MOZART was welcomed to the paternal roof with open arms; everything was
prepared for his reception; "a convenient cupboard and the clavichord
were placed in his room," the cook Theresa had cooked capons without
number, the high steward Count von Firmian (Vol. I., p. 345) offered him
his horses, and Dr. Prexl also placed his "beautiful
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bay mare" at his disposal; in short, Mozart's return home was a happy
and triumphant event to all the good friends of his youth. We know the
feelings with which he returned. Disappointed in his hopes of rapid and
brilliant success, he returned to the old condition of things, and
the yoke must have pressed on him all the more heavily now that his
illusions were dispelled and he no longer saw a prospect of shaking it
off. He had buried his mother in a foreign land, and his warm true
heart had been deceived in its first love; in poverty he returned to his
father's house. He was not in a position to see as clearly as we do
how powerfully his added experience of life and manifold artistic
impressions had contributed to his moral and mental development, and he
could scarcely be expected to look to this development for the strength
and courage necessary to face the future.
The commencement of his residence in Salzburg was cheered by the
presence of his lively young cousin; she had followed him from Munich
on his entreaties, to pay a visit of some weeks to her uncle. Mozart's
amiability and cordial manners renewed many pleasant intimacies, but the
actual cause of his distaste to Salzburg, viz., the want of cultivation
and of a disinterested love of art among its inhabitants, remained as
before, and his long absence was likely to make him feel it all the
more sensibly. The Archbishop, compelled by circumstances and his
surroundings to recall Mozart, had not by any means forgiven his
voluntary resignation of his former office, and the disinclination
to return which Mozart had so evidently displayed, was certainly not
calculated to appease his ill-will. We shall soon learn the kind of
treatment which Mozart had to expect from him. The Salzburg public are
described by Wolfgang in a letter to his father (May 26, 1781): "When
I play in Salzburg, or when any of my compositions are performed, the
audience might just as well be chairs or tables." He declares that,
although he actually loves work far better than idleness, the want of
congenial intercourse and inspiring surroundings make it often almost
impossible for him to set to work at composition. "And why? Because my
mind is not at ease." Again, he says (April 8, 1781): "To dawdle away
one's
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youth in such a wretched hole is sad enough, and harmful besides."
This and similar expressions might lead one to suppose that Mozart had
neglected composition during these years, but a survey of the works
which are known to us suffices to dispel this idea.
His musical activity took as a matter of course, in all essential
points, the same direction as formerly; his official position as
concertmeister and as court and cathedral organist (for so he was
entered in the Salzburg Court Calendar), gave occasion for instrumental
and church compositions, the style and materials of which were as
restricted as before.
The first instrumental composition, in G major (318 K.), dated April
26, 1779, seems to have been written for some very special occasion.
The orchestra is strongly appointed (besides the quartet there are two
flutes, two oboes, two bassoons, four horns in G and D, and two trumpets
in C, and used for effects which must have startled the Salzburgers.
It is in the form now usual for overtures, but out of date for concert
symphonies, viz.: three connected movements, Allegro spiritoso 4-4,
which contains, besides the principal energetic motif with which it
begins, and which constantly recurs in different ways, two independent,
quieter motifs in succession: Andante 3-8, gentle and soft, somewhat
longer than is usual for middle movements, but simple and without
thematic elaboration; it leads back to the first Allegro, shortened
(by the omission of the second subordinate subject) and modified in the
elaboration. The individual and dramatic character of this composition,
expressed most particularly in the commencement and the close of it,
makes it probable that it was written as an introduction to a drama.
We shall see that there was no lack of occasion for such works.
Also belonging to this period are two symphonies in the usual three
movements.[1] The earlier, in B major (319 K.,
{SYMPHONIES--SERENADE, 1779.}
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part II), composed in the summer (July 9) of 1779, was evidently
the results of "a pleased frame of mind"; it is a genuine product of
Mozart's humour, lively, cheerful and full of grace and feeling. The
second, a year later (August 29, 1780), in C major (338 K., part 10),
is grander in conception and more serious in tone. This is particularly
noticeable in the first movement; a constant propensity to fall into the
minor key blends strength and decision with an expression not so much
of melancholy as of consolation. In perfect harmony of conception, the
simple and fervent Andante di molto combines exceeding tenderness with
a quiet depth of tone. The contrasting instrumentation is very effective
in this work; the first movement is powerful and brilliant, but in the
second only stringed instruments (with doubled tenors) are employed.
The last movement is animated throughout, and sometimes the orchestral
treatment is rapid and impetuous.
A Serenade in D major (320 K.) belongs also to 1779, composed probably
for some special festival, and (except that the march is omitted) quite
in the style of the early already-noticed serenades[2] (Vol. I., p.
301). A short Adagio serves as introduction to a brilliant Allegro,
arranged exactly like the first movement of a symphony, and worked out
at considerable length; to this follows a minuet. Then there is inserted
a concertante, described as such in the title, consisting of two
movements, an Andante grazioso 3-4, and a rondo, Allegro ma non troppo
2-4, both in G major.[3] In earlier days, when Mozart figured as a
violin-player, a violin solo played the chief part in such compositions;
but now the wind instruments, two flutes, two oboes, and two bassoons
are employed concertante; the stringed instruments and horns form the
accompaniment proper. These two pieces are elaborated with great care
and accuracy, and are clear and perspicuous as well as tender and
graceful;
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the rondo is somewhat lighter in tone than the first movement. Of
bravura, properly so called, there is none to be found, and the
ornamental passages are confined to moderate amplifications of the
melodies. The instruments are solo in that they bear the principal part
throughout, concertante in that they emulate each other in manifold and
changing combinations; their strife is playful, with sometimes almost a
mischievous tone.
The Andantino which follows offers a strong contrast to both movements
of the concertante. This is marked at once by the fact that the stringed
instruments are here put forward as the exponents of the musical idea,
while the very sparely used wind instruments only emphasise certain
sharp points of detail. But the contrast is deeper than this; the light
and sunshiny mood of the two previous movements accentuates the serious
melancholy of the Andantino, which seems to tell not of the pain of an
existing passion, but of the inner peace of a sorrow overcome. After
a less noticeable minuet[4] the serenade closes with a long elaborate
Presto, an important movement full of life and force; the most emphatic
contrapuntal arrangement of the principal theme is in the middle
passage; it is lively and original, as well as technically correct.
The melodies and subjects of these works show unmistakable progress;
they are of maturer invention, have more musical substance, if the
expression may be allowed, more delicacy and nobility of apprehension.
Technical progress is visible in the greater freedom of the contrapuntal
treatment, which had already been fully developed in Mozart's vocal
compositions. This is most obviously apparent in those parts where
thematic elaboration predominates, which are richer and freer than
hitherto. There are also many motifs which owe their importance mainly
to their contrapuntal treatment. But, above all, we recognise Mozart's
sure tact in preserving the limits that prevent the interest in the
{PROGRESS IN INSTRUMENTAL MUSIC.}
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different combinations of counterpoint to which a motive can be
subjected from becoming essentially technical, and losing its artistic
character.
Equally surely has his genius preserved him from the mistake of
ascribing any absolute value to the contrapuntal method, or favouring
the logical element which lies in it to the disadvantage of sensuous
beauty. He makes use of the forms of counterpoint only to arrest the
attention and to heighten the interest, without wearying the mind,
intruding a foreign element into the original essence of the work,
or neglecting beauty of form; Mozart never forgets that music must be
melodious. Therefore a receptive although uncultivated hearer receives
a pleasing impression from artistic and even intricate passages, without
at all suspecting the difficulties which he enjoys.
But the influence of the contrapuntal method reaches far deeper than
well-defined and scholastic forms, just as a well-considered discourse
does not consist merely in the observance of syllogistic forms. The
principle of the free movement of the separate members of one whole
penetrates the minutest divisions;
and the combined effects of creative ability and artistic cultivation
are nowhere so well displayed as in the independent construction of the
separate elements which go to form the whole work. We admire Mozart's
art in devising his plan, in accurately distributing his principal
parts, and in disposing his lights and shades; but where he is in
truth inexhaustible is in his power of strewing round a wealth of small
touches which assist the characterisation and give to each part
its peculiar effect and, in some respect, the justification of its
existence. This power, which always seems to have something at command
beyond the necessities of the case (although, in fact, every detail
which seems to be the chance expression of individual vigour is
conditioned of necessity by the whole conception), is the prerogative
of genuine creative genius. It approaches the eternal power of nature,
whose apparent prodigality is revealed to the deeper view as the wisest
economy, or rather as the unruffled harmony of a great whole. So a
statue by Phidias suggests to the spectator the impression of animated
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nature, because it not merely puts before his eyes in general features
a representation of the bodily form of man, but suggests to him the
totality of the muscular movements which are in a living body in
incessant activity. It is in art as in nature: the further we penetrate
the fewer and less complex become the governing forces and impulses.
Many details may be considered as trifling until it is asked whether
they, in their place, have the required effect as part of the whole.
When a work of art gives an effect of an artistic whole, in a way which
cannot be explained by a consideration of its apparently insignificant
parts, this may be taken as the surest proof that the artist worked
downwards from his conception of a great whole to the minutest details
of his work. We must not undervalue, on the other hand, Mozart's more
exact knowledge and freer use than formerly of external means. His
residence in Mannheim had given him an altogether new conception of the
performance of a good orchestra, both as to sound-effects and execution.
The result is present in these compositions, although Salzburg
surroundings and customs limited him greatly in his choice of means.
It may be that for these reasons his instrumental combinations show no
marked progress on former works, but the skilful use of the forces at
his command become all the more apparent.
It is remarkable how, without any alteration in the instrumentation as
a whole, the body of sound has become richer and fuller, the result of a
more careful consideration of the particular nature of each instrument.
This is most striking in the management of the wind instruments. The
bassoons predominate throughout, independently treated, whereas formerly
they only strengthened the bass; and the use of the horns, with their
long-sustained notes, shows marked progress. The combination of the
wind instruments, sometimes in opposition to the stringed instruments,
sometimes in unison with them, is another advance. Effective as are the
wind instruments in combination, they are still more so in the delicacy
of their individual features, and the perfection of their treatment
could not fail to influence that of the stringed instruments, which show
the same higher conception of what orchestral performances ought to be.
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The Mannheim experiences were not without result either in respect
to the executive delivery of the orchestra. Mozart must have been
particularly impressed with the effect of _crescendo_, for almost in
every passage we meet with phrases built upon a long-drawn _crescendo_.
The contrast between _piano_ and _forte_ is also made the most of.
Regular alternations of long passages _forte_ and _piano_ were formerly
the custom, but now we have a rapid succession of very varied shades,
_fortissimo_ and _pianissimo_ being also brought into use. But all these
are only the outward signs of a higher intellectual apprehension,
for which it was necessary also to give credit to the performers; the
composer, far from relying only on external effect, makes it the
mere expression of the deeper meaning and intrinsic value of his
compositions; it is from this point of view that the progress made by
Mozart in the manipulation of his artistic materials acquires its true
worth in the eyes of a musical critic.
We may imagine that Mozart found it no easy task to substitute a
completely new style of execution for the time-honoured customs of the
Salzburg band. The energy with which he was able at a later date to
inspire the Leipzig orchestra, wedded as it was to its own traditions,
gives some indication of his way of proceeding as a young man at
Salzburg. His cousin used to hold forth later on Mozart's eccentric
behaviour when conducting, and we may imagine that she witnessed some
of the extraordinary scenes she describes during her present visit to
Salzburg.
Mozart never appeared again as a violin-player, and we therefore find
no compositions for the violin belonging to this period. After such
an expression of opinion concerning the Salzburg public as that noted
above, we cannot wonder that he was not over-anxious to appear before
them as a clavier-player. We doubtless owe the Concerto for two claviers
with orchestral accompaniment in E flat major (365 K., part 17) to his
wish to play a duet with his sister.[5]
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In design and treatment it is essentially similar to the earlier triple
concerto. There is no intention apparent of making the two instruments
independent; the players emulate each other in the delivery of the
melodies and passages, sometimes together, sometimes in succession,
often breaking off in rapid changes and interruptions; the melodies are
sometimes simply repeated, sometimes with variations so divided between
the two instruments that neither can be said to have the advantage over
the other. There are somewhat greater difficulties of execution than
have been usual hitherto, a few passages, for instance, in octaves and
thirds, but very modest ones; the passages generally have more variety
and elegance. The orchestra is simply and judiciously, but very
delicately treated, the wind instruments in sustained chords, as a
foundation for the clavier passages; the effect of the _crescendo_ and
a greater attention to light and shade show the influence of Mannheim.
Altogether the concerto is a well-arranged composition, clear and
melodious, as well as accurately constructed, with a free, cheerful
expression, which is most strikingly shown in the fresh gaiety of the
last movement.
As organist, Mozart was under the necessity of playing the organ at
festivals, but as a rule only for accompaniments and for interludes at
set places, which gave him opportunities for improvising--his special
delight. We have some organ sonatas with orchestral accompaniments
belonging to this time (328, 329, 336, K.), quite in the style of those
already noticed (Vol. I., p. 286); compositions after the fashion of the
first movement of a sonata, without a trace of ecclesiastical severity,
either in the technical construction, which is very light, or in the
style, which is brilliant and cheerful. The organ occurs as an obbligato
instrument only in one of these sonatas (329 K.), which is the most
elaborated, but still very moderate in style, and without any florid
passages.
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Of more important church compositions there belong to this period two
Masses in C major, of which the earlier (317 K.) is one of Mozart's
best-known works of the kind, bearing date March 23, 1779, and the
later (337 K.) was written in March, 1780.[6] They are quite after the
prescribed manner, not too long, not too serious, and yet not light; in
no respect difficult or important, and closely allied in substance and
treatment to the earlier works which have already been analysed (Vol.
I., pp. 263 et seq.). The easy invention, never at a loss for fitting
expression, the talent for organisation which arranges the parts into
a connected and coherent whole, the technical sureness which gives to
every detail its due share of interest--above all, the inexhaustible
gift of melody and symmetry: all these qualities are here to be found,
and it is by their aid that, in spite of hampering circumstances, such
great and healthy work was done.
Nevertheless, these Masses show more plainly even than earlier works of
the same kind how the fetters of outward control check the impulses of
inner strength and feeling. We see Mozart as it were in court dress;
he is expert enough to move in it with tolerable freedom, but he is
disguised rather than clothed. Conventional influence is most apparent
in the instrumentation, which, as a whole, is little different from
that of the earlier works. Some passages are remarkable even in their
instrumentation; for instance, the Et incarnatus and Crucifixus of the
first Mass have an expressive violin passage, and in the second the
treatment of the wind instruments in the Crucifixus and Resurrexit, and
the organ, oboe, and bassoon in emulation with the voice in the Agnus
Dei, remind us of Mannheim.
But these are details, and in its general features the tone-colouring
of the orchestra is the same as formerly; rapid violin passages
predominate, the trombone follows the voice regularly and _forte_, and
so on. But in other respects original features are not wanting, nor
even passages of surprising beauty, to which belongs, for instance, the
unusually melodious close of the first Mass, in which the Benedictus,
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contrary to custom in a serious choral movement, is in strict
counterpoint. These are signs of a great genius, which make us regret
all the more that the whole work is not dictated and inspired by the
same spirit. To this period also, according to the handwriting, belongs
a Kyrie sketched by Mozart and not preserved quite complete (323 K.),
which has been completed and printed as a Regina coeli by Stadler. It is
characterised by a rapid sextole passage which is distributed among the
wind instruments in uninterrupted movement. The voices take their own
independent course throughout. Among other unfinished attempts by Mozart
preserved in the Mozarteum at Salzburg, and both by the handwriting and
instrumentation, as well as from other reasons, to be referred to this
time, we may particularise the beginning of a Mass with obbligato organ
(Anh., 13 K.) and the beginning (two pages) of a Kyrie (Anh., 16 K.),
which is in such strict counterpoint that the Mass, if it had been
finished, would have been among the most elaborate of them all.
But Mozart had neither inducement nor the means for producing such
compositions in Salzburg.
Two Vespers by Mozart (321, 339, K.), of the years 1779 and 1780,
have much the same resemblance in substance and compass to masses
that litanies had at an earlier period, but they stand higher in many
respects.
Five psalms and the Virgin's hymn of praise form the part of the Vespers
which is in varied chant; every division ends with the doxology, and is
complete in itself. In the Litany the principal part is framed in, as
it were, by two equally original and characteristic movements, the
Kyrie and Agnus; the Vespers, on the other hand consist of six separate
movements which have no connection, either actual or artistic. More
striking differences of key are therefore permissible than is generally
the case with the movements of one composition,[7] and it was possible
to put together at pleasure
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psalms belonging to different compositions, sometimes even by different
composers. The Dixit and Magnificat, as the two corner-posts, were
considered the principal parts; they were generally specially composed,
and: others inserted between them. As the words of the doxology (Gloria
Patri) recur at the close of each movement, it would have been natural
that the idea should arise of giving them the same musical rendering,
and suggesting a relation between the different movements by this kind
of refrain. But they are, on the contrary, in close connection with the
words to which they serve as a conclusion, so as to characterise the use
of the general formula as dependent on the special nature of each case.
For the most part, therefore, a principal subject of the piece which it
concludes is utilised for the doxology, and it is astonishing of what a
variety of appropriate and expressive musical renderings these words are
capable.
A settled custom became established, both as to the general conception
and the distinguishing characteristics of these compositions, which
was closely followed even by Mozart. In the main, the conception and
treatment resembled those of the litanies; the effort is evident to
reconcile the requirements of Divine service with the prevailing and
somewhat trivial musical taste of the times. But the vespers preserved
the dignity and solemnity of church music more strictly than the
litanies. There is no sign of a leaning to operatic style, concessions
to bravura are sparely and exceptionally made, the orchestra preserves
the simplicity of the traditional church orchestra,[8] and limited
scope is allowed even to grace and pleasing fancies. Nevertheless, the
expression of dignity and solemnity shows the influence of a time which
did not exact from sacred art the absorption of the inner man in the
sacred and the divine, but was satisfied with a decent
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observance of the forms of external homage. It was left to the artist,
who had a deeper spiritual craving, and such a delicate artistic sense
as forbade the use of form without substance, to give a higher tone to
his work. In this sense we may include by far the larger portions of
these vespers among Mozart's great works.
As concerns the musical construction in detail, a narrow mode of
treatment resulted throughout from the conditions of worship; the words
had to be composed straight through, just as in short Masses. A broader
rendering of separate portions which might seem to lend themselves to
musical expression was not admitted, and the endeavour after a dramatic
characterisation of certain points did not come within the artistic
usages of the time. The important point, therefore, was not to render
the words in music, so as to give a new and fitting expression to each
detail, but to invent characteristic motifs for the important points
which should be suitable for further elaboration, and which, in spite of
individual distinction, should spring from the fundamental conception of
the whole work. The task of the composer is not made easier by the words
of the psalms; they do not offer a good basis for musical construction,
nor are the ideas conveyed in them generally such as would incite
to musical production. The composer must therefore be original in no
ordinary degree, and it is excusable if he now and then handles the
rules and forms of his art with a certain amount of abruptness, and even
makes verbal expression subservient to them, so far as it can be done
without harmful pressure.
In order to introduce variety among these closely allied compositions
a certain type had been formed, which was not exactly the inevitable
consequence of the effort to satisfy the rules of art and of good taste,
but, as in the litanies, exercised considerable influence over the
treatment of the text. The two vespers we are considering are very
similar in form and workmanship. Various parts are treated in both with
marked preference, and it is scarcely possible to place one before the
other in merit, except that perhaps the earlier one is the more serious.
The first psalm, Dixit Dominus, is formed into an
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animated, restless movement, full of strength and dignity; while the
same tone predominates in both, there is more fire and brilliancy in
the first composition, more mildness and tranquillity in the second. The
kind of treatment may be compared to that of the Gloria and Credo of
the Mass. Without any sustained thematic elaboration, certain principal
motifs are maintained and emphasised in different ways. The animated
string passages are not only in varied harmonic combinations, but often
in counterpoint, either imitative or a combination of the different
subjects. The voices are free and independent, but with a few trifling
exceptions they are treated harmonically; solo voices sometimes
alternate with the chorus, but without any special prominence.
The second psalm, Confitebor tibi, Domine, is in the earlier Vesper (321
K.), a chorale with solo intermixed, accompanied only by the organ
and stringed instruments (E minor 3-4). This mature and beautiful
composition approaches the Mass in F major (Vol. I., p. 257) both in
tender and fervent sentiment and in simplicity and purity of form. But
there the treatment is contrapuntal throughout, here it is essentially
harmonic. The independent progress of the voices displays a succession
of rich and startling harmonies in animated but natural development;
notwithstanding many suspensions and unexpected turns, they are always
clear and melodious, and always the true and natural expression of the
sentiment to be conveyed.[9] The frame of mind represented is not one of
fanatical remorse, but rather of a soul penetrated with the feeling
of guilt, and impelled to acknowledge it with shame and anguish. The
moderate expression of such a mood, which might easily pass over into
the sentimental, coincides with the symmetry of form observable in the
main features as well as in the details of the work. The corresponding
movement of the second Vesper (339 K.) is not to be placed on the same
level as this. It maintains on the whole the tone of the first movement,
with an increase of earnestness,
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and is a clever and melodious composition, with good effect in its
place; but the poetical beauty of the other is altogether wanting.
The third psalm, Beatus vir, has least original colouring. It is in both
Vespers a lively, powerful, one might almost say, cheerful movement,
suggestive of the Gloria or Credo of more than one mass, but without
the solemnity which characterises them. Here, too, solo voices alternate
with the chorus[10] without interrupting the steady flow of the
composition. In the earlier work there are some beautiful harmonic
effects; in the later, contrapuntal phrases sometimes occur; an animated
rapid accompaniment by the violins is common to both.
As in the Litany, the Pignus futuræ gloriæ, so in the Vesper the fourth
psalm, Laudate pueri, was treated in severe counterpoint, and here it
was that a thoroughly trained church composer made good his claim to
the title. In the first of the Vespers that we are considering this
psalm[11] is a clever piece of counterpoint, original in form, and
deviating from the strict regularity which usually characterises Mozart.
It begins with an infinite canon. The twelve bars melody for the
soprano--[See Page Image]
is imitated three bars later by the alto in unison. Then follows
the tenor an octave higher, and then the bass in unison. After the
completion of the melody the soprano again takes it up, alto and tenor
follow. The regular progress of the canon is then broken by a complete
final cadenza, in which all the voices unite on the last note of the
bass melody. A short theme introduced by the bass--[See Page Image]
{LAUDATE PUERI.}
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is imitated by the other parts in similar or in contrary motion, and
soon passes over into a short passage ending in D minor. Hereupon the
soprano interposes with a new and characteristic melody--[See Page
Image]
the first bars of which are taken up by the other voices; but instead of
a further elaboration, a new theme is introduced by the alto, followed
by a counter-theme, which are both imitated together--
whereupon the alto raises a new melody, which is figured by the other
parts in imitation as Cantus firmus, and closes in A minor. Then the
alto begins with the previous soprano subject, but now in F major; the
soprano follows with the second, but the imitative figuring soon gives
place to a fine harmonic elaboration, followed by the third passage;
the imitative parts maintain the same character, and the alto has now
another Cantus firmus. To this at last is appended a long coda, formed
of detachments of previous subjects, variously elaborated in stretto and
contrary motion, ending in organ point on the dominant. It cannot
fail to be remarked how tuneful and melodious, as well as independent,
characteristic, and striking in their effect are the different parts.
The melodies which compose the Cantus firmus may have been, in part
at least, borrowed from church tones. Far more ambitious is the
contrapuntal work in the second Vesper,[12] which consists of a close
succession of
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difficult problems solved after the severest and most rigorous rules.
After the first regular enunciation of the theme--[See Page Images]
there occurs a second motif--which is at first treated freely, and
issues into a short harmonic passage, which is afterwards used again as
an interlude. Then the two motifs are combined--[See Page Image] and
elaborated together, after which this section closes on the chord of the
dominant in a stretto arrangement of the chief subject, while the
violins take up the subordinate motif. When the chief subject has again
asserted itself, there follows its inversion as a counter-subject--and
regular elaboration, ending in the above interlude, after which the
subject and its inversion appear together as an organ point on the
fundamental tone, while the violins proceed with an independent
accompaniment:--[See Page Images]
After the previous stretto has again occurred on the chord of the
dominant the two first subjects reappear in new
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original climacteric treatment, divided between the voices and the
accompaniment;--[See Page Image]
A free conclusion brings the artistic and forcible work to an end.
As if for refreshment after this effort, the fifth psalm, Lau-date
Dominum, is treated as a solo movement of a pleasing character. In the
earlier vesper it is a soprano solo with organ obbligato, not certainly
set in prescribed aria form, but in its brilliant passages and easy
grouping of the melodies more akin to secular music than any other of
Mozart's church compositions of this period. In the second vesper the
psalm has a more solemn character, but even here it is a mild and
tender soprano solo, somewhat pastoral in tone, and supported by a solo
bassoon; simple throughout, and with a fine climax at the close, the
doxology being sung by the chorus.
The Virgin's hymn of praise, "Magnificat anima mea," which forms the
conclusion of the Vespers, is by its form the part best fitted for
musical rendering. But the connection in which it here stands with the
preceding psalms obliges a corresponding treatment both as to extent
and conception. We must not therefore look either for a comprehensive
treatment giving free development to the details of the separate
sentences, such as is to be found in the Magnificats of some great
masters, or for such an amount of dramatic characterisation as the words
give scope for. The text is tersely and precisely treated, with the
avowed intention of concluding the work with a movement in contrast to
the
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first psalm. This is evident not only in the external arrangement, which
introduces trumpets and drums, and returns to the original key, but in
the technical treatment and the closely allied tone of expression. The
expression of firm and cheerful confidence, which is common to both, is
naturally accentuated in the Magnificat in accordance with the text,
and the lively expectation of the first psalm is now turned into
thanksgiving for its fulfilment. The technical treatment of the
Magnificat is consistently more important and animated, especially in
the extended use of the forms of counterpoint; but in the main the two
compositions have the same tone and colour, and the same condensed and
impulsive style. The words "Magnificat anima mea Dominum" form a solemn
introduction as a short slow movement; "Et exultavit" is in quicker
tempo, which is maintained to the end, chorus and solo alternating in
the usual way. Here again it is to be noticed that different points are
accentuated in the earlier Magnificat chiefly by harmonic means, in the
second chiefly by counterpoint.
Having in these works followed Mozart's steady upward progress along the
path which he had previously entered on, a progress maintained against
most unfavourable surroundings, let us now turn to his attempts in
the new province of music as an adjunct to the drama. Remembering his
intense desire to write for the stage, a desire which had been increased
by the manifold influences of his travels, we shall not be surprised
that even theatrical undertakings in Salzburg offered him the
opportunity he sought. When he returned home a theatrical company was
performing under Böhm's management; in 1780 we find Shikaneder there
with his travelling _troupe_, a friend of the Mozart family, joining in
their quoit contests and quite ready to turn Wolfgang's talents to
his own advantage.[13] Two great works owe their origin to these
performances, although the exact time of their production cannot now be
ascertained.
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The first is the music to "Thamos, King of Egypt" (345 K.), an heroic
drama, by Baron Tob. Phil, von Gebler, who, in spite of his exalted
position, had devoted himself zealously since 1769 to the reform of the
Vienna theatre.[14] The contents of the piece need be given but briefly,
since it is as good as lost:[15]--
Menes, King of Egypt, has been deposed by a usurper, Rameses, and as it
is thought, assassinated; but he is living under the name of Sethos as
high priest of the Temple of the Sun, the secret being known only to the
priest Hammon and the general Phanes. After the death of Rameses his
son Thamos is heir to the throne. The day arrives when Thamos attains
majority, is to be invested with the diadem, and to select a bride. The
friends of Menes seek in vain to persuade him to dispute the throne. He
will not oppose the noble youth whom he loves and esteems. But Pheron, a
prince and confidant of Thamos has, in conjunction with Mirza, the chief
of the virgins of the sun, organised a conspiracy against Thamos, and
won over a portion of the army. Tharsis, daughter of Menes, who is
believed by all, even her father, to be dead, has been brought up
by Mirza under the name of Sais. It is arranged that she shall be
proclaimed rightful heir to the throne, and as she will then have
the right to choose her consort, Mirza will secure her beforehand for
Pheron. When she discovers that Sais loves Thamos, and he her, she
induces Sais to believe that Thamos prefers her playmate Myris, and Sais
is generous enough to sacrifice her love and her hopes of the throne to
her friend. Equally nobly Thamos rejects all suspicions against Pheron,
and awards him supreme command. As the time for action draws near,
Pheron discloses to Sethos, whom he takes for a devoted follower of
Menes, and consequently for an enemy to Thamos, the secret of Sais'
existence and his own plans. Sethos prepares secretly to save Thamos.
Sais also, after being pledged to silence by an oath, is initiated
into the secret by Mirza and Pheron, and directed to choose Pheron. She
declines to give a decided answer, and Pheron announces to Mirza his
determination to seize the throne by force in case of extremity. Sais,
who believes herself not loved by Thamos, and will not therefore choose
him as consort, but will not deprive him of the throne, takes the solemn
and irrevocable oath as virgin of the sun. Thamos enters, and they
discover to their sorrow their mutual love. Sethos, entering, enlightens
Thamos as to the treachery of Pheron, without disclosing the parentage
of Sais. Pheron, disturbed by the report that Menes is
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still living, comes to take council of Sethos, and adheres to his
treacherous design. In solemn assembly Thamos is about to be declared
king, when Mirza reveals the fact that Sais is the lost Tharsis, and
heiress to the throne. Thamos is the first to offer her his homage.
When she is constrained to choose between Thamos and Pheron she declares
herself bound by her oath, and announces Thamos as the possessor of
the throne. Then Pheron calls his followers to arms, but Sethos steps
forward and discloses himself as Menes; whereupon all fall at his feet
in joyful emotion. Pheron is disarmed and led off, Mirza stabs herself,
Menes, as father and ruler, releases Sais from her oath, unites her with
Thamos, and places the pair on the throne. A message arrives that Pheron
has been struck with lightning by Divine judgment, and the piece ends.
Mozart wrote music to this drama at Salzburg in 1779 or 1780, according
to the evidence of the handwriting and paper of the score, as well as
of the treatment of the orchestra.[16] It consisted at first of four
instrumental movements which were played between the acts, and one
which formed the conclusion of the whole piece. It was not a new idea to
compose appropriate music to a drama of importance instead of the usual
indifferent or inappropriate instrumental movements. Joh. Ad. Scheibe
(1708-1776) wrote music for "Polyeucte" and "Mithridate" in 1738, and
afterwards wrote an article on this kind of music in the "Kritischen
Musicus." He maintained that the overture should be composed with
reference to the whole piece, and should lead up to its commencement;
that the symphonies between the acts should be connected both with the
act which preceded and that which followed, so as to lead the audience
insensibly from the one frame of mind to the other. The closing symphony
should be in close relationship to the end of the piece, so as to
intensify the impression made by the _denouement_ upon the audience. He
{ENTR'ACTES.}
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considered a change of instruments particularly necessary, in order to
keep up the attention of the audience; but care must be taken to select
the most appropriate instruments for each movement, so as to express
what had to be expressed in the most effective manner possible.
Scheibe was followed by Joh. Christ. Hertel (1726-1789) with the music
to Cronegk's "Olint and Sophronia,"[17] and by others (among them
Agricola) with the music to "Semi-ramis" (after Voltaire), which
Lessing thought worthy of an analysis, and declared his opinion that
the entr'actes should have no reference to the following act, but should
only amplify and conclude what had gone before.[18] Vogler's overture
and entr'actes to "Hamlet" were given in Mannheim in 1779.[19] Even in
Salzburg M. Haydn had composed in 1777 special music for the performance
of Voltaire's "Zaire" by French actors, which was received with great
applause.[20]
The music to "King Thamos" has, curiously enough, no overture, which is
perhaps accounted for by the fact that the play begins with a chorus,
and so is opened by music.[21] Each _entr'acte_ is in connection with
the last scene of the preceding act, and seeks to express the same set
of emotions by means of music; Mozart has each time noted down what
seemed to him the prevailing idea to be represented. Thus, he
writes concerning the first movement: "The first act ends with the
determination of Mirza and Pheron to place the latter
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on the throne." Upon the last words of Mirza--"Mirza, a woman, trembles
not. Thou art a man; conquer, or die!"--the orchestra strikes in with
three solemn chords, the effect heightened by long pauses; then begins
a restless and agitated Allegro (in C minor). The prevailing tone is one
of excitement, and those who were in the theatre might well receive the
suggestion of Mirza, as an eager passionate woman, inciting Pheron
to action; but the characterisation is not very striking. It is only
noticeable that the separate phrases of the subject are shorter and in
greater contrast than is usual with Mozart; otherwise we have before us
a movement in two parts, with a coda arranged in the ordinary manner,
but not elaborated.
The second act has, if possible, a still more general application: "The
noble nature of Thamos is displayed at the end of the second act; the
third act opens with Thamos and the traitor Pheron," and the dialogue
wherein Thamos declares his belief in Pheron's fidelity, and resigns
Sais to him, while Pheron continues to dissemble. Here, too, Mozart has
written an ordinary movement in two parts (Andante, E flat major); but
he has resorted to the expedient of denoting the character of the
two personages by means of distinct subjects, which he indicates by
superscriptions:--[See page images]
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(107)
It is easy to be seen here that musical contrast is the main point, and
that the characterisation is very general, quite apart from the fact
that integrity and hypocrisy cannot be expressed in music, as Mozart
was well aware, in spite of his naïve superscriptions. The inadequacy of
such
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characterisation is shown in the second part, where both characters
occur together:--[See Page Image]
Here the expression has become still more general, and we have only the
musical development of a given subject, not the progress of a dramatic
situation; more than this it is out of the province of the musician to
give.
The suggestions for the music of the third _entr'acte_ are more
promising. The music is connected in the first place with the last
scene: 44 The third act closes with the treacherous dialogue between
Mirza and Pheron,,, expressed by means of an agitated, strongly accented
Allegro, which, however, soon breaks off, and dies away. Thereupon the
music turns to the fourth act, which begins with the vow of the deluded
Sais. Here the influence of the melodrama upon Mozart becomes apparent,
for he follows with his music every turn in the monologue of Sais,
indicating each by a superscription. We may, indeed, doubt whether he
had not some idea of a melodramatic delivery of the music, although
there are no pauses left for spoken sentences, and the flow of the
music, notwithstanding frequent changes of time is uninterrupted. This
movement would be most open to the adverse criticism of Lessing, for it
anticipates the whole of the following scene. In itself it is the
most expressive and the most successful; in spite of its division into
separate points it preserves connection and
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unity, and a tone of tender grace such as becomes a bashful maiden.
The fourth _entr'acte_ is again an animated movement (Allegro vivace
assai) which is to depict "the universal confusion" with which the
fourth act concludes. We can recognise in the wild, restless subject, in
opposition to which is placed another full of dignity and reserve,
the intended contrast between the conspirators and Thamos with his
followers; but we need, of course, to be told what it is that the music
means to represent.
Since the spectators were in a position to transfer the factitious
presumption from the stage to the music, a general characterisation
would suffice for them. The music therefore fulfils its primary aim, but
it has undertaken a task which lies beyond its province, and a
previous knowledge of the subject treated is indispensable to the due
appreciation of it; in this way the music is as dependent as though
it were a setting to words without the advantage of the direct
intelligibleness given to it by words.
The closing movement describes "Pheron's despair, blasphemy, and death."
As this situation coincides with a fearful thunderstorm, the musical
characterisation is confined to a representation of it without any
dramatic detail; it is a wildly forcible movement, and the effect
accords well with the suggested idea.[22]
It is unquestionable that Mozart, excited by the melodrama, has set
himself eagerly to express dramatic details in music, and yet in almost
every case the exigencies of musical construction have been too much
for him. The impressions he has received from the drama become only
impulses, leading him to accent more sharply and set in stronger
contrast the various points of his composition; the special points of
the dramatic situations are not fully brought out in the music. This is
in great measure the fault of the play, which affords few powerful or
effective suggestions to the composer either through its characters or
its situations;
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great poetical or dramatic power would no doubt have called forth other
music. That such a play should have been received with interest and
applause,[23] that it should have incited Mozart to composition, is a
speaking proof of the taste of the time. Shakespeare and Goethe had not
yet penetrated the intellectual atmosphere in which Mozart had grown up;
before poetry could assert its sway in the province of music it had to
express and realise the demand for a characterisation bringing to view
the most individual traits of human character.
Gebler had sought to invest his drama with peculiar dignity by providing
it with choruses, for which Racine's "Athalie" may have furnished him
with an example. The play begins with a solemn sacrifice in the Temple
of the Sun, the priests and virgins singing hymns to the Godhead; in the
same way, at the beginning of the fifth act, the coronation of the king
is introduced by a sacrifice, the priests and virgins again singing a
hymn.[24] These choruses gave Mozart opportunity for a magnificent style
of composition, with all the brilliancy that external support could
give.
The hymns were well-known ones with Latin words inserted later, for
which, however, a German translation was again substituted. Our judgment
as to style and conception
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will naturally be affected by the fact that the hymns were written for
the theatre, and not as church music proper; and yet these very hymns
have been widely circulated by countless performances in churches, and
are made to serve as the principal evidence of Mozart's style of church
music. There is no question that their whole conception is grander,
freer, and more imposing than that of any of his masses belonging
to that period, but this is because he felt himself unfettered by
conventional restrictions. A solemn act of worship was represented
on the stage, the expression of reverence to the Supreme Being was
heightened in effect by the Egyptian surroundings; and Mozart's
endeavour was to render the consequent emotions with all possible
truth and force. But he was fully conscious that the expression must be
_dramatic_. Therefore everything was avoided that directly suggested the
church, and an impression of splendour and brilliancy was given which in
this fashion was foreign to the church; above all the subjective points
of sentiment are thrown into strong relief, and forcibly expressed. But
although there is an essential difference between these choruses and
Mozart's contemporary church music, yet we cannot fail to perceive a
certain amount of resemblance in the manner in which the solemnity
and importance of religious ceremony is rendered both here and in
the "Zauberflöte." The drama itself has some resemblance to the
"Zauberflöte," both in its deistic-humani-tarian tendency and its
Egyptian costume and sun-worship. Freemasonry may have exerted some
influence over Gebler's mind[25]--it could have had none at that time
over Mozart.
In the music to the "Zauberflöte" everything, more especially the power
of concentrating ideas in the strictest forms, shows mature development,
while here we are aware of the youthful genius, rejoiced at the
opportunity of pouring forth his best in full measure, and thereby
satisfying his nature to the utmost. The consideration of these choruses
explains his joy at finding the chorus in Paris strong and good,
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(Vol. I., p. 429), and choruses, his "most favourite compositions," well
performed and much thought of; we can imagine what he would have made
of the choruses if he had written a grand opera in Paris. They leave
Gebler's words (out of which, according to Wieland, Gluck could have
made something excellent) so far behind that the music and the poetry,
considered from an artistic point of view, seem to belong to different
periods. For actual representation they are no doubt too grandly and
broadly conceived and executed; they overpower the whole drama with
their weight. The impression of solemnity and grandeur produced on the
mind by symbolic ceremonies is rendered with dignity, and at the same
time with fire and energy. The chorus and orchestra unite to give the
effect of splendour and magnificence, and startling harmonies are borne
along as if on an irresistible stream; the lighter subordinate subjects
(divided between male and female chorus as well as solo voices) are
less marked. The style and treatment of the choruses have afforded a
precedent for many similar works in later days; so also has the way
in which the choruses and a full orchestra are united so as to give a
massive effect, both of arrangement and construction. Mozart himself had
no opportunity of again uniting chorus and orchestra on a large scale,
and proceeding further in the same direction; Haydn in his oratorios
inherited this portion of Mozart's genius, and numerous efforts have
since been made to accomplish what Mozart began.
The orchestra is provided with all the external advantages that Salzburg
could offer; no instruments employed at a later date are wanting, except
the clarinet, which Mozart missed so sensibly. It is organised
and constructed exactly as we find it at the present day; the wind
instruments of wood and brass and the stringed instruments are united in
definite groups, but in perfect freedom of treatment. Most striking
is Mozart's progress in his treatment of the brass instruments. The
trombones are no longer with the voices, and where they support them
they do it in an independent manner, generally by sustained chords. But
they also take their own place in the orchestra, the horns and trumpets
united with them, and
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then again the horns combine with the wood-wind instruments; while the
trumpets, with the drums, occasionally assert their peculiar character.
In the same way, the other wind instruments are combined among
themselves, as well as with the other instruments; it is in accordance
with their nature that the rendering of the more delicate details should
fall to their share. Such an extended employment of the wind instruments
must naturally have influenced the treatment of the strings. These are
independently and forcibly placed in contrast with the wind instruments,
so that, while the latter heighten the colouring, the former determine
the fundamental character of the work and maintain unity of tone.
In short, all important effects which can be produced by different
combinations of the instruments are here brought into use, not merely as
sound effects produced by changes of tone colouring, but as the means of
giving due expression to musical ideas.
The chorus also takes a different position in conjunction with an
orchestra such as this. It is no longer the principal object in
the sense of making everything else subservient to itself; but the
independence of the instruments renders it freer in its own motion.
Since so much was left to be rendered by the orchestra, the chorus
was able to characterise what belonged essentially to it all the more
sharply and strongly; and the powerful and effective orchestra called
forth all the strength of the chorus that they might keep pace with each
other. For this there was requisite, besides an intensified meaning in
the subjects, a free and melodious treatment, which made the separate
voices the foundation for the display of natural and forcible effects of
sound. To satisfy these varied conditions in detail, and to unite
them harmoniously into combined effect, has been Mozart's successfully
executed task. Let any one place those earlier works, in which the
voices supply the harmonies to a continuous violin passage and a _basso
continuo_ side by side with these hymns where an independent chorus,
complete in itself, is united with an equally independent and carefully
arranged orchestra, so as to form a compact and solid whole, and what an
extraordinary progress is apparent!
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Mozart, who executed this work with loving care, composed both choruses
twice over. The first chorus, in the earlier and completely carried-out
attempt, has essentially the same features as the later, only the solo
parts are simpler and without the delicate accompaniment which gives
them their chief charm. The voices are only altered in the details of
the main portions of the chorus, but the orchestra is subjected to a
thorough elaboration. At first there were no flutes, and the addition
of these has given to the oboes a different position and in many ways
caused a different grouping of the instruments. But, apart from
this, there are so many improvements in detail that this work may be
considered as a regular study in instrumentation. The difference between
the two versions of the second chorus are more essential. Only the
beginning and the fundamental ideas of some of the subjects in the first
attempt are identical with the later elaboration. The working-out is
quite different, not only much shorter, but in every respect scantier
and less important; and more especially are the orchestral parts far
removed from their present rich perfection. Mozart did not even finish
this first attempt; it breaks off in the middle of the last passage,
although only a few bars are wanting. The difference in the elaboration
proves once more that the true gift of an artist consists in the
unerring judgment with which, after no matter how many experiments in
the process of his work, he seizes in the end on what is best for his
purpose. It is instructive to follow the progress of development from
the earlier ideas and attempts--in the second chorus the main features
are more carefully perfected, in the first the details.
The magnificent effect of these two choruses seems to have suggested the
idea of bringing the drama to an impressive close by means of another
chorus. In the place of the instrumental movement which represented
Pheron's death, there was introduced a short exhortation by the High
Priest to fear the Divine wrath, which is taken up by the chorus, and
passes into joyful trust in the protection of the Almighty.
Mozart's composition (to words provided by a Salzburg
{ZAIDE, 1780 (1779-Einstein:"Mozart")}
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local poet--perhaps by Schachtner)[26] is altogether worthy of the
two first hymns. The bass solo of the High Priest foreshadows the
Commendatore in "Don Giovanni." The chorus which follows gives the right
expression of humble reverence on the part of the bystanders; and the
cheerful dignity of the conclusion is quite appropriate when we take
into account that the chorus was intended for the stage and not for the
church.
Another composition falling within Mozart's present residence at
Salzburg is a German operetta, for which honest Schachtner provided the
libretto. It was almost finished when Mozart went to Munich in November,
1780.
His father wrote (December 11, 1780) that nothing could then be done
with "Schachtner's play" on account of the public mourning at Vienna.
This was all the better, since "the music was not quite ready." But
Wolfgang begs him (January 18, 1781) to bring with him "Schachtner's
operetta." "People come to see Cannabich, with whom the hearing of such
things does not come _mal ä propos_." Later on the father revived the
idea of producing the operetta in Vienna, but Wolfgang answered (April
18,1781): "Nothing can be done with Schachtner's operetta, for the same
reason that I have often given before. I could not contradict Stephanie;
I could only say that the piece--except the long dialogues, which could
easily be altered--was very good, but not suited for Vienna, where they
only care for comic pieces."
There can be no doubt that this is the opera[27] in two acts, without
a title, preserved in Mozart's carefully executed original score, and
complete all but the overture and the conclusion (344 K.), which was
published by André, with the
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suitable title of "Zaide."[28] The handwriting, style, and
instrumentation, as well as some special circumstances to be presently
noted, prove this beyond a doubt. The plot may be conjectured in its
general features by the songs and music: [29]--
Gomaz has been betrayed into the power of the Sultan Soliman and set to
servile tasks. He has won the love of Zaide, who is in the seraglio of
the Sultan, but the passion of the latter for her affords little hope to
the lovers. Finding Gomaz, overcome with toil, asleep in the garden,
she leaves him her likeness. This leads to a declaration of their mutual
love. To them attaches himself Alazim, the Sultan's favourite, and
apparently the overseer of the slaves, who represents the humane
and enlightened Mussulman. He procures for them Turkish dresses, and
accompanies them in their flight. At the beginning of the second act
we find the Sultan in violent wrath at the treachery he has just
discovered. He rages against the fugitives, whom Zaram undertakes to
pursue and capture. They are, in fact, soon brought back, and Soliman is
not moved to clemency either by the prayers and constancy of Zaide, or
by the exhortations of Alazim. In what way a happy _denouement_ is at
last brought about cannot be conjectured.[30]
This serious operetta is written in the manner and after the scale of
the vaudeville of the time; it does not depend upon the executive powers
of the performers nor upon large expedients, and the standard throughout
is a modest one. The orchestral combinations prove that it was intended
for performance in Salzburg, and the treatment of the separate parts may
have had reference to the available _personnel_.
{ZAIDE--AIRS.}
(117)
Zaide lays no claim to anything but a certain amount of fluency. The
part of the Sultan requires a strong penetrating voice, but for the rest
the requirements of the music are well within the compass of ordinary
theatrical singers; musical feeling, and a natural, correct judgment
Mozart always displays, because they were in fact a part of himself
which could not be laid aside.
In the construction of the songs the traditional arrangement of the
Italian aria is not closely adhered to. An effort is evident to make use
of the fundamental law requiring contrasting motifs to be compacted into
a whole, in developing the individuality of the characters and of the
dramatic situations. Nevertheless, the influence of the old tradition
is visible in many phenomena, such as the change of tempo, the long
ritomelli, the division of the different motifs by regular rests,
and their amplification. Yet it is no longer servile obedience to an
external type, but an evident determination to evolve the form out of
the given situation.
Every artist, no matter how many-sided his genius, feels his nature
impelled in a certain direction in which his creative strength works
freely and independently, while other paths remain strange to him or
are altogether closed. Experience and cultivation go far to equalise
his powers, but they are powerless to alter the original impulse.
Now dramatic representation makes demands upon the artist for the
satisfaction of which he must not indeed overstep the bounds of his
individuality--that no man can do with impunity--but he must stretch
them to their extremest limits. Here it is that he seeks aid from the
poet. The latter can elevate the musician by the strength and vividness
of his situation and characters, by the style and vigour of his
language, while it needs but little to stimulate his musical production
to activity. This aid was denied to Mozart when as a young man he first
sought to write dramatic music in its true sense. The first act of the
opera before us has no events except the love passages between Gomaz
and Zaide, which take their peculiar tone from the mixture of pity for
suffering innocence and from the danger threatening in the background.
Here Mozart is quite in his element. The
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tendency and fervour of his own sentiments are involuntarily expressed;
but, graceful and interesting as is this first act, the poetical
expression of the words discovers nothing of the more delicate features
of the music. Again, in the second act, the Sultan raging in jealousy,
Zaide at first beseeching, then also furious, Alazim moralising--these
are elements in the treatment of which Mozart might well look for aid
from the poet. And here it was that the poet left him in the lurch
altogether. We fancy ourselves in a marionette-show when the Sultan
sings:--
Ich bin so bos als gut,
Ich lohne die Verdienste
Mit reichlichem Gewinnste;
Doch reizt man meine Wuth,
So hah' ich auch wohl
Waffen Das Laster zu bestrafen,
Und diese fordern Blut.
And Zaide:--
Tiger! wetze deine Klauen,
Freu' dich der erschlichnen Beut'!
Straf ein thörichtes Vertrauen
Auf verstellte Zartlichkeit!
Komm nur schneli und tödt' uns beide,
Saug' der Unschuld warmes Blut,
Reiss' das Herz vom Eingeweide
Und ersättge deine Wuth
The music totters under the weight of such words as these. The songs,
which follow one after the other, are indeed well conceived and
carefully executed, and even for the most part characteristic; but
their characterisation is all external, and when suggested by different
touches in the text it is rarely happy. There is a want of harmony and
balance, as well as of impulse and warmth, so that the really beautiful
separate ideas have no proportionate effect. It is remarkable that these
songs are all too long, and their cadenzas are especially tedious, as if
quantity was to make up for quality. Further adherence to the
antiquated aria form is particularly noticeable; as if, when the musical
construction no longer proceeded directly from the impulse
{ZAIDE--QUARTET.}
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of the dramatic situation, the old forms involuntarily asserted their
sway. The quartet (16) in which the musical and dramatic interest is,
as it were, concentrated, contrasts very favourably with the solo
songs. The _dramatis personæ_ are all happily characterised; the Sultan,
implacable in his anger, Gomaz seeking to console Zaide, who, in her
turn, strives to purchase his life by the sacrifice of her own, and
Aiazim, overcome with grief at being unable to see a way out of the
complications that he himself has brought about. Here too we have a
conflict of opposing emotions faithfully and accurately delineated, and
all directed to one central point; it is, in fact, a situation which
fulfils all the essential conditions of musical representation. Here
then Mozart is in his element. The different characters are drawn with
a steady hand, every emotion is definitely and accurately expressed, and
the elements thus gained are employed as materials for a construction
which is as faithful to the laws of musical organisation as to the
requirements of the dramatic situation. The quartet thus fulfils the
two essential conditions of dramatic music, and reveals itself as a
consistent and harmonious piece of work, the separate motifs of which
are beautiful and expressive, while the interest is kept alive by
alternation and climax, and a vivid dramatic picture is produced by
the artistic treatment of musical forms. The grouping of the voices
in manifold variety of combination displays, as if on a ground plan, a
symmetrical, well-disposed musical edifice. As they proceed they develop
out of the simplest situations the most varied shades of sentiment, so
that the music carries into the innermost recesses of the mind and heart
what the words have merely hinted at. Even the actual musical formulas,
such as the entry of the voices in imitation, produce, in the right
place, such a direct and vivid effect that they appear to have been
invented for the special case. As to the main conception on which the
construction of the quartet rests, it might, if the violent rage of
the Sultan were considered as the chief point, have been made more
passionate and agitated without overstepping truth of expression; but
Mozart has in preference emphasised the more fervid and reserved
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emotions of the other characters, to which the expression of anger
must be subordinated. This conception has perhaps been suggested by the
greater ease which it afforded for the introduction of the necessary
reconciliation of the characters; partly, also, a more quiet and
contained piece might appear to be of better effect after so many lively
and agitated songs; it is certain, however, that it was the conception
most in accordance with Mozart's nature as an artist.
Equally in accord with the situation, but not by any means so deep
and expressive, is the terzet (8) which brings the first act to a
conclusion. In this there is no conflict of sentiment; Zaide, Gomaz and
Alazim are happy in the feeling of mutual love and friendship, and in
the hope of a speedy deliverance; the fear lest their plan of escape
should fail casts only a passing shadow on their cheerful frame of
mind.[31] The music therefore expresses content and happiness with great
tenderness and the purest melody, especially in the first movement. The
duet between Zaide and Gomaz (5), whose love is not a stormy passion,
but the devotion of two noble beings, expresses in the most delightful
manner the purity and openness of a happy affection.
There are not wanting, either such delicate features of detail as
characterise the genuine musical dramatist. For instance, in Gomaz' song
(6), when he is divided between gratitude to Alazim and impatience to
hasten to Zaide, there is charming humour in his confusion, particularly
at the words "doch ich muss dich schnell verlassen," and "lass dich
küssen, lass dich drücken," which in no way interferes with the more
serious sentiment of the song as a whole. The union of humour and
sentiment at the close is excellent. While the accompaniment continues
the last subject, Gomaz, who had rushed off in hot haste, turns back,
and sings once more with heartfelt emotion: "Herr und Freund, wie dank'
ich dir!" There is a pretty touch in Osmin's air (11) where the purely
musical return to the theme is used to express recurring bursts of
hearty laughter.
The workmanship of the opera, both as regards the
{ZAIDE--ORCHESTRA.}
(121)
treatment of the voices and of the orchestra, is, as might be expected,
thorough and sure. The orchestra deserves special notice. We find
only the instruments in use at Salzburg, and the wind instruments are
sparingly employed. The flutes and oboes generally alternate, but
they are together and in conjunction with bassoons and horns in the
quartet(16) and in one of the Sultan's airs (12); trumpets and drums are
only used in the Sultan's raging scene (9). Many songs (1, 11, 13)
are accompanied by stringed instruments alone. The hand of a master is
recognisable throughout, in the life and movement which we follow with
unflagging interest, in the force and beauty of the sound effects, and
in the delicacy of the lights and shades. Many touches recall later
works of Mozart; but these for the most part consist in turns of
expression, in the treatment of the accompaniment, &c. One decided
reminiscence is not without interest. The quartet is introduced by a
short passage for the wind instruments, which recurs several times in
the course of the piece, whereupon the voices enter as follows:--[See
Page Image]
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(122)
where it appears in the song of Constanze, "Traurigkeit ward mir zum
Loose" (10) in the following form:--[See Page Imge]
The alternate rendering of the subject by the voices and accompaniment,
and the alternation between the wind instruments, give it a new charm;
and it is not without intention that the instrumentation here is less
full than in the former case.
One peculiarity of this operetta is the introduction of melodrama. J. J.
Rousseau, in his production of "Pygmalion" at Lyons in 1770 and Paris
in 1775, gave the first example of a dramatic piece in which spoken
dialogue was interspersed with music in the nature of obbligato
recitatives.[32] The attempt thus to render music effective as a means
of dramatic expression was successful, although the critics raised
objections to the union of music and speech.[33]
{ZAIDE MELODRAMA.}
(123)
Independently of Rousseau's experiment, it had occurred to Brandes in
1772 at Weimar to adapt Gerstenberg's cantate "Ariadne" as a melodrama
for his wife, who was an excellent actress, but no musician. Schweitzer
undertook the composition, but owing to the interruption caused by his
"Alceste" he did not finish it.[34] When Brandes removed to Gotha in
1775, he transferred "Ariadne" to Georg Benda, with whose music it was
then produced.[35] The extraordinary success it met with suggested to
Gotter the idea of writing the melodrama "Medea" for Madame Seyler,
the rival of Madame Brandes; this also was composed by Benda.[36] The
success of the melodramas was universal and extraordinary.[37] Critics
might object to the principle as they pleased,[38] the public was not
to be reasoned out of its enthusiasm, which was shared even by many
connoisseurs.[39] That the success wras mainly due to Benda's expressive
music, which all joined in praising, admits of no doubt, and none of his
successors have been able to produce a similar effect.[40]
Mozart's idea of substituting melodrama for accompanied recitative in
German opera was a kindred one (Vol. II., p. 74), and the same idea is
evident in other directions.[41] It is put into practice in "Zaide." Two
important monologues are melodramatically treated; one by Gomaz at the
beginning of the first, and another by Soliman at the beginning of
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the second act.[42] Benda's composition has evidently been taken as
a model; the music in short periods, often only in detached chords,
follows each turn of the monologue, and seeks to give expression to
the lightest shades of sentiment. The musical treatment is essentially
different from that of obbligato recitative, where the independent
instrumental passages are connected partly by the recitative itself,
which is always sung, partly by the harmonies of the accompaniment; in
the melodrama, on the other hand, every passage, even the smallest, is
treated as distinctly apart. In the recitatives, again, which are sung,
the lighter shades of sentiment may be rendered by cadence, rhythm, or
harmony, without the intervention of any instrumental passages. In the
melodrama this is impossible, and in order to accentuate details, the
continuity of the dialogue must be sacrificed; another decided
and almost inevitable drawback is the dependence upon details for
characterisation, which is thereby often out of proportion. In this way,
spoken dialogue loses its chief means of effect--that is, its continuity
of idea--while nothing is gained for musical unity, which ought to make
up for all deficiencies by the steady maintenance of a sustained mood.
For, impelled as Mozart might be by his nature to gather into a whole
the shattered members of this musical representation by means of
rhythmical combinations and harmonic progressions, this was only
possible to a limited degree, and musical construction in its proper
sense can only exist in those few places where the music is independent
of the melodrama. The main point, however, cannot be denied, which is
that the words and the music are not here so blended that each part is
richly repaid for what it sacrifices by its union with the other, but
that each is continually asserting itself in opposition to the other, so
that both are in fact the losers. To
[42] It is particularly to be regretted that the original words for
these melodramatic scenes have not been printed. The alterations in
Soliman's monologue are not so essential, but Gomaz's monologue is
entirely transformed. In the original text he was absorbed by his
unpleasant position; when he prays for refreshing slumber, and the music
represents his repeated starting up from rest, the altered version puts
love-ravings for Zaide into his mouth.
{ZAIDE--MELODRAMA.}
(125)
this may be added the great difficulty of satisfying the requirements
of music, together with those of declamatory speech, and of filling the
pauses with suitable gestures and movements, the amount of histrionic
art necessary being rarely possessed by singers. Benda's melodramas
were written for distinguished actresses, whose forte lay in their
declamation and action; the situations were selected with this view, the
dialogue was constructed in accordance with it; in fact, each scene was
self-contained, not incorporated as a component part of a greater whole.
Objections of this kind must have acted upon Mozart at a later time;
at all events, he never again employed melodrama, not even in the
"Zauberflote," when the occasion seemed ready to hand. It was
nevertheless often introduced into operas--and partially also into
plays--with very good effect. But the effect relies chiefly either on
the material impressions of sound or upon the delicate and intellectual
treatment of the musical interludes, suggesting familiar ideas,
sentiments, or fancies, which exist in the minds of the speakers, though
they are incapable of expression in speech.[43] These are certainly
admirable points in their place, but they can scarcely serve as
organising principles in a work of art; the melodrama must be content to
take its place as a subordinate and connecting member if it is to have
its true effect.
Mozart never took up this opera again, and he was right. It could only
have been rendered fit for the stage by complete reconstruction. The
first act, however graceful the music may be, has too little variety in
its treatment and tone to gain favour on the stage; the second is, as we
have seen, barely tolerable. After the composition of the "Entführung,"
"Zaide" was heard of no more, partly on account of the similarity of
subject and accessories, partly because it was so far surpassed in every
respect that it could not fail to fall henceforth into oblivion.[44]
FOOTNOTES OF CHAPTER XXI.
[Footnote 1: The minuet movement in symphonies was not liked in Salzburg. The
minuet of the Symphony in B flat major was written later (to judge by
the handwriting) for a performance in Vienna, and appended on a separate
leaf. Mozart began a minuet to the C major symphony, but only finished
the first part, and crossed it out in the score. The effort not to
make the symphony too long is evident throughout, and especially in
the non-repetition of the first movement, although it is completely
detached.]
[Footnote 2: The first movement (Adagio, Allegro con spirito), the Andantino and
the Finale are (not quite correctly) printed as an independent symphony.
(Breit-kopf and Härtel, 7.)]
[Footnote 3: André possessed a careful copy of these two pieces, inscribed by
Mozart "Sinfonia Concertante," as if for their special performance at a
concert in Vienna, March 20,1783.]
[Footnote 4: The customary attempt to give a peculiar charm to the trio of the
minuet by means of unusual instrumentation is here apparent in the
solos for the flute in the first trio and for the horn in the second. In
Mozart's autograph score the flute part is left blank: was the player to
improvise?]
[Footnote 5: I do not know André's authority for his assertion that it was
composed in 1780, but it appears to me to be justified. Mozart sends
from Vienna (June 27, 1781) for "The Sonata ä quatre mains in B, and
the two Concertos for two claviers," and he writes later on that he had
played the Concerto ä duo with Frl. Auemhammer at a concert (November
24, 1781). Two clarinets were added to the original accompaniment, on a
flyleaf, for this performance. The second concerto which is mentioned is
no doubt that originally written for three claviers, and afterwards for
two (p. 331).]
[Footnote 6: The Credo as far as the "Et in spiritum" was afterwards laid
aside; it was in 3-4, with the doubtful superscription, "Tempo di
ciacconna."]
[Footnote 7: The Dixit and Magnificat of the first vesper is in C major,
Confitebor in E minor, Beatus vir in B flat major, Laudate pueri in F
major, Laudate Dominum in A flat major. The Dixit and Magnificat of the
second vesper are also in C major, Confitebor in E flat major, Beatus
vir in G major, Laudate pueri in D minor, Laudate Dominum in F major.]
[Footnote 8: The accompaniment consists, besides the organ (which is only once
obbligato), of two violins and bass, trumpets and drums (these last only
in the Dixit and Magnificat), and trombones in unison with the choir.
The tenors invariably go with the bass; but, a rare occurrence, the
violoncello is frequently distinct from the double-bass. Once a very
simple solo for the bassoon, _ad libitum_, occurs.]
[Footnote 9: The simple but sometimes independent accompaniment, especially of
the violins, is very beautiful, and heightens the effect, as it does in
the Mass.]
[Footnote 10: In the second vesper a long triplet passage is given to the solo
soprano at the words "Cornu eius exaltabitur," but nothing further comes
of it.]
[Footnote 11: Printed as an offertory, "Amavit eus Dominus" (Vienna: Diabelli).]
[Footnote 12: Printed as an offertory, "Sancti et justi" (Vienna: Diabelli).]
[Footnote 13: Wolfgang had promised to compose an aria for him, but had not
done so when he was summoned to Munich for "Idomeneo", reproached by his
father, he found time in the full swing of his work at "Idomeneo" to
write this aria and send it to Salzburg (November 22,1780).]
[Footnote 14: The Wien. Ztg. (1786, No. 31) contains an obituary notice. Cf.
Gervinus, Gesch. d. Poet. Nat. Litt., IV., p. 590.]
[Footnote 15: Published in Vienna, 1774, Frankfort, 1775, and in Freih. von
Gebler's Theatralischen Werken (Prague and Dresden 1772), III., p. 305.]
[Footnote 16: Confirmed by an expression of Mozart to his father, written from
Vienna (February 15, 1783): "I am really sorry that I cannot make use of
the music to "Thamos." The piece, having failed here, is destined to be
never again performed. If it were, it would be solely on account of the
music, and that is scarcely likely. It is certainly a pity!" Mozart gave
his music, in 1786, to the needy theatrical manager Bulla, who made a
good profit by it (Nissen, p. 685); "König Thamos" was given the same
year in Berlin (Teichmann's Litt. Nachl., p. 40). The whole composition
was successfully performed at Frankfort in the winter of 1865, with a
connecting poem by Gisb. von Vincke.]
[Footnote 17: Cf. Schmid, Nekrolog, 1., p. 363.]
[Footnote 18: Lessing, Hamb. Dramat. St., 26 (Werke, VI., p. 115).]
[Footnote 19: Betracht. d. Mannh. Tonsch., I., p. 313; III., p. 253.]
[Footnote 20: "Haydn's _entr'actes_ (to 'Zaire') are really fine," writes L.
Mozart (October 6, 1777). "One of them was an arioso with variations for
violon-celli, flutes, oboe, &c., and next after a _piano_ variation came
one with Turkish music so suddenly and unexpectedly that all the women
started, and there was a general titter. Between the fourth and fifth
acts was a cantabile with recitatives for the English horn, and then the
arioso again, which accorded very well with the sadness of the preceding
scene and with the following act."]
[Footnote 21: It might be supposed that the overture before mentioned (Vol.
II., p. 86) was intended for this play, and the date of the composition
agrees with this supposition. But the paper differs from that of the
other instrumental movements, and Mozart was exact and careful in these
matters. Something also of the solemn dignity characteristic of the
choruses might be looked for in an overture to "König Thamos"; in other
respects it is not unsuitable.]
[Footnote 22: The usual Salzburg orchestra is kept in view for these movements:
strings, oboes, bassoons, and horns; and for the three entr'actes (I.,
IV., V.), trumpets and drums.]
[Footnote 23: Wieland enthusiastically praises the completed drama (Auswahl,
Denkw., Briefe, II., pp. 14, 26). Soon afterwards (p. 27) he wished the
conclusion altered, and complained that the virtuous people were unreal,
and the wicked ones veritable demons. Ramier, Sulzer, Thümmel, also
spoke highly in praise of "König Thamos" (Schlegel, Deutsch. Mus., IV.,
pp. 139, 153, 159). It was at once translated into French (Wieland,
Auswahl. Denkw. Briefe, II., p. 30), and into Italian in 1780, by J. S.
von Berghoff, secretary to Prince Colloredo. A handsomely bound copy of
this translation is preserved with Mozart's score; it was probably sent
to the Archbishop, and Mozart may have thought of adapting his choruses
to the Italian version.]
[Footnote 24: Schweitzer professed to discern in the composer to the choruses
which Gebler sent to Ramier and Wieland a beginner of great promise.
That this talented beginner was not Mozart (although he was in Vienna in
the summer of 1773) no one who casts a glance over the choruses will for
a moment doubt. "Two choruses to the play of 'Thamos' by Mozart, scored
for the piano by C. Zulehner," were published by Simrock, in Bonn,
and are certainly not genuine. The fact that Mozart was known to have
written an anonymous composition for the stage no doubt caused this one
to be attributed to him.]
[Footnote 25: Gebler was Grand Master of the district lodge, "zum neuen Bund," in
1784 (Lewis, Gesch. d. Freimaurerei in Oesterreich, p. 162).]
[Footnote 26: This concluding chorus is wanting in Gebler's works, and in the
Italian translation thus proving its Salzburg origin.]
[Footnote 27: As early as 1799 the following inquiry was made in the
Intelligenz-Blatt of the A. M. Z., II., p. 21: "Among Mozart's
posthumous works has been found a German vaudeville, written apparently
in 1778 or 1779; it is without a title, and contains the following
characters: Gomaz, Zaide, Sultan, Zaram, Soliman, Osmin, &c. Any person
acquainted with the title of this work, or with the fact of its having
been printed, is requested to communicate with the editor of this
paper." The inquiry appears to have remained unanswered.]
[Footnote 28: "Zaide," Oper in zwei Acten von W. A. Mozart. Score (and pianoforte
arrangement). Offenbach: Joh. André. André has added an overture and a
closing chorus for the purpose of performance, to which there can be no
objection. Mozart's composition is given intact, but the text has been
altered by C. Gollmick. Schachtner's libretto is truly insufferable, but
it is indispensable to the critical examination of Mozart's music.]
[Footnote 29: Schachtner has evidently imitated a French original, but I have
not been able to discover it. I have failed to procure an opera entitled
"Zaide," in three acts, by La Mare, composed by Royer (1739).]
[Footnote 30: The resemblance of some situations to the "Entfuhrung" is as
striking as the difference of the two works on the whole. An Osmin
appears as a secondary character, and sings a comic aria in the second
act, which seems to have no immediate connection with the action. The
disclosure of the flight was made in the original by Zaram, not by
Osmin.]
[Footnote 31: This part did not satisfy Mozart, and he composed it again.]
[Footnote 32: Castil-Blaze, Molière Musicien, II., p. 423.]
[Footnote 33: La Harpe, Corr. Litt., I., p. 280.]
[Footnote 34: Brandes Lebensgesch., II., pp. 140, 157.]
[Footnote 35: Brande's Lebensgesch;, II., pp. 173, 184. Reichardt says
(Kunstmag., I., p. 86; Mus. Alman., 1796, G. Benda) that Benda was the
first to propose it; but this seems incorrect.]
[Footnote 36: Brande's Lebensgesch., II., p. 193. Teutsch. Mercur, 1775, III., p.
276.]
[Footnote 37: Brande's "Ariadne" was successfully performed in Paris in 1781
(Grimm, Corr. Litt., X., p. 450).]
[Footnote 38: Eberhard, Neue Verm. Schr. (Halle, 1788), p. 1. N. Bibl. d. Schön
Wiss., XXXVII., p. 177. Forkel, Krit. Bibl., III., p. 250. Tagebuch d.
Mannheim, Schaub., I., p. 327. Nachtr. zu Sulzer's Theorie., Ill, p.
318. Herder was of opinion that music and declamation met at evety
point; they could not unite (Böttiger, Litt. Zust., I., p. 126).]
[Footnote 39: Reichardt, Kunstmag., I., p. 86. Rintel, Zelter, p. 100. Cf. Huber,
Tamira, p. 79.]
[Footnote 40: A list of melodramas is given by Schletterer, Das Deutsche
Singspiel, p.225.]
[Footnote 41: Reichardt, Geist des Musik. Kunstmag., p. 102. Knigge, Ephemer. f.
Theat. u. Litt. (1785, II., p. 100).]
[Footnote 42: It is particularly to be regretted that the original words for
these melodramatic scenes have not been printed. The alterations in
Soliman's monologue are not so essential, but Gomaz's monologue is
entirely transformed. In the original text he was absorbed by his
unpleasant position; when he prays for refreshing slumber, and the music
represents his repeated starting up from rest, the altered version puts
love-ravings for Zaide into his mouth.]
[Footnote 43: It will suffice to remind the reader of the fine melodrama in
"Fidelio."]
[Footnote 44: "Zaide" was performed in Frankfort on January 27, 1866, and though
naturally not a stage success, it was a most welcome instruction to
those who brought historical interest to bear upon it.]