible
the esteem in which Metastasio's texts were held. There is no trace
of psychological study of motive; Silla, a sort of distorted Titus,
alternates between cruelty and remorse, and finally empties a perfect
cornucopia of generosity on to the stage; Junia too is unequal and
weak. The situations are one and all as if purposely arranged to lead to
nothing; the poet has with difficulty disposed the numerous scenes so
as to introduce the necessary songs in their proper order. And the verse
itself is very far removed from the grace and melody of Metastasio.
The score of the opera is preserved entire in Mozart's handwriting; it
is in three parts, and has 610 pages. It contains besides the overture
twenty-three numbers, among them three choruses (6, 17, 23), one duet
(7), and one terzet (18). No wonder that the composer paid court to
the singers! The mishap that deprived the opera of its tenor has been
already narrated (p. 142). As the part devolved in the end on a very
unpractised singer, the greater part of it was omitted, leaving only
what was necessary for the coherence of the plot. The two songs (5, 13)
are written for a singer whose voice and execution do not rise above the
average, without any passages, and with a
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moderate compass; the more elaborate instrumentation alone betrays that
they are intended for a principal performer. Two other songs for Silla
which are in the libretto were not composed at all, in order, no doubt,
as Sonnleithner conjectures, to give the tenor as little as possible to
do.
All the more stress is laid on the parts of De Amicis and Rauzzini.
Junia has four songs, which are all for a singer of the first rank.
The special bravura song (II) is in the second act, "Ah, se il crudel
periglio del caro ben ramento." Long passages of varied structure are
here the chief considerations. One example among many will serve to show
that Mozart was right in afterwards calling them "dreadful":--[See Page
Image]
Notwithstanding the bravura character of this song, its style is far
from well defined; that of the entering song, "Della sponde tenebrose"
(4), and of the third aria (16) is more marked. This last, "Parto, m'
affretto, ma nel partire il cor si spezza, mi manca la anima," consists
of a continuous and progressive allegro assai. An agitated phrase for
the first violins--supported by an accompaniment for the second, runs
through it almost without intermission; the harmonising is interesting
{"LUCIO SILLA"--JUNIA.}
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and varied; particularly effective is the immediate juxtaposition of
major and minor keys; the whole song is strikingly expressive of an
unsettled wavering mood.
Passages such as--[See Page Image] are brilliant, but not, properly
speaking, characteristic. At least they do not stamp the actual
situation with individuality; they seem designed only to define the
character and mood of the acting personage in their main features, like
the masks of ancient tragedy. The more detailed analysis was left to
the art and individuality of the performer, to whom the composer offered
only the means of combining dramatic force with song. We can still
recognise the essential features of the characters; but we are quite
unable to realise either the animation with which great artists inspired
them, or the effect they produced on the minds of contemporaries. It
is a mistake to consider bravura and character as opposite terms;
ornamental passages are quite susceptible of characteristic expression,
if they are delivered at the right time and in the right way. Junia's
songs express the character of a proud strong Roman woman, and an
opportunity for dramatic analysis is offered to the performer even in
the more florid songs. But the true dramatic expression is undisturbed
in Junia's last song (22), "Fra i pensier più funesti di morte veder
parmi l' esangue consorte." The long adagio, followed by an allegro,
is a distinct foreshadowing of the later form. The treatment of the
orchestra too is significant. The flutes, oboes, and bassoons are in
unison, and contrast with the stringed instruments, after a fashion not
usual at the time: and in the allegro the orchestra is in significant
opposition to the voice part, which is simple and unadorned, although
calculated to give due effect to a fine voice; its dramatic expression
is quite excellent.
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In the part of Cecilio, written for Rauzzini, the regard paid to
the singer is very apparent both in the compass of the voice, which
comprises two octaves, and in the style. He was what may be called a
scholarly singer, theoretically educated, and a composer himself, and
difficulties are introduced evidently with a view to this. Thus, for
instance, the recitative preceding his second aria is full of curious,
sometimes harsh, turns and transitions in the harmonies; in the third
aria such jumps as the following occur--[See Page Image] requiring no
small certainty of execution. The first song (2), introduced by a fine
expressive recitative, begins, as these male sopranos loved, with a
long-sustained note, and'contains various brilliant passages; but it is
quite without original invention. The second song (9) expresses a
proud, free mood with strength and animation; the last (21) can only be
explained as a freak of the performer. Cecilio, in the act of being led
to execution, moved by Junia's tears, turns to her with the words--
Pupille amate
Non lagrimate!
These tender, trifling words, are treated by Mozart with an exquisite
grace which is quite foreign to the character and the situation of
Cecilio, and, as Sonnleithner observes, would be much more suitable to a
soubrette. Probably Rauzzini chose this way of ingratiating himself with
the public.
Besides the solo songs the opera contains a duet for J unia and Cecilio,
and a terzet for the same and Silla, which are cleverly constructed,
but not otherwise remarkable. The duet (7) consists of an andante and a
somewhat tedious allegro, in which the voices go together for the most
part in thirds or sixths, with little attempt at imitation. The terzet
{"LUCIO SILLA"--ENSEMBLES.}
(183)
is well conceived. Each of the three voices has a characteristic motif,
which is not elaborated, but set in contrast with the others; afterwards
the lovers are set in opposition to Silla, and the expression is
heightened by occasional use of the three voices together; in short,
some traces are here discernible of the talent for musical architecture
which Mozart afterwards displayed is so remarkable a degree.
The scene which precedes the close of the first act deserves special
notice; it is both conceived and executed with true dramatic force. In
a hall (atrium), decorated with the trophies of his ancestors, Cecilio
awaits in the twilight the coming of Junia. The varied emotions roused
in him by the contemplation of the graves of departed heroes, and
the yearnings of love, are graphically expressed in an accompanied
recitative. Junia appears, escorted by noble Romans of both sexes. The
chorus calling on the spirits of the heroes for support and vengeance
is serious to solemnity, with striking harmonies and an independent
treatment of parts, giving animation to the whole--an altogether
excellent piece of music, with much dramatic effect. Junia joins in with
a prayer to the shade of her father. The pain of a proud, strong spirit
is expressed in a simple and dignified adagio, which gives a fine
soprano voice full scope for the display of its capabilities. The prayer
is followed by a curse pronounced on Silla by the chorus, powerful and
animated, and a fitting close to this truly dramatic musical scene.
A resemblance to the first chorus in Gluck's "Orfeo," pointed out
by Sonnleithner, is too slight to be considered more than a mere
suggestion.
Among the secondary parts that of Celia has the most independence of
character. Her two first songs (3 and 10) are, on the whole, simple and
graceful, especially the second. Passages in Cinna's three songs (1,
12, 20) and in the air for the second tenor, Aufidio, are calculated
to display the powers of the artists, but the songs, as a whole, have
little or no individuality.
There are two choruses besides that which we have noted, but neither
of them are so impressive. In the second act Silla's appearance on the
capitol is greeted by a chorus which
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is powerful, and supported by a running accompaniment. The last act is
brought to a conclusion by a chorus, alternating with the solo voices,
but the movement is unimportant.
The overture consists of the usual three movements (Molto allegro 4-4,
Andante 2-4, Molto allegro 3-8), and pretends to no connection with the
opera itself, being altogether after the ordinary pattern. The treatment
of the orchestra is not unusual. Trumpets are frequently used, and
sometimes kettledrums; but this is of little moment--more interesting is
the fact that the wind instruments are often freer and less subordinate
to the strings than usual. An attempt is evident to render the
accompaniment full and lively; the second violins have characteristic
and occasionally imitative passages. But these are merely attempts;
the influence of the traditional form overpowers all endeavours after
a freer method; it displays itself in many mechanical habits, as, for
instance, in the harmonic turn which almost invariably precedes the
singers' cadenzas:--[See Page Image]
The two festival operas composed in 1771 and 1772 belong in essentials
to the opera seria, but were subject to certain special rules. The festa
(azione) teatrale, also called serenata, were arranged with immediate
reference to the person in whose honour they were given. They were
usually also allegorical, the advantage of this kind of poetry being
that it was capable of expressing more or less open flattery. A pastoral
character was almost always given to the treatment of the old myths,
so that the dramatic element was thrown into the background, and the
brilliancy of the entertainment was left to depend principally on the
magnificent costumes and scenery. The musical treatment became more
openly and unreservedly undramatic, and the composer was satisfied with
affording a means of display to the singers. The serenata was in the
traditional three acts, but not bound by the scenic divisions of the
opera
{"ASCANIO IN ALBA," 1771.}
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seria; as it originally served as an interlude to other festivities,
it was usually also shorter. As a rule, it was only performed once; and
took the second rank after the opera seria.[4] It was on this account
that the festival piece was intrusted to young Mozart, the opera to
Hasse.
In "Ascanio in Alba" (111 K.) Parini[5] had endeavoured to produce
a work worthy of a festivity such as the marriage of the Archduke
Ferdinand with the Duchess Marie Beatrice d'Este. Divinities, heroes,
and shepherds form the dramatis persona, and there are abundant
choruses, ballets, and spectacular effects, with no lack of flattering
by-play. The programme will serve to show what distinguished artists[6]
were engaged to represent this piece:--[See Page Image]
Venus, preceded and accompanied by a chorus of genü and graces, descends
from heaven with her grandson Ascanio, and informs him that she desires
to unite him with Silvia, a lovely and virtuous nymph of this her
beloved land. Silvia is of the race of Hercules, and Cupid having caused
her to see Ascanio in a vision, she already glows with secret love for
him. Ascanio is filled with joy, and being counselled by Venus to
prove Silvia's constancy before declaring himself to her, he expresses
impatience at this postponement of his happiness. Fauno comes to the
sacrifice with a chorus of shepherds, and reverently extols the
goodness of Venus to the country and the people. Silvia then draws near,
accompanied by Aceste and a chorus of nymphs and shepherds. The priest
Aceste informs Silvia, whom he has brought up, that Venus herself
intends to unite her to Ascanio, and to found a new city with their
progeny, and expresses his
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joy in a long aria. Silvia is amazed, and declares her love for the
youth whom she has seen in her dreams; Aceste consoles her by saying
that Venus must have sent the dreams, and she in her turn sings a long
song denoting her joy. After all have retired to prepare the sacrifice
Ascanio declares in an aria his delight with the charming Silvia; but
Venus exacts that he shall yet make trial of her virtue.
A ballet follows this act, in which the nymphs and graces astonish
the shepherds by changing the grove into a splendid temple, the first
building of the newly founded city.
Silvia beholds this new erection with admiration, and utters her longing
for the yet unknown beloved, in which she is supported by a chorus of
shepherdesses. When Ascanio appears she recognises her lover in him; but
as he feigns not to know her, she remains doubtful, and Fauno confirms
her in the error that it is not he; she swoons. Ascanio laments that
he cannot show himself in his true form, and departs, whereupon she
revives, and makes known her anguish and determination to remain true
to her duty in a long recitative and aria. Then he returns, and throws
himself at her feet. She repulses him with the words, "Io son d'
Ascanio," and flees, which gives him opportunity for a song full of
tender admiration. Aceste, to whom she confides all, praises her for
her virtue. Venus appears with the chorus of nymphs and shepherds, and
presents Ascanio to Silvia as her spouse. After the lovers and Aceste
have announced their joy in a terzet, Venus exhorts the young rulers to
fulfil their duties faithfully to their subjects, and ascends to Olympus
among the expressions of gratitude uttered by Aceste in the name of the
people; and a joyful chorus brings the whole to a conclusion.
The description which Fauno gives of the guardian divinity of the
country, and the address of Aceste to Venus as she departs, contain so
many allusions to Maria Theresa that non-recognition was impossible.
Silvia too, of the race of Hercules (the name of Ercole was common in
the family of D'Este), the pupil of Minerva and the muses, the pattern
of virtue and modesty, is undoubtedly the Princess Beatrice, whose
intellect, literary cultivation, and amiability were universally
admired.[7] There was less to be said of the Archduke Ferdinand; nothing
could be made of him but a fair youth with rosy cheeks. It is worthy
of note that although mutual liking founded on beauty and spiritual
endowments is highly extolled, yet, as became a royal wedding, the
subjection of inclination to duty is made the
{"ASCANIO IN ALBA," 1771.}
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theme of highest praise. The union had not been consummated without
difficulty,[8] and some anxiety was felt as to the relations of the
young couple.
"The Archduke and his wife are well and very happy," writes L. Mozart,
"which must be a great satisfaction to Her Majesty the Empress, because
it was feared that he would not think much of his wife, she not being
beautiful; but she is uncommonly amiable, pleasant and virtuous,
consequently beloved by every one, and she has quite captivated the
Archduke, for she has the best heart and the most engaging manners in
the world."
The original score, in two volumes of 480 pages, is preserved: it
contains twenty-two numbers. At the close of the first act we have
the bass part of the ballet in nine numbers, written by a copyist,
and affixed, doubtless as a guide to the conductor. L. Mozart writes
expressly that the ballet which connects the two acts was to be composed
by Wolfgang (September 7, 1771); there must have been a special score
for the manager of the ballet which has not been preserved.
We cannot help wondering that Hasse should have founded his prophecy
of Mozart's future greatness on this opera, for it seems to us less
original than its predecessors. It certainly displays talent and
assurance, but there is not an original idea in any of the fourteen
songs to be compared with those of the former operas. The accompanied
recitatives do not arrest attention, the most animated among them being
the recitative (13) in which the lovers, seeing each other for the first
time, express their agitation in asides. Contrary to custom, the wind
instruments are employed in the recitative; but otherwise the treatment
of the orchestra calls for no remark. One song of Silvia's (11) is
accompanied by four horns (two in G, two in D) without any singular
effects; the last song of Ascanio (18) has, besides horns, bassoons and
flutes, two serpentini (in F), instruments which, Schindler suggests,
resembled the English horn.
The most prominent among the singers was Manzuoli, for whose part Mozart
now applied the instruction he had
{MOZART'S EARLY OPERAS.}
(188)
formerly received from him in London (p. 41). It is written for a
mezzo-soprano, keeps always to the middle notes, and has no passages
at all; only here and there easy embellishments. The simple lingering
melody is not without feeling, which, however, never rises to passion.
The first song (2) begins with a long-sustained note, whilst the last
resembles those in "Lucio Silla" in its tender playful grace.
There is more variety in the part composed for Maria Ant.
Girelli-Aguilar, who sang in Gluck's "Aristeo" and "Orfeo" in Parma
(1769). The first cavatina (7) is simple, graceful, and complete
in design and treatment; two others (8, 11) are bravura songs, with
brilliant passages, the melody having an air of dignity, which is also
apparent in the last song (16), both in the adagio and the allegro.
Gius. Tibaldi, whom Gluck had summoned to Vienna, where in 1767 he sang
the part of Admetus[9] in "Alceste," was already in years, and his voice
past its prime; his two songs (6, 19) are adorned with long passages,
which imply a very fluent singer.
In the closing terzet (21) the voices are at first contrasted in
detached characteristic motifs; but afterwards the soprano and tenor
are grouped together with alternating passages, while Manzuoli's part
retains its simplicity of character.
Of the two secondary characters, to each of whom two songs were
assigned, it is to be noted that they have a higher compass than the
principal singers. Their songs, too, are richly provided with passages;
but their character is perceptibly subordinate.
The choruses, seven in number, were a great ornament to the piece.
They do not interfere with the action, and five are in connection with
dances. Also in the overture, on the conclusion of the first animated
allegro, the second movement changes into a dance "of eleven females,"
as L. Mozart writes, "either eight nymphs and three graces, or eight
graces and three goddesses," and instead of the third
{"ASCANIO IN ALBA"--CHORUSES.}
(189)
movement[10] a chorus of nymphs and graces with corresponding ballet is
introduced, the orchestra retaining the character of a third movement
of the overture, and the voices (four or two-part) filling out the
harmonies after the manner of wind instruments, but in a freer, more
flowing style. The chorus is repeated on both occasions when Venus
ascends to heaven. Most of the other choruses are also repeated like
refrains on appropriate occasions; the second (3) is given six times.
It is in two parts, for tenor and bass, and remarkable for its
accompaniment of 2 flutes, 2 oboes, 2 bassoons (and violon-celli), 2
horns, and double-bass, but not otherwise original. The following chorus
(5), introduced by a short intrada, which announces Silvia's approach
(four-part, but interrupted by two short three-part movements) is
blithe and animated. The accompaniment has an independent passage in
dance-measure for the violins; the voices move with spirit and freedom.
The second act begins with two female choruses. The first, two-part
(12), acquaints Silvia of the approach of her lover, and is lively and
fresh; the two voices alternate easily in imitative phrases.
Still more animated is the next three-part chorus (17), when, Silvia
having repulsed Ascanio and fled, the chorus express surprise in a short
imitative movement addressed to Venus. The following chorus (20), which
is repeated three times, has simple harmonies, but is powerful and
effective. The concluding chorus (22) is effectively worked up after the
manner of the first into a quick animated movement, followed by a full
ballet.
The choruses, heightened by the scenic arrangements, must have
contributed greatly to the success of the opera. They display so much
freedom and assurance, such perfect mastery of method in order to attain
the truest effect, that perhaps it was here that Hasse recognised the
footprints of the lion.
The second festival piece, composed in honour of the
{MOZART'S EARLY OPERAS.}
(190)
newly elected Archbishop Hieronymus in 1772, was Metas-tasio's "Sogno
di Scipione" (126 K.), an allegorical poem in one act, on a classical
model.[11]
To the younger Scipio, asleep in the Palace of Massinissa, appear
Steadfastness (Costanza) and Fortuna, and require him to decide which of
the two he will choose for his guide through life. On his demanding
time for consideration, Fortuna depicts in a song her fleeting, unstable
nature. Costanza answers his question as to where he is by telling
him he is in heaven, instructs him on the harmony of the spheres, and
informs him that he is in that region of heaven where his departed
ancestors abide. These approach him in a chorus, and from their midst
steps out the elder Scipio Africanus, who acquaints him with the
immortality of the soul, and the reward of the good in another life.
Then Scipio's father, Emilius Paulus, draws near; he shows him the earth
as a little point in boundless space, and warns him of the nothingness
of all earthly things in comparison to the heavenly. Struck by this,
Scipio wishes at once to leave earth and remain with his forefathers,
but Africanus refuses, telling him that he is destined to save Rome, and
that he must therefore tarry on earth, and earn by his great deeds the
reward of immortality. Africanus refuses also to influence by his advice
Scipio's choice between the two goddesses, who now demand his decision.
Fortuna, who has more than once expressed her impatience, again depicts
her omnipotence, which Costanza opposes with a representation of her
victorious strength. On Scipio's declaring himself in favour of the
latter, Fortuna threatens him with her heaviest penalties, the dazzling
apparition disappears, a tremendous storm breaks forth, and Scipio
awakes in the Palace of Massinissa, and declares himself true to
Costanza.
The allusions to the circumstances under which the piece was first
produced on October 1, 1735--the birthday of Charles VI., who had
suffered severe defeats in Italy--are evident enough, especially in the
speeches of Africanus and Costanza. Nevertheless, the Licenza comes at
the conclusion, making a direct address to the hero of the occasion,
and winding up with a formal congratulation in the form of an aria and
chorus.
{SOGNO DI SCIPIONE," 1772.}
(191)
This occasional piece was considered by the Salzburg authorities to be
a suitable greeting to the new Archbishop without any alteration,
apparently on account of its philosophic moral reflections, and it may
indeed be considered as a good example of the dramatic treatment of such
reflections.[12] Dramatic the treatment can hardly be called; it is a
kind of concert in costume. It is difficult to comprehend how Scipio can
act or sing songs while he is supposed to be dreaming; yet Metastasio
makes him awake from his dream at the end of the piece.[13]
Mozart's composition, of which the original score, in one volume of 315
pages, is preserved, has more of a concert character than any other of
his dramatic works of the period. It keeps strictly within the customary
limits, and is poor in original invention, giving just the impression of
work done to order; the score bears traces also of great haste.
The overture closes with the second and slower movement, which prepares
the scene for the slumbering Scipio by a change from the principal key
of D major to E major, and a _decrescendo_ to _pp_.[14] This, and the
accompanied recitative, that closes with the storm in the midst of
which Scipio returns to earth, are the only dramatic or characteristic
movements. It is curious that the opportunity for an obbligato
recitative (for instance, at the description of the harmony of the
spheres) is never taken advantage of; the long speeches are all in plain
recitative.
Not one of the ten songs has any dramatic characterisation; even the
parts of Fortuna and Costanza do not offer any marked contrast. Each
of them has two songs--one freely conceived in a broad style, with full
orchestral accompaniments, the other of smaller design, and both richly
provided with high passages. First, Fortuna sings her principal song
(2), and Costanza her shorter one (3); afterwards the case is
{MOZART'S EARLY OPERAS.}
(192)
reversed (8, 9); but the character, pitch, and formation of the songs
differ so little that apart from the words they might easily be mistaken
the one for the other. There is a second composition of the Licenza
in existence, pointing by its handwriting, firm structure, and the
independence and delicate treatment of the orchestra, to a considerably
later date.
The three Roman heroes all sing tenor. Africanus has a great bravura
song (5), with passages as high as C in alt; his second is quieter and
simpler, and makes an attempt at characterisation; the image of the
rock, standing immovable in the sea, is sketched in sober colours. The
song of Emilius Paulus has a kind of dance measure, not very lively, and
reminding us of a polonaise; the words "un fanciullin che piange" are
illustrated by a chromatic scale. Finally, Scipio has two bravura songs
(1, 10) with many passages, the second being remarkable for its length.
But, indeed, most of the songs are of great length, and introduced by
long ritomelli. Where there is no distinct second part, the Da capo
comes into use; the middle movements are short and lightly treated. The
orchestra displays some freedom and independence, but is not equal to
"Ascanio."
The two choruses are of the usual opera type. The first (4), in which
Scipio is greeted by his ancestors, is not without power and dignity,
but it has no characterisation, and is almost throughout in harmony;
only once the voices make an attempt during a few bars at independent
movement.
In the concluding chorus (12) the voices complete the harmony in the
usual way to a running accompaniment.
FOOTNOTES:
[Footnote 1: Leop. v. Sonnleithner has treated thoroughly and well of Mozart's
earlier operas. (Càcilia, XXIII., p. 233; XXIV., p. 65; XXV., p. 65).]
[Footnote 2: The quintet is omitted in the copy at the Paris Conservatoire, but
is present in that at the British Museum (A. M. Z., 1864, p. 495).
A song in the third act of the libretto, for Aspasia, is altogether
omitted.]
[Footnote 3: They are as follows:--]
(1) Aria for Aspasia, "Al destin che la minnacia," in G major, elaborate
and rather stiff.
(8) Aria for Ismene, "In faccia al oggetto," in B major 3-4., with
a middle movement, in G minor 2-4, Allegretto; pretty but not very
striking.
(12) Aria for Sifare, "Lungi da te mio bene," in D major, Adagio; a
long-sustained but somewhat spiritless cantilene. It breaks off in 'the
middle movement in G major 3-4.
(17) Duet in E flat major, much more elaborate; both the Adagio and
Allegro are repeated. The duet has many passages in thirds, but is also
somewhat stiff.
(19) Aria for Mitridate "Vado incontro al fato estremo," in F major.
The rhythm is forcible and haughty, the harmonies unusually bold and
striking. Perhaps this led to its rejection by the singer; the aria
which was inserted in its stead doss not rise above the average in these
respects.]
[Footnote 4: Marpurg, Krit. Beitr., III., p. 44.]
[Footnote 5: Opere 41 Gius. Parini publicate ed illustrate da Franc. Reina
(Milan, 1802).]
[Footnote 6: The three chief characters had already appeared together at
Bologna in 1762, in Gluck's "Trionfo di Clelian Bologna" (Dittersdorf,
Lebensbeschr.,p. 108).]
[Footnote 7: Björnstahl, Briefe, II., p, 296. Teutsch. Mercur, 1789, III., p.
299.]
[Footnote 8: Erinnenmgen an Meyer, I., p. 77.]
[Footnote 9: Hiller, Wöch. Nachr., III., p. 132.]
[Footnote 10: André conjectures that a separate last movement of a symphony (120
K.) which is identical in paper and writing with the score of Ascanio,
was intended to serve as a conclusion to the overture when it was
performed independently.]
[Footnote 11: The subject is taken from Cicero's Somnium Scipionis, which is
followed even in details; Metastasio has incorporated the myth of Silius
Italicus, who in the fifteenth book of his "Punica" makes Virtus and
Voluptas appear to Scipio, that he may choose between manly courage and
sensual enjoyment; Metastasio makes the apparitions Costanza and Fortuna
ta suit the occasion.]
[Footnote 12: G. A. Moreschi, Riflessioni intorno le feste ed azione teatrali
(vor Metastasio, Opp., XII., p. IV.).]
[Footnote 13: Metastasio recommends this ending to Farinelli's imitation. (Opp.
post, I., p. 301).]
[Footnote 14: This overture has also been prepared for independent performance by
the addition of a closing movement (161 K.).]
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MOZART
BY DAVID WIDGER