THE gradual decline of the German festival and "spektakel" operas was
consummated in 1742, when Gottsched,
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who had waged incessant war against them throughout his career, had the
satisfaction of chronicling the opera of "Atalanta," in Dresden, as the
last of its kind[1] but they were succeeded by a sort of aftergrowth
in the form of the operetta.[2] The theatrical managers could not
altogether dispense with similar means of attraction, and attempts were
made to introduce the musical intermezzo, together with the now fairly
well-established ballet. In 1743 Schonemann produced in Berlin Coffey's
"Devil to Pay" ("Der Teufel ist los"), adapted by Von Barck, with the
English melodies;[3] but this attempt, as well as the performance of
Schürer's vaudeville "Doris," in Dresden, in 1747,[4] remained
without result. In 1752 Koch, of Leipzig, who had had recourse to the
performance of Italian intermezzi,[5] commissioned Chr. Fel. Weisse
to make a new adaptation of Coffey's "Devil to Pay, or the Bewitched
Wives," which was set to music by Standfuss, the assistant-manager of
Koch's company.[6] Gottsched and his wife renewed the old strife against
this attempt, but were completely defeated.[7] The second part of the
opera "Der Teufel ist los"--"Der Lustige Schuster"--was produced by
Koch, in 1759, at Lubeck.[8] But not until his return to
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Leipzig, in 1765, did he give his serious attention to vaudeville.
Weisse revised his old opera of "Der Teufel ist los," which, with
partially new music by Hiller, was performed in 1766, and received
with fresh applause.[9] Koch found in Joh. Ad. Hiller what had always
hitherto been wanting, viz., a composer of good musical and general
education, having a decided talent for light, easy, and characteristic
music (more especially comic music), and full of zeal for the elevation
of the national art. He endeavoured to make another step in advance,
and by the composition of Schieb-ler's romantic poem of "Lisuart and
Dariolette" (performed November 25, 1766) to lay the foundation of
serious German opera.[10] Educated in the tradition of Hasse and Graun,
with the additional influence of Ph. Em. Bach, he followed with interest
the attempts to gain favour for Italian music in Paris by reconciling it
with the demands of French taste; and he wished to establish a national
German opera on the same principles. He denied that the German language
was unfitted for song, if only the poet would take the trouble of
accommodating it to the music, and if artists were trained for German
singing with as much care as for Italian. Since German taste was more
Italian than French, but the French were superior to the Italians in
dramatic treatment, a French plan in Italian form was most likely to be
approved of by Germans.[11] The insufficient appointments of the Leipzig
stage must, however, have dissuaded him from any idea of a grand opera.
To this was added his connection with Weisse, who during his residence
in Paris had taken a lively interest in the comic opera, and had exerted
himself to transplant it into Germany.[12]
His first opera, "Lottchen am Hofe," after "Ninette ä la Cour," and "Die
Liebe auf dem Lande," after "Annette et
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Lubin" and "La Clochette," had so great a success in 1767 and 1768
that they prepared the way for other similar attempts.[13] These simple
dramas, which occupied the mind without exerting it, and moved the
feelings without unduly exciting them, were so much in keeping with
Weisse's own nature that he was able to give them characteristic and
appropriate form. They opened a field, too, for Hiller's simple hearty
spirit, embodied in a popular form, which made his style appeal at once
to the multitude; while an endeavour after higher things would only have
turned him into an imitator of Hasse. A rapid succession of operas by
Weisse and Hiller, which were received with unanimous approbation, and
spread with incredible rapidity, soon established a definite type of
German operetta, and raised up a host of imitators. The interest of the
public, especially in North Germany, was almost exclusively confined to
operetta,[14] so that in Berlin, for instance, during the years
1781-83, 117, 141, and 151 operettas were performed.[15] This implies an
extraordinary production. Besides translations from French operettas
by Duni, Philidor, Monsigny, Grétry, and Italian intermezzi, there
were innumerable German vaudevilles, for the most part also founded on
foreign originals.[16] Some idea may be formed of the fertility of these
composers, by the fact that between 1765 and 1785, Hiller composed 13
operas, Wolf 18, Neefe 10, Holly 13, André 22, Schweitzer 16, Stegmann
10, G. Benda 8; to whom may be added a host of other less productive and
less celebrated composers.
This activity had indeed drawbacks, for it was practised with great
ease, and many amateurs of very inferior musical education intruded
themselves among the operatic musicians.[17] The careless dilettantism
of the poet went hand in hand
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with that of the composer. A host of unskilful verse-makers allied
themselves with Weisse, Michaelis, and Gotter, and threatened to degrade
the operetta to the lower level of the opera buffa. A further drawback
consisted in the very defective performances, which in most instances
resulted from the insufficient powers of the operetta companies.
"We must remember," says Reichardt, in his "History of the Comic Opera,"
"how much Hiller was hampered by the miserable state of our operatic
companies. He was fully aware of this, and what I admire in him is that
he never lost sight of the fact that he was writing, not for singers,
but for actors, who had scarcely music enough in them to sing over their
wine." The state of things had not altered much since Hiller began to
write. The Italian operas alone were supported by the courts; the German
operettas remained in the hands of private speculators; who did not
possess the means of attracting vocalists of artistic cultivation.
No singer of any reputation would have thought it consistent with his
dignity to appear in German vaudeville. The vaudeville, therefore,
remained in the hands of actors, who had seldom any vocal powers and
still seldomer any but a superficial cultivation, but who willingly
appeared in operettas on account of the high fees[18] and great applause
they might reckon upon. Reichardt gives an appalling description of the
German opera in Berlin in 1774; he heard one of Hiller's operas "sung
by a wide-mouthed, screeching woman, and a lover with a voice like a
night-watchman," and that before an audience which had "the reputation
of very refined taste";[19] he was no better pleased at Leipzig.[20]
Müller says of a performance of Wolf's "Treuen Kohler" at Dresden in
1776: "As only two of all the performers were at all musical, you may
imagine how the opera was
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rendered." It is conceivable, therefore, that the growing partiality for
German opera was regarded with disfavour by earnest men, as prejudicial
alike to the dramatic interests which were still struggling to assert
themselves in Germany,[21] and to the artistic development of operatic
music proper.[22] The actor Müller, during his professional tour in
1776, made himself acquainted with the views of competent judges as to
the admissibility of German operettas; the different opinions which
he collected are characteristic enough. Lessing--who held the union
of poetry and music as the most perfect in existence, "so that nature
herself appears to have destined them not so much for union as to be
considered as one and the same art"[23]--was against vaudevilles. "They
are the ruin of our stage. Such works are easily written; every comedy
affords material to the author; he scatters a few songs about, and the
thing is done. Our new dramatic poets find this a far easier task than
writing a good character piece." Gleim was even more violently
opposed to vaudeville than Lessing, and gave Müller an epigram upon
the
"Witch":--
Die, schlau wie
Schlang' und Krokodill,
Sich schleicht in aller
Menschen Herzen
Und drinnen sitzt, als wie ein
Huhn Auf seinem
Nest, und lehrt:
Nur klcine Thaten thun
Und über grosse
Thaten scherzen!"
Weisse smiled when Müller repeated the lines to him, and declared
himself, as became the founder of German opera, in its favour. He was
too modest, however, to maintain that operettas were dramatic works of
art, or to hope thereby to raise the taste of his countrymen; he could
only disclaim all intention of degrading it or of doing more than
encouraging
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German people to come together, and providing pleasant and popular
entertainments for them when they did so.[24] Gotter preserved a
discreet neutrality on the subject, since he had had a direct interest
in more than one operatic libretto; he would not declare for either
side, and was of opinion that variety was the root of all pleasure.
Wieland was more explicit, and declared that the national stage could
only be rendered of importance by German music; comic and serious German
vaudevilles were wanted, but good poets would soon come forward to
supply the need. He was not only able to point to his own "Alceste,"
and the success it had obtained; he had developed his views on the
cultivation of German vaudeville with a lively acknowledgment of
the achievements of Schweitzer, and he possessed genuine feeling and
interest for music. Even a musician like Reichardt declared himself
against the operetta, but thought as it was there it ought at least to
be improved, and made as useful as possible.[25]
The interest which was taken by great poets in the elevation of the
vaudeville is exemplified by Goethe; after "Erwin und Elmire" and
"Claudina von Villabella" were written, his intercourse with his
early friend Christoph Kayser[26] (b. 1736) caused him to attempt
the construction of vaudeville after the received type of the Italian
operetta. His first experiment was "Scherz, List und Rache," which he
began in 1784, and sent at once to Kayser for composition;[27] the two
first acts were ready the following year, and were well thought of in
Weimar;[28] in Rome, whither Goethe was followed by Kayser at the end of
1787, they finished the operetta together.[29] But Goethe thought that
the operetta
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was extravagantly mounted,[30] and complains himself that a defective
conception of the intermezzo had led him to spin out the trivial subject
into innumerable musical pieces, which had been treated by Kayser quite
after the old-fashioned models. "Unhappily," says Goethe, "adherence to
the old principles caused it to suffer from poverty of parts; it never
went beyond a terzet, and one felt inclined to wish that the doctor's
medical books might be endowed with life to form a chorus. All the pains
we took, therefore, to confine ourselves within narrow and simple limits
went for nothing when Mozart appeared. The 'Entführung aus dem Serail'
threw all else into the shade, and our carefully worked-out piece was
never heard of again at any theatre."[31]
A closer examination of Mozart's opera will make it clear to us why it
threw all others into the shade. The plot of Bretzner's[32] "Entführung
aus dem Serail," written for André in 1781, is simple and in no way
original:--
Constanze, the beloved of Belmont, is in the power of the Pasha Selim,
who has confined her in his seraglio, and sues in vain for her love.
Belmont has been made aware of her place of confinement by Pedrillo,
his former servant, who has also fallen into the hands of the Pasha,
and become the overseer of his gardens; Belmont hastens to liberate his
beloved. In seeking Pedrillo he stumbles upon Osmin, overseer of the
country-house in which the action takes place; and both he and Pedrillo
(who is even more obnoxious to Osmin from his known love to Blondchen,
Constanze's waiting-maid, whom Osmin seeks to win) are rudely repulsed
by Osmin. In the meantime Pedrillo succeeds in recommending Belmont
to his master as an accomplished architect; Selim takes him into
his service, and Osmin is reluctantly obliged to admit him to the
country-house. In the second act Blondchen makes short work of Osmin's
arrogant jealousy in respect of her, and Constanze remains constant
against the renewed attempts of the Pasha. Hereupon Pedrillo inveigles
Osmin into drinking with him, and renders him harmless by means of a
sleeping potion; the freedom thus obtained is employed by the lovers in
an interview at which their flight the following night is determined on.
In the third act this is put into effect. Pedrillo
{ALTERATIONS IN THE LIBRETTO.}
(223)
gives the sign, Belmont escapes with Constanze; as Pedrillois carrying
off Blondchen, Osmin enters still half asleep; they contrive to escape
but he causes them to be pursued, and both couples are brought before
the Pasha. They are condemned to death, but the Pasha, moved at last by
their self-sacrificing love and fidelity, pardons and unites them.
The original libretto is arranged for a genuine vaudeville. All the
dramatic interest lies in the spoken dialogue; the songs are, with a few
exceptions, superfluous additions, and imply a very moderate amount of
execution. Mozart undertook to indicate to Stephanie where and how, in
the interests of the composer, alterations should be made, and only left
to him the framing of the text, with which it was not necessary to be
so particular, if only the situations were well arranged in their main
features. The principal point, next to giving to the musical element
of the piece its due prominence as the most fitting expression of lyric
sentiment, was the proper consideration of the individualities of the
performers themselves. Fortunately this task was not complicated in the
way which had so often been the case. Madame Cavalieri was certainly
more of a bravura singer than anything else, and neither her appearance
nor her acting was effective; but Adamberger and Fischer were just as
Mozart would have had them, both as singers and actors, and Fischer
especially was an extraordinarily gifted artist. The part of Osmin,
which was created for him, shows the influence of a congenial spirit on
the conceptions of the creating artist. When Mozart was fairly
embarked in the work, he wrote to his father about the libretto and the
alterations already made in it (September 26, 1781):--
The opera began with a soliloquy which I have begged Herr Stephanie
to turn into a little ariette, and also, instead of the two chattering
together after Osmin's song, to make a duet out of the dialogue. As
we have given the part to Fischer, who has an excellent bass voice
(although the Archbishop once told me he sang too low for a bass, and I
assured his grace that he would sing higher next time), we must give him
something to do, especially as he is such a favourite with the public.
In the original book Osmin has only one little song, and nothing else
but the terzet and finale. I have given him an aria in the first
act, and he is to have another in the second. I have trusted the aria
altogether to Stephanie, the music was ready before he knew a word about
it.
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(224)
These alterations were of specially good dramatic effect in the first
scene, and Osmin's song called to life the first German comic aria which
deserves to be called great. In the second act the dialogue between
Blondchen and Osmin becomes a duet; on the other hand, a superfluous
duet between Constanze and Blondchen is very rightly omitted. Instead of
it Constanze has the great bravura song "Mar-tem aller Arten," chiefly
as a concession to the singer; for the repetition of the scene in
which she scornfully rejects the Sultan's proposals is in every way
superfluous. Blondchen's second song--newly inserted--is, however, quite
appropriate; in it she expresses her joy at her approaching deliverance;
so that the original duet is really embodied to a certain extent in
these two songs.
But the chief alteration which Mozart contemplated was in the conclusion
of the second act. In Bretzner's text the abduction scene is treated as
a grand ensemble movement, with which the third act commences. A long
and elaborate duet between Belmont and Pedrillo, who are lying in
ambush, makes the beginning, and then Constanze appears and is carried
off by Belmont. After Pedrillo has climbed up to Blondchen in the
window, Osmin comes out of the house still heavy with sleep; but he sees
the fugitives and has them pursued and brought back by his guard; they
beg for mercy, seek to regain their liberty by bribery--in vain; Osmin
rages, and all the characters are in a state of excitement.
Mozart's quick eye saw that this scene, bringing together all
the characters in a succession of rapidly varying and contrasting
situations, forms the culminating point of the opera; he wished,
therefore, that this "charming quintet, or rather finale, should
be placed at the close of the second act." He also saw that this
transposition would necessitate other important alterations. The second
act could be kept together very well by the mutual understanding of the
two lovers; but the third act, for which nothing was reserved but the
unravelling of the knot by the clemency of the Sultan, if it was to
have any substance or interest, "must be provided with an entirely new
intrigue." The difficulty
{ALTERATIONS IN THE LIBRETTO.}
(225)
of finding this seems to have put a stop to the alteration, and the
original arrangement remained. But for Bretzner's insignificant finale
to the second act there was substituted an elaborate quartet, which
expresses in music the reunion of the lovers in its various aspects of
joy and jealousy, of disputes and reconciliation. An air for Belmont
precedes this; it is well-fitted for the situation, and is intended
also as a concession to the singer, for in this act, where all the other
characters come to the front, Belmont had originally nothing to sing but
the ensemble music.
Mozart began the composition of the ensemble movement at the
commencement of the third act. The greater part of the duet between
Belmont and Pedrillo before the romanze was sketched out by him in
his usual way, the voices and bass written in full, the accompaniment
indicated here and there. It breaks off, however, in the middle; and
Mozart appears to have purposely laid it aside, convinced that the scene
must be differently treated.[33] The ensemble was given up; Mozart saw
that it would throw the whole opera out of gear, and would concentrate
the interest and the action at the wrong place. The abduction scene was
confined to dialogue, only Pedrillo's romanze being left; in addition,
songs for Belmont and Osmin were inserted, both highly characteristic.
The duet for Belmont and Constanze, which follows, is altered only in
the words, not in the situation; the closing catastrophe it was
thought well to modify. In Bretzner's version the Pasha Selim, who is
a renegade, recognises in Belmont his son, which leads to the
_dénouement_;
but Stephanie makes him pardon the lovers from generosity and
magnanimity, which, as a critic remarked, were the fashion of the day in
Vienna.[34] Constanze's song of gratitude at the close is very rightly
omitted, and replaced by the then customary vaudeville, in which all the
characters declare in turn: "Wer solche Huld vergessen kann, den seh man
mit Verachtung an!
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(226)
Mozart's father had raised objections to the libretto, and the
alterations in it; he was particularly concerned that the verses
were not in regular rhyme throughout. Thereupon his son made him the
following remarkable answer (October):--
Now about the text of the opera. As far as Stephanie's work is
concerned, you are quite right, but the poetry is very well suited to
the character of the stupid, boorish, and malicious Osmin. I am quite
aware that the versification is not of the best; but it goes so well
with my musical thoughts (which were running in my head long before)
that I cannot but be pleased; and I would wager that no fault will be
found in performance. Belmont's aria, "O wie ängtslich," could scarcely
be written better for the music. Constanze's aria too is not bad, with
the exception of the "Hui,"[35] and the line "Sorrow reposes in my
bosom," for sorrow cannot repose. After all, in an opera, the poetry
must be the handmaid of the music. Why do Italian comic operas always
please, in spite of their wretched librettos--even in Paris, as I was
witness myself? Because the music is supreme, and everything else is
forgotten. All the more then will an opera be likely to please in which
the plan of the piece is well carried out, and the words are written
simply to suit the music; not turned and twisted so as to ruin the
composition for the sake of a miserable rhyme, which God knows does far
more harm than good in a dramatic representation.[36] Verse, indeed, is
indispensable for music, but rhyme is bad in its very nature: and poets
who go to work so pedantically will certainly come to grief, together
with the music. It would be by far the best if a good composer who
understands the theatre, and know-how to produce a piece, and a clever
poet, could be (like a veritable phoenix), united in one; there would
be no reason to be afraid as to the applause of the ignorant then. The
poets seem to me something like trumpeters, with their
{MUTUAL RELATIONS OF MUSIC AND VERSE.}
(227)
mechanical tricks--if we composers were to adhere so closely to our
rules (which were well enough as long as we knew no better) we should
soon produce music just as worthless as their worthless books."[37]
"Now I think I have talked nonsense enough for this time"--so Mozart
concludes this interesting letter, as he was fond of doing when his
desire to justify himself had led him into general aesthetic questions,
on which he was averse to expatiating at any length. His opinion as
to the relative positions of music and poetry in operatic works is
unusually interesting. In complete opposition to Gluck, who considered
music as subordinate to poetry, Mozart requires that poetry shall be the
handmaid of music. In the sense in which the context shows him to have
meant it, he is undoubtedly right. He exacts that the plan of the piece
shall be well laid out; that is, that the plot shall be interesting,
and shall as it proceeds afford dramatic situations fitted for musical
expression. He requires further that the words shall be written merely
for the music, that is, that the poetical conceptions shall be of a kind
to stimulate the composer, to elevate and support him, while allowing
him perfect freedom of thought and action. He had mentioned Osmin's song
to Stephanie, and the music was ready before the latter had written a
word of the poetry; the words he then prepared accorded so admirably
with the musical ideas which had been running in Mozart's head, that
faults here and there in the versification did not seem to him of much
consequence.
The impulse he required for his musical conceptions was the
representation of the dramatis persona in certain definite situations,
not the verbal framing of the poet's ideas.[38] The
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(228)
points which were contained in the verse, and influenced the
construction of the musical idea, were to him co-operating but not
dominating elements. The words of an opera have a definite object; they
provide foundation and support for the musical expression, and are not
therefore absolutely independent, as in the drama,[39] but are obliged
to recognise and respect the laws of music, as well as those of poetry.
To attain this end a compromise is as indispensable as in every other
union of the sister arts. Architecture, in her highest achievements,
turns for embellishment to sculpture and painting; and no one has ever
doubted that in such co-operation each art must make some concession
to the other. The architectural plan must be so conceived as to afford
fitting space and position for the sculpture and painting; these, on the
other hand, must be introduced with a view to the essential conditions
of the building; the pediment, the arch, the metope are not freely
selected forms, but constitute the limitations which arise from the
necessities of the building. The sculptor modifies his style to suit the
character of the building, the painter knows how to give significance
to the whole design by skilful composition and combinations of colour on
the flat surface of the walls. Doubtless architecture, with her severe
laws and inflexible forms, imposes restrictions on the fancies of
the artist; but who can imagine that Phidias in the sculptures of the
Parthenon, Raphael in the Loggia of the Vatican, renounced their freedom
of design or their independence of execution in obedience to the will
of the architect? The relation between poetry and music is of the same
kind. Mozart saw the necessity for co-operation between the musician and
the poet, if the right effect was to be given in its just proportions.
The musician must be ready to "give some hints" which shall put the poet
in possession of his intentions and of the conditions necessitated
by the rules of his art; the poet must be "intelligent," clever, and
cultivated enough to fall in with the intentions of the musician, and
poet enough to retain his poetical powers in spite of these limitations.
{MUTUAL RELATIONS OF MUSIC AND VERSE.}
(229)
Mozart is quite right in asserting that co-operation of this kind is
the surest pledge for an altogether satisfactory opera; unhappily he is
quite right also in declaring such a co-opera-tion to be attainable only
by "a veritable phoenix."
To a certain degree a mutual understanding is of course indispensable,
but it confines itself, as a rule, to an unwilling concession on this or
the other side.[40] Music finally assumes the mastery in opera, where
it is the actual medium of expression; no one could deny that good music
would make the poorest verse pass muster, whereas bad music could not be
made acceptable even when "wedded to immortal verse." But the very
fact that music appeals direct to the senses gives it an advantage when
opposed to poetry, which reaches the imagination through the intellect;
just as a poetical description of a work of art falls far short of
the effect produced directly on the mind by contemplation of the work
itself. Music works on the sense of hearing in an as yet inexplicable
manner, rousing emotions and fancies with an instantaneous power
surpassing that of poetry. Even if this be disputed, it must be allowed
that music does not appeal immediately to the intellect as language
does. Even the species of music which is said to occupy the intellect
most especially, viz., music in strict forms of counterpoint, does not
do it in such a way as to enable the hearer to discover the meaning
of the composition by means of its actual utterances; it exercises his
intellect otherwise by rousing the desire in him to grasp and hold the
artistic forms as such, and the laws upon which they depend.[41] Music
must borrow from poetry what it does not possess for itself, namely, the
ability to call forth a well-defined image which shall identify itself
with the sentiment evoked i by the music and give to this its exact
significance. This point is, of course, of special importance in opera,
although the fact must not be lost sight of that the stage accessories
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(230)
and pantomimic representation come greatly to the aid of the music,
so that it is quite possible for an audience to follow an opera with
interest and gratification without understanding the language in which
it is written. This is a further proof that, important as the poetic
details doubtless are, the plot and situations are the really essential
points. For the paradox that a libretto if it is to be musical cannot be
poetical, but can only have certain external forms of poetic delivery,
is certainly false. The conditions of poetic delivery and musical
execution are essentially the same, and a distinction between them is
impossible. But the means of delivery which the poet has at his disposal
are manifold and varied, and not all applicable in the same place; if
the poet is master of his art, and has a clear conception of what he is
striving after, he will know what are the particular means he ought to
employ to be in accord with the musical part of the work.[42]
Bretzner was very indignant at the proposed alterations in his libretto,
and inserted the following notice in the "Berliner Litteratur und
Theater-Zeitung" (No. 1783):--
It has pleased some hitherto unknown person in Vienna to take in hand my
opera, "Belmont und Constanze," or "Die Entführung aus dem Serail,"
and to publish the piece in a very altered form. The alterations in the
dialogue are not considerable, and may be passed over; but the adapter
has inserted a vast number of songs, the words of which are in many
cases edifying and touching in the highest possible degree. I would not
willingly deprive the improver of the glory belonging to his work, and
I therefore take this opportunity of specifying these inserted songs as
belonging to the Vienna edition and Mozart's composition.
In conclusion, and after giving "a specimen of the improver's work
from the quartet," Bretzner exclaims: "And this is called improvement!"
Nevertheless the text was improved, and although far from first-rate, it
had been rendered a fairly satisfactory and practicable libretto, which
has not yet been very far surpassed in the literature of German comic
opera. The plot is certainly not thrilling, but it
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allows the natural development of a succession of musical situations. It
was, as we have seen, Mozart's merit to recognise these in his musical
representation, to make them available in such a way as to distinguish
the "Entführung" from all earlier vaudevilles and operettas.
Mozart's performance was not confined to the adoption of certain
ready-developed forms of Italian opera, pressed into the service of the
German opera, partly from necessity, partly from the narrow principle
that the songs were to be sung by personages of supposed high
position.[43] This would have been no sufficient reason for substituting
the aria for the Lied; it was done to give full scope to musical
construction, and to make the standard and measure of the execution to
consist only in the artistic conditions of the dramatic situations, and
in the nature of the musical expression.[44]
At home as he was in Italian, French and German opera, in sacred and
instrumental music, he had obtained such a mastery over musical forms
as gave him a freedom of action which his favourable circumstances in
Vienna allowed him to make use of, and the fact that he was composing a
German opera gave him a sense of a still higher freedom. He was German
in every thought and feeling, and German music was his natural way of
expressing himself as an artist, requiring no unusual form, no special
characterisation, nothing but freedom of thought and action. In
the "Entführung," German sentiment, emotion, and disposition found
expression for the first time at the hands of a true artist. It is easy
to understand how the fulness of life and truth in such a work would
throw into the shade all who believed solely in those forms which were
borrowed from foreign
{DIE EXTFÜHRUXG AUS DEM SERAIL.}
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sources, and only superficially remodelled.[45] This truly German and
truly Mozart-like style is nowhere more decidedly exemplified than in
the part of Belmont. It is only necessary to note the contrast between
the male sopranos of the opera seria, or the comic lovers of the opera
buffa, and this Belmont, who expresses manly love in all its force and
intensity. It is plain that his love is not the wild and transitory
gleam of passion, but an emotion having its roots deep in the heart,
sanctified by sorrow, and held with the constancy of a true moral
nature. Manliness is the ground-tone of all his agitated sentiments; the
steady glow of a well-balanced mind penetrates every" expression of his
feelings. It is an easier task to portray the wild excitement of passion
than to depict a mind and character in its totality by means of each
separate expression;[46] and the conception of love, the essential
motive power of musical drama, from this point of view, marks an era in
musical representation, important alike for its national character and
its artistic construction. It was not by mere chance that Mozart
made the tenor voice, which had been virtually deprived of its proper
province in Italian opera, into the organ of manly love and tenderness.
Belmont has become a type in German opera. Adamberger, judging from
contemporary testimony was the most fitting representative of such a
character.[47] Various songs composed for him by Mozart characterise him
as a singer of noble and expressive delivery.[48]
{BELMONT.}
(233)
Belmont's character and tone of mind are drawn in firm lines in his
first cavatina (1). His state of anxious suspense is implied rather than
fully indicated by his expression of secret devotion. But this little
song, which none but a master-hand could have thrown off so lightly and
so surely, is of most significance, by reason of its connection with the
overture. Mozart makes no remark to his father on the overture except
that it was short, and that "it alternates between forte and piano, the
Turkish music being always forte, modulated by changes of key, and I do
not think any one can go to sleep over it, even if they have lain awake
all the night before" (September 26, 1781). As usual, when he speaks of
his compositions, he only indicates the means employed and the external
effect, and does not attempt any verbal description of the music itself.
It is certainly true that a lively and incessant suspense is kept up by
the constant modulatory changes, especially from major to minor, and
by sharp contrasts of _forte_ and _piano_. But this is not all; the
character of the overture is so singularly fanciful that a few bars
suffice to place the hearer in an imaginative mood. The most varied
emotions of joy and sorrow are lightly touched, but never held, the tone
of the whole is so fresh and cheerful that the listener involuntarily
yields to the spell; and the impressions of the new world in which he
finds himself are heightened by the highly original tone-colouring. Then
comes a slower movement, expressing longing desires in the tenderest,
most appealing tones. It has scarcely died away before we are again
whirled along our fantastic course, which ends in an appealing cry,
followed without a pause by Belmont's cavatina, "Hier soli ich dich denn
sehen, Constanze!" We recognise at
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(234)
once the middle movement of the overture, but changed from the minor to
the major key. This change, and the difference of shading between
the arrangement for the voice and that for the orchestra, give to the
charming little movement two distinct expressions, just as the same
landscape has two different aspects seen at noon or in the moonlight.
The overture renders us free to receive the effect of the work of art
as such, prepared by what forms the starting-point of the work; and the
first song sets the crown on the overture, while it transports us at
once into the frame of mind which predominates throughout the opera.
Still more important in its climax and composition is Belmont's second
song (4). The situation is more definitely developed; Belmont knows now
that Constanze is there, that he will soon see her, and this certainty
condenses all the emotions roused by the memory of a sorrowful past, and
the prospect of a perilous future, into the one feeling of their speedy
reunion. Mozart was so taken with this song that he wrote it down as
soon as he received the libretto. "This is the favourite song of all who
have heard it--myself included," he wrote to his father (September
26, 1781), "and is exactly calculated for Adamberger's voice. 'Fo wie
ängstlich, o wie feurigl' You can imagine how it is expressed, with
the very beating of the heart--the violins in octaves. One can see the
trembling, the hesitation, the very swelling of the breast is expressed
by a crescendo, one can hear the sighs, the whispers, rendered by the
violins muted, with one flute in unison."
It would be doing Mozart an injustice to consider this sound-painting
as his first object; it is in reality but a subordinate, although a very
effective and useful element of the whole musical conception. Belmont's
two other songs--one in the second act, before the meeting with
Constanze (15),[49] and the other at the beginning of the third act,
before the
{CONSTANZE.}
(235)
abduction (17)[50]--are much quieter in tone, and are characterised
by manly composure combined with warm sensibility. These qualities are
visible also in the musical construction of the broad and expressive
cantilene, which allows free scope for the display of a full tenor
voice in its best position. The structure of the melodies diverges in
a remarkable degree from that which predominates in Mozart's Italian
operas, and approaches nearer to that employed in his instrumental
music. And yet the national character of the melodies is not so
pronounced in the "Entführung" as in the "Zauber-flöte," nor are the
songs in their whole design so completely absolved from Italian forms.
The part of Constanze, so far as musical characterisation is concerned,
is not nearly so well thought out as that of Belmont. "I have been
obliged," writes Mozart to his father (September 26, 1781), "to
sacrifice Constanze's song (6) in some degree to the voluble organ of
Mdlle. Cavalieri. But I have sought to express 'Trennung war mein banges
Loos und nun schwimmt mein Aug' in Thranen' as far as is compatible with
an Italian bravura song."[51] We shall readily allow that he has been so
far successful; and that, apart from the inserted bravura passages, the
song is not only fine from a musical point of view, but appropriate
to the situation. But in the great bravura song of the second act
everything has been sacrificed to Mdlle. Cavalieri's voluble organ, and,
as Gluck would have said, it _smells of music_,[52] It is, as we have
seen, inserted without reference to the plot, and this may have led
to the further consequence of treating it altogether as an extraneous
piece. As regards length and difficulty, it is one of the greatest of
bravura songs, and is accompanied by four obbligato instruments--flute,
oboe, violin, and
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(236)
violoncello.[53] Considered as a concert piece it is of importance by
reason of the plan, artistic in design and execution, which permits
the treatment of the five obbligato parts as integral divisions of
the whole, while making due provision for sound effects and musical
interest. The song is still often sung, although the glitter surrounding
mere execution has passed away. But it does not belong to the
"Entführung." Together with the brilliant execution there is a certain
heroic tone in the song which is quite out of keeping with the opera and
with the character of Constanze in it. The true Con-stanze, as Mozart
imagined her, is found in the second air (10), which expresses with much
truth and intensity the ardent longing of the maiden sorrowing for
her lover. Firmness and assurance are manly attributes, but a dreamy
resigned absorption in the contemplation of vanished happiness is proper
to a woman, and to this maidenly sentiment Mozart has given beautiful
expression. This feminine tone gives the song a certain resemblance to
that of Ilia in "Idomeneo" (Vol. II., p. 151); but the latter is, as the
situation requires, drawn in darker lines, and takes more hold on the
mind. Here as elsewhere the same point is noticeable, viz., that when
Mozart works outward from the heart of an individual situation, the
separate elements of the musical construction are more striking, and the
form is freer and more lifelike than it would otherwise be.[54]
The instrumentation also is peculiarly effective, especially by the
employment of the wind instruments, which shed a gentle glow over the
whole. Mozart, against his custom,
{OSMIN.}
(237)
makes use of the basset-horn instead of the clarinet in this song.
In the part of Belmont, too, the instrumentation is modified to
some extent. The second song (4) is very delicate and tender in its
instrumentation, the wind instruments being treated as solos, although
not concertante; in the others there is a very pithy forcible tone,
which in the last (16) becomes almost brilliant.
The duet (20), owing to the singularity of the situation, differs
materially in character from an ordinary love duet. Within sight of
death each of the lovers has the painful consciousness of having led the
other to destruction; and their mutual endeavour to console one another
with the certainty of their love, which death may consummate but cannot
destroy, raises them to the height of enthusiastic inspiration. This
sentiment is excellently well expressed in the first calm movement with
fervour and clearness, and a perceptible blending of painful emotion and
loving consolation; the second movement does not quite reach the same
high level. Not only do some of the passages, and the very tedious
conclusion, make concessions to passing effect, but the expression does
not rise to the ecstatic strain which is implied in the situation.[55]
The noble forms of the two lovers stand in the sharpest contrast to that
of Osmin, which is altogether Mozart's creation, and certainly one of
the most original characters of dramatic music. The very way in which
he is introduced is masterly. After Belmont has sung his cavatina, which
breathes the noblest love and constancy, Osmin comes out of the house to
gather figs; he sings a song for his pastime; it is a love song, but one
suggested by painful jealousy. The minor key of Osmin's song gives it a
wild, desolate expression, in strong contrast to the cheerful candour of
the cavatina; many popular songs have this expression, and Osmin's song
is successfully imitated from the popular style. The phrasing is clumsy
in spite of the marked rhythm, but the effect is quite startling when
Osmin in a complacent hum
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(238)
repeats the last words an octave lower, and then at once breaks out
into a wild "Trallalera!" The uncouth fellow lolls and stretches so
completely at his ease that there cannot be a moment's doubt of how
unamiable he will prove to be if any one should venture to cross
his path.[56] This is soon put to the proof. He refuses with assumed
indifference to answer Belmont's repeated inquiries, and on the latter
interrupting him (involuntarily, as it were, with the melody of his own
song, which has so irritated Belmont), the unabashed rudeness of Osmin
breaks out in speech. It is as interesting as instructive to note how in
this duet the simplest and easiest means of musical representation
are used to produce a continuous climax and the most lively
characterisation. While it is still in full train Pedrillo enters, and
Osmin turns upon him with a fresh outbreak of rage in the song which
Mozart had spoken of to his father (3). Again changing his tactics, he
endeavours to repress his opponent with all the weight of his dignity
and cleverness. Gravity and importance, expressed by the rhythm,
the pompous intervals, the syncopated accompaniment, alternate
with impatience and haste, when the singer becomes irritated. Very
characteristic is the demeanour of Osmin as he complacently nurses the
thought: "I have my wits about me!" ("Ich hab' auch Ver-stand!"). He
works himself gradually up into a rage, and the threats which he pours
forth in a breath fall like blows on the head of the hapless Pedrillo.
The effect is produced by the accentuation given to the rapid flow of
words; the first fourth of every bar is forcibly given by the orchestra,
and the second is taken up by the voice in fifths, and then in octaves.
At last he comes to a triumphant close, and one thinks it is all over.
But he has only stopped to take breath, and at once resuming his furious
course, he ends by completely overpowering his opponent. Mozart writes
to his father on the conclusion of this song (September 26, 1781): "The
'Drum beim Barte des Propheten' is in the same time, but the notes are
more rapid, and as his anger grows one imagines the climax must be close
at hand; the allegro assai
{OSMIN--TURKISH MUSIC.}
(239)
follows in quite a different time and key, and has an excellent effect.
A man in such violent rage oversteps all bounds of moderation, and
loses all command over himself, and so must the music. But since," he
continues, expressing in simple words that wherein lies the charm of all
true art, "since the passions, violent or not, must never be carried to
the point of producing disgust, and the music, however thrilling, must
never fail to satisfy the ear, consequently must always remain music, I
have not chosen a distant key to follow the F (the key of the song) but
an allied one; not the nearest key of all, D minor, but the farther
one of A minor." In point of fact, the effect of the minor key is
extraordinary, both here and in other places where it is only cursorily
touched. It adds to the frenzied wildness of the character in which lust
and cruelty are blended, and it is emphasised by the strongly marked
though monotonous rhythm. And how wonderfully all these characteristics
are enhanced by the instrumentation!
"Osmin's rage," writes Mozart, "acquires a comic element by the
introduction of the Turkish music." The effect is enhanced by the
simplicity which has hitherto characterised the instrumentation. The
oboes (with bassoons and horns) predominate until, in the last verse:
"Sonderlich beim Monden-scheine," a flute insinuates itself with very
good effect. There are many characteristic touches in spite of the
scanty means at disposal, as for instance, the mocking entry of the oboe
at the words, "Ich hab' auch Verstand."
The Turkish music serves for far more than local colour and
characterisation. The expression of fanaticism is coloured as well as
heightened by the shrill sound of the piccolo flute, the blows of the
drum and cymbals, and the tingle of the triangles.[57] The bewilderment
produced by these
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(240)
instruments, the breathless rapidity of the movement, and the monotony
of the rhythm make one feel that giddiness must ensue if it goes on
much longer. But Mozart never makes us giddy, he makes use of the most
forcible means for characterisation, but never to the point of becoming
painful, and all with so much cheerfulness and humour that the total
effect is decidedly pleasing.
We make acquaintance with Osmin's boorish character in many different
situations; he is true to himself in them all. The second great song
(19) contrasts in some measure with the first. He is triumphant, he
has his enemies in his power, and he is beside himself with joy; but he
retains the same savage nature, and in the midst of all his rejoicing
the main point for him is that he can now loll and stretch himself
comfortably, which he proceeds to do to his heart's content on the
long-sustained A and D, to which he easily carries his scale. Especially
characteristic is the middle movement of this song. One seems to see a
wild beast, now yawning and stretching, now crouching for a spring;
grim cruelty and lustful indolence are wonderfully characterised by the
alternation of octaves and dissonant suspensions in the accompaniment,
as well as by the triplet passages which are given by the orchestra in
unison, as if there could be no harmony here; the expression of joy is
mingled with unspeakable brutality, and comes to a climax in the shrill
note of exultation at the close.[58] But Osmin shows himself a true
poltroon in the duet with Blondchen (9)--her snappish impudence
completely gets the better of him, and although he endeavours to overawe
her with the deepest notes of his deep bass voice, her persiflage drives
her unwieldy antagonist quite out of the field. The lament which he
thereupon sings: "Ihr Englander, seid ihrnicht Thoren, ihr lasst euren
Weibem den Willen!" ("You Englishmen, what fools you are, to leave your
wives their freedom!") is in contrast to his love song, and completes
the conception of it. Here there is nothing of
{OSMIN.}
(241)
the barbarous nature which showed itself in lust and jealousy, but only
the pitiful whining of a slavish soul which trembles before a resolute
woman's will. The characterisation of the last movement--when Osmin
gives up all appearance of superiority and yields upon every point--is
charming, and produced by the simplest musical means. He displays
another side of his character in the duet (14) in which Pedrillo induces
him to drink.[59] His senses are soon overcome, and he endeavours
to outvie Pedrillo. It is of advantage to the situation that the
personality of the singers required that even here Osmin must be
considered the chief person; one only needs to hear the arrogance with
which he delivers the principal subject in order to feel sure on whom
the wine will take strongest effect,[60] and even when the rapidly
concluded entente cordiale is expressed in unison, Osmin's low-pitched
octaves keep the upper hand. But here, too, Mozart keeps within bounds,
and never goes beyond a joke; Osmin's drunken sleep is excluded from his
representation. Osmin's character is least strongly characterised in the
terzet (7), of which Mozart writes to his father as follows (September
26, 1781):--
Now for the terzet which concludes the first act. Pedrillo has
represented his master as an architect, which affords him an opportunity
of meeting his Constanze in the garden. The Pasha has taken him into
his service; and Osmin, as overseer, and knowing nothing of this, is
insolent to him as a stranger, being himself an unmannerly churl and
the arch-enemy of all strangers, and refuses to allow him to enter the
garden. The first movement is short, and as the words allowed of it I
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(242)
have kept the three voices fairly well together; but then begins the
major _pianissimo_, which must go very fast, and the conclusion will
draw many tears, which is just what the conclusion of a first act should
do; the more tears the better--but the shorter the better, so that the
audience may not forget the applause.
We see from this that Mozart thought more in this instance of a vivid
expression of the situation than of minute characterisation, and all
the three characters are alike in their urging and scolding. The
advisability, therefore, of keeping the three voices "fairly well"
together, their imitative arrangement keeping up the impression of
great excitement, is indicated by the situation, although, owing to
the necessity for stricter attention to form, the individual
characterisation is thereby limited.
Osmin's last appearance in the finale is very amusing. While all the
other characters are expressing their gratitude, in the favourite form
of a round, Osmin tries in vain to keep in the same track; but the
round sticks in his throat, and his angry spite will have vent; the
hunting-song of the first act with the obbligato janizaries' music
rushes once more past our ears. Although some elements borrowed from the
conventional forms of the Italian bass buffo are discernible in the part
of Osmin, yet Mozart has made use of them in such an entirely original
manner that they are closely interwoven in his own creation. It is,
however, the consistency of the individual characterisation which
distinguishes the part of Osmin and raises it far above the ordinary
buffo parts, causing it to afford a striking instance of Mozart's
eminent talent for dramatic construction.
The part requires a performer such as Fischer, of whom Reichardt
writes: "He is an excellent bass singer; his voice has the depth of a
violoncello, and the height of an ordinary tenor; its compass is--[See
Page Image]
so that his deep notes are never harsh, nor his high ones shrill; his
voice flows with ease and certainty, and is full of charm. In praise of
his style I need only say that he is a
{FISCHER.}
(243)
worthy pupil of the great tenor Raaff, who was, and still is considered,
the best tenor in all Europe. Fischer has a more flexible organ than
perhaps any other bass singer, and his acting is as good in serious
drama as in comic."
Such materials as this are calculated to bring forth good effects. Among
them may be noted the original sense of climax which Mozart produces
by repeating a passage an octave lower; this is done in the Lied and
in both of Osmin's airs at the words "Ich hab' auch Verstand" (3), and
"Denn nun hab ich vor euch Ruh!" (19). The same effect occurs in the
beautiful song "Non sö d'onde viene," composed also for Fischer; an
expressive and sustained passage is repeated an octave lower, and the
effect is very beautiful.
In order to give an adequate idea of Fischer's powers, the two serious
songs composed for him by Mozart must be considered along with this
decidedly comic part. The above-mentioned, "Non sò d'onde viene" (512
K.), broad in conception and style, displays the whole compass and
wealth of Fischer's organ in the most favourable light. The other,
"Aspri rimorsi atroce" (432 K.), composed in 1783, is remarkable for
the expression of a gloomy, agitated mood, not illumined by any ray of
light.
An expressive recitative is followed by a single movement (allegro, F
minor) in incessant agitation, the almost uninterrupted triplets of the
stringed instruments giving it the character of trembling unrest. The
voice part is very striking by reason of its decided rhythm and frequent
dissonant intervals; but it is mostly declamatory, and there is no
appearance of a cantilene proper; the wind instruments give effect
to the strong accents. The whole song pursues its rapid course like
a gloomy nocturne, and dies away at last in a dull moan. This song is
distinguished among all that Mozart has written by its uninterrupted
expression of gloomy passion, and it would be almost inconceivable that
he intended it for concert singing, did we not know that Fischer was to
sing it: he was unsurpassed in every species of delivery.
The parts of Blondchen and Pedrillo are not by any
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(244)
means so important in their characterisation as those of the principal
personages, neither have they much influence on the development of
the plot. Blondchen, besides her share in the duet with Osmin, has two
songs, of which the first (8) is in no way remarkable, written evidently
for a seconda donna. The only point to be noted is a passage going up
to--[See Page Image]
which gives proof of Mdlle. Teyber's vocal powers.[61] The second song
(12) is far fresher and more original, and expresses heartfelt joy in so
lively and charming a manner, without ever overstepping the province
of a good-humoured soubrette, that the hearer is involuntarily beguiled
into the same cheerful frame of mind. A German element is unmistakably
present (we are reminded of the "Zauberflote"), and we may note the
first appearance of those naïve girl-parts common to German opera.[62]
Mozart has given to Pedrillo's song (15) somewhat of a military tone,
suggested perhaps by the opening words "Frisch zum Kampfe!" and although
his servile nature is indicated here and there in the accompaniment, the
effect of the whole is too forcible and brilliant for the character.[63]
On the other hand, the romanze (18) which he sings in the third act to
the guitar is a jewel of delicate characterisation. Not, however, with
any reference to Pedrillo himself, for he sings the song, not from
personal impulse, but as something he has heard and learnt; but the
strange effects of harmony and rhythm, the mixture of bold
{PEDRILLO--QUARTET.}
(245)
knightly impulse with timid dismay, is so fantastic, so unreal, that we
seem to be ourselves in Moorish lands, and are readily persuaded that we
are listening to genuine Moorish music. But we are listening, in fact,
to no music but Mozart's, whose own mind evolved the music which the
situation demanded, without any previous philological study of Moorish
national melodies. The two choruses of janizaries (so Mozart calls them
in the score[64] ) are not only characterised by the Turkish airs they
embody, but by original harmonies and rhythm which give them a foreign
and national character, without any special regard as to whether it is
actually Turkish or not.[65]
We have already had occasion to remark how the ensemble movements
proceed naturally from the exigencies of the situation, and are
therefore essential to the musical characterisation of the work. This is
especially true of the quartet (16), which forms the conclusion of the
second act. Belmont and Constanze meet for the first time in the Pasha's
garden, where are also Blondchen and Pedrillo. The meeting of the
lovers is the more significant, since it is in anticipation of their
approaching flight. An unusually elevated tone of sentiment is therefore
common to them all; but the particular circumstances produce many
different shades of feeling, and each character has its own distinct
peculiarities. It is the task of the composer to combine this
multifariousness into an artistic whole. The scenic accessories come
very happily to his aid. The two pairs of lovers wander about the garden
in close converse, so that they are heard sometimes apart, sometimes one
after the other, sometimes together, according to the requirements of
the situation and of the musical grouping. The beginning is a simple
matter. Constanze and Belmont
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(246)
express their feelings in a short duet-like movement, full of heart, such
as Mozart has made proper to lovers. When they turn aside Pedrillo and
Blondchen advance, deep in consultation on the flight, so that the music
assumes a lighter and more cheerful tone. But their thoughts are also
occupied with the approaching happy turn in their fortunes, and when
Belmont and Constance draw near, they all spontaneously join in the
expression of joyful emotion. Small touches betray the master. The
consultation between Pedrillo and Blondchen is in A major, and closes
with an easy phrase on the words: "Wär der Augenblick schon da!" ("O,
that the moment had come!"), very expressive of the girl's character.
The orchestra at once takes up this phrase with great emphasis, produced
both by the sudden change to the key of D major and by the forcible
unison of the instruments, as if they were exclaiming, "It has come!"
and then leads back simply and expressively to the leading motif, which
now for the first time asserts its full significance:--[See Page Image]
But now the tone grows troubled. Belmont cannot repress a feeling of
jealousy, and, embarrassed and confused, he seeks to express his doubts
to Constanze, who does not understand him. Pedrillo follows in the
same direction to Blondchen, who is far more ready in apprehending his
meaning. The oboe gives charming expression to the feelings which
the jealous lovers scarcely dare to clothe in words. Then Belmont and
Constanze came forward again. The two men speak together, each after
his manner--Belmont noble and open, Pedrillo with chattering haste.
Constanze bursts into tears, Blondchen answers Pedrillo with a box on
the ears; the women lament together, and the men are aware that they
have gone too far. After the lively expression of these contrasting
emotions in rapid alternation,
{QUARTET.}
(247)
the lovers emerge from the confusion, explain themselves as to their
true feelings, and so prepare for the reconciliation. The short ensemble
movement in which Mozart consummates this dénouement (andante 6-8) is
one of those passages of which a friend used to say that "der liebe
Gott" himself could not have done it better; the purest beauty and
a truly holy expression of satisfaction penetrates the simple and
unpretending phrase. The magic of such conceptions cannot be rendered in
words, nor can it be satisfactorily indicated by what actual means the
effect is attained, and yet it is always of interest to see the master
in his workshop.
It is easy to see in this case that the key selected (A major) combines
with the rhythm and the harmonic treatment to produce the wished-for
effect. It gives the voices a pitch allowing of the clearest and most
melodious tones, heightened in their effect by the deeper pitch of the
accompanying stringed instruments, and it also, although in fact the
nearest key to the principal one, produces an impression of surprise as
great as though it were a more distant one. This is due to what precedes
the adoption of the A major key. The first movement in D major is
followed by one in G minor, which leads to E flat major, B minor, F
major; D minor is just touched, but only to pass again through C minor
and B flat major into G minor, with a rapid transition into E major.
After this restless change of key, the passage into A major has
a wonderfully tranquillising effect, and the adherence to the
key throughout the movement gives it a peculiar charm. But the
reconciliation has not yet taken place; the lovers sue for pardon,
but the two women allow them first to feel their injustice, and here
Blondchen assumes the lead by virtue of her fluent tongue, while the men
supplicate more and more earnestly, until at last peace is concluded.
This movement is a model of dramatic characterisation. An excellent
effect is produced by Blondchen's singing throughout in triplets (12-8
against 4-4), in contrast to the calm flowing melodies for the other
voices. The movement only acquires its full significance by contrast
with what has preceded it.
{DIE ENTFÜHRUNG AUS DEM SERAIL.}
(248)
When pardon has been granted, every trace of past sorrow is obliterated
by the feeling of complete satisfaction. After so much mental strain a
complete relaxation is necessary from a musical point of view. The last
movement is therefore very simple, although appropriately brilliant and
fiery. It seldom departs from the principal key, and is frequently in
canon form; very light passages for the voices, rapid instrumentation,
and an unusually effective _crescendo_ at the close, give it an
impulsive and quickening effect. This was the first really dramatic
ensemble movement in a German opera, and in it we find concentrated all
Mozart's services to the German opera--a full and free employment of all
the means afforded by song and orchestra to give musical expression to
emotion, without subservience to any more binding forms than those laws
which are founded on the nature of music.
The masterly treatment of the orchestra in the "Entführung has been
repeatedly pointed out, and there is no need to repeat that Mozart
turned to account all the advantages offered to him by the Vienna
orchestra. In comparison with "Idomeneo" the instrumentation is not
exactly scantier, but it is clearer and simpler; the tendency to employ
the different instruments independently, to bring forward subordinate
subjects, &c., is held in check, and the details are more lightly
treated on account of stage effects. "I think I may venture to
lay down," says Weber, "that in the 'Entführung' Mozart's _artist
experience_ came to maturity, and that his _experience of the world_
alone was to lead him to further efforts. The world might look for
several operas from him like 'Figaro' and 'Don Juan,' but with the best
will possible he could only write one 'Entführung.' I seem to perceive
in it what the happy years of youth are to every man; their bloom never
returns, and the extirpation of their defects carries with it some
charms which can never be recovered."[66]
FOOTNOTES OF CHAPTER XXV.
[Footnote 1: Gottsched, Nothiger Vorrath, p. 314.]
[Footnote 2: Schletterer, Das Deutsche Singspiel, p. 110.]
[Footnote 3: Chronologie des Deutschen Theaters, p. 109. Plümicke, Entwurf e.
Theatergesch. von Berlin, p. 193.]
[Footnote 4: Furstenau, Zur Gesch. der Musik zu Dresden, II., p. 246.]
[Footnote 5: Chronol., p. 159; Cäcilia, VIII., p. 277.]
[Footnote 6: Weisse, Selbstbiogr., pp. 25, 41; Blümner, Gesch. d. Theat. in
Leipzig, p. 98.]
[Footnote 7: Blümner, ibid. Danzel, Gottsched, p. 172.]
[Footnote 8: Chronol., p. 202]
[Footnote 9: Chronol., p. 247.]
[Footnote 10: Blumner, Gesch. d. Theat. in Leipzig, p. 159. Hiller, Wochentl.
Nachr., I., p. 219; II., pp. 135, 150. N. Bibl. d. Schön. Wiss., 1767,
IV., p. 178. [Reichardt] Briefe e. Aufm. Reia., II., p. 23. Meyer, L.
Schroder, I., p. 131. Goethe, Werke, XVII., p. 295.]
[Footnote 11: Hiller, Wöch. Nachr., I., p. 253; III., p. 59.]
[Footnote 12: Weisse, Selbstbiogr., p. 102.]
[Footnote 13: Hiller, Lebensbeschr. beruhmter Musikgelehrten, p. 311.]
[Footnote 14: Cf. Deutsch. Museum, 1779, II., p.268. Plümicke, Entwurf e.
Theatergesch. von Berlin, p. 205. The contrary is reported of Cassel as
a rare exception (Berl. Litt. u. Theat.-Ztg., 1783, II., p. 409).]
[Footnote 15: L. Schneider, Gesch. d. Oper in Berlin, p. 209.]
[Footnote 16: The constitution of the operatic repertory of the time is shown
in the review of the operettas performed in Berlin from 1771-1787 by
Schneider (Ibid., p. 206.).]
[Footnote 17: Reichardt, Ueb. d. Com. Oper., p. 20.]
[Footnote 18: "Operettas are the favourite pieces in Berlin, and cost a great
deal of money," wrote Ramier to Knebel, in 1772 (Litt Nachl., II., p.
36). He paid the actors of the first parts one louis-d'or, of the second
one ducat, and the rest two gulden for a first performance (Plümicke,
Entwurf e. Theatergesch. von Berlin, p. 274).]
[Footnote 19: Briefe e. Aufmerks. Reisenden, I., p. 147.]
[Footnote 20: Briefe e. Aufmerks. Reisenden, II., p. 94. Burney, Reise, III., p.
46.]
[Footnote 21: "Comic operas push out all tragedies and legitimate drama,"
complained Ramier in 1771 (Knebel, Litt. Nachl., II., p. 33). Boie
writes to Knebel to the same effect in 1771 (Litt. Nachl., II., p. 108):
"I do not like operettas. The taste which our public is developing for
them threatens to extinguish all hope of the revival of true comedy." So
also Schubart, Teutsche Chronik, 1774, pp. 349. 478; Knigge, Ephemer. d.
Litt. u. d. Theat., 1785, II., p. 98.]
[Footnote 22: A. M. Z., III., p. 327.]
[Footnote 23: Lessing's Werke, XI., p. 152.]
[Footnote 24: Weissc, Selbstbiogr., p. 103. Engel says the same in the preface to
the "Apotheke," p. viII. Cf. Schmid, Das Parterr, p. 155.]
[Footnote 25: Briefe eines Aufmerks. Reisenden, I., p. 141. Ueb. d. Com. Opera,
p. 6. Cf. Mus. Kunstmag., I., p. 161. Geist des Mus. Kunstmag,, p. 94.]
[Footnote 26: Riemer, Mitth., II., p. 111.]
[Footnote 27: Riemer, Mitth., II., p. 194.]
[Footnote 28: Goethe, Br. an Frau von Stein, III., pp. 181,191. Knebel, Litt.
Nachl., I., P 149.]
[Footnote 29: Riemer, Mitth., II., p. 192. Briefw. m. Zelter, II., p. 121.]
[Footnote 30: Goethe, Werke, XXI., p. 6. Cf. Br. an Frau von Stein, III., p. 235.]
[Footnote 31: Cf. Goethe, Briefw. mit Zelter, II., p. 121. Riemer, Mittheil.,
II., p. 292.]
[Footnote 32: "Belmont und Constanze, oder die Entfuhrung aus dem Serail." Eine
Operette. in drei Akten von C. F. Bretzner (Leipzig, 1781). A French
adaptation, "L'Enlèvement" was made by Ch. Destrais, Strasburg, 1857.]
[Footnote 33: Jul. André has lately published this interesting relic: duet,
"Welch ängst-liches Beben," zur Oper "Die Entfuhrung aus dem Serail "
von Mozart. Offenbach: André (389 K.).]
[Footnote 34: Cramer, Magazin der Musik, II., p. 1057.]
[Footnote 35: In Constanze's aria the words run:-- Mozart had previously written
to his father (September 26, 1781): "! have altered Hui into schnell,
thus: 'Doch wie schnell schwand meine Freude.' I do not know what our
German poets are thinking of. Even if they do not trouble themselves to
understand what is best fitted for dramatic or operatic treatment, they
need not make human beings converse like pigs."]
[Footnote 36: Reichardt finds special fault with the rhyming in his Briefe über
die musikalische Poesie, p. 115 (an appendix to his pamphlet on the
German Comic Opera, Leipzig, 1774).]
"Doch im Hui schwand meine
Freude Trennung war mein banges;
Und nun schwimmt mein Aug' in
Thränen Kummer ruht in meinem Schooss."]
[Footnote 37: It must be kept in mind that German operatic poets confined
themselves to imitating Italian opera libretti, which were all cast in
the same mould. Krause's pamphlet, highly esteemed by contemporaries,
Von der musikalischen Poesie (Berlin, 1752) takes this for granted;
Hiller (Ueber Metastasio, 1786, p.6) refers the German librettists to
Metastatio; even Goethe, although in another way, endeavoured to form
German vaudeville after an Italian type. Views of the subject, similar
to those of Mozart and Reichardt, are carried out in detail in Cramer's
Magazin der Musik, II., p. 1061.]
[Footnote 38: Gluck's intentions were unquestionably the same. He warred against
the mechanical formalism of musicians, and strove to free the composer
from the fetters of form and make him a poet. But he was in some danger
of going too far, and making the musician merely the interpreter of the
poet.]
[Footnote 39: Cf. Hanslick, Vom Musikalisch-Schönen, p. 27.]
[Footnote 40: The same difficulty has led composers of the present day to write
their own libretti. But it is not in nature that the highest aims can
thus be attained. Burney quotes Metastatio's utterances on this point
(Reise, II., p. 222). Cf. O. Jahn, Ges. Aufs. üb. Musik, p. 70.]
[Footnote 41: Cf. Hanslik Vom Musikalisch-Schönen, p. 78.]
[Footnote 42: Lessing has some excellent observations on the relations of music
to poetry in the continuation of his Laokoon (Werke, XI., p. 153).]
[Footnote 43: Hiller, Wochentl. Nachr., I., p. 256. Lebensbeschreibungen, I., p.
312. Reichardt, Ueb. d. Com. Oper, p. 8.]
[Footnote 44: He was perfectly aware that comic opera must follow its own laws.
"You cannot imagine,'' he wrote to his father (June 16,1781), "that I
should write an opéra comique in the same style as an opera seria. Just
as in an opera seria there must be a display of much learning and good
sense, and very little playfulness, so in an opera buffa there must be
very little display of learning and a great deal of playful merriment.
It cannot be helped if people will have comic music in an opera seria;
but there is a great difference. I believe that buffoonery is not quite
rooted out of music yet; and in this case the French are right."]
[Footnote 45: The autograph score of the "Entfùhrung" (384 K.), in three volumes
(453 pages), was presented by Mozart to his sister-in-law, Madame Hofer,
one evening when she had especially gratified him by her singing; it is
now in the possession of Paul Mendelssohn-Bartholdv. of Berlin. Some of
the odd sheets are in Andre's collection. Wolfgang writes to his father
July 20, 1782: "You will find many erasures, because I knew that the
score would be copied at once; so I let my ideas have free play, and
made my alterations and abbreviations before sending it to the copyist."]
[Footnote 46: The ancients indicated this distinction by the terms _pathos_ and
_ethos_.]
[Footnote 47: Meyer II. Schroder. I., p. 368 speaks of his nasal tones in the
high notes.]
[Footnote 48: These are the beautiful air, "Per pietä non ricercate" 420 K..
part Si; the air written in 1785 for the oratorio "Davide Penitente "
(469 K.. 61. "A te fra tanti attanni" and a grand air belonging to
1783 (431 K. part 3.) which is one of the most beautiful. It supposes
a faithful lover awaking to find himself in prison, and expressing his
surprise and anger in an agitated recitative, "Misero! O sogno!" In the
andante, "Aura che intomo spin," his thoughts turn to his beloved one,
for whom he is suffering; a simple and dignified cantilene, full of
warm, deep feeling. The allegro, expressive of his horror at his
position, is full of wild excitement and anguish. The whole song is
simple and full of manly dignity without bravura, which seems to have
been Adam-berger's peculiar style. The musical treatment is rich in
interesting detail; the wind instruments--flutes, bassoons, and
horns--are employed to give individual colouring.]
[Footnote 49: This air was considerably abbreviated by Mozart. In the adagio
there was originally a distinct middle movement following the second
occurrence of the subject; it passed into the key of E flat major, and
at the seventeenth bar closed in D minor, whereupon the first subject
recurred. The allegro was also shortened.]
[Footnote 50: This air also was considerably altered by Mozart.]
[Footnote 51: The same may almost be said of the air "Tra le oscure ombre
funeste," which Mozart composed in 1785 for Mdlle. Cavalieri in the
oratorio, "Davide Penitente" (469 K., 8). The first movement is
expressive of earnest feeling; the second has more of bravura.]
[Footnote 52: Salieri narrates that Gluck was dissatisfied with one part of his
"Danaides" without knowing the reason why; after many repetitions he
exclaimed at last, "I have it! the passage _smells of music!_" (Mosel,
Salieri, p. 79).]
[Footnote 53: The bravura part was originally extended into eleven bars (from bar
5, p. 153)f with the voices and instruments contending; the close was
also longer, fifteen bars being inserted at p. 175, bar 7. Rochlitz
asserts (A. M. Z., I., p. 145) that in later years Mozart undertook a
searching revision of the "Entfuhrung," making numerous alterations,
especially abbreviations. "I heard him play one of Constanze s principal
airs, after twofold revision, and deplored some of the omitted passages.
'They may do for the piano,' said he, 'but not on the stage.' When I
wrote that I was too fond of hearing myself, and did not know when to
leave off." This is the only instance known of such hypercriticism on
Mozart's part.]
[Footnote 54: It has already been remarked that Mozart made use of a motif from
"Zaide" for this air (Vol. II., p. 121).]
[Footnote 55: Tieck, Dramaturg. Blatter, II., p. 315: "The duet is one which
may draw tears from the eyes of the most insensible." Even Berlioz (X
Travers Chants, p. 243) thought highly of it.]
[Footnote 56: Cf. Lobe, A. M. Z., XLVIII., p. 537.]
[Footnote 57: A singular effect is given by the sustained notes of the oboes and
bassoons with the appoggiatura:--[See Page Image]
Mozart has made a similar use of them in the Wedding March in "Figaro,"
where he was equally desirous of imparting peculiarity of colouring.]
[Footnote 58: Mozart has used only the piccolo flute here, as specially adapted
for the tattoo-like principal subject, and its wild, shrill conclusion.
The clarinets are very originally treated, particularly in those places
where they are apart from the other wind instruments and support the
voice with sustained notes.]
[Footnote 59: Mozart's expression, in his letter to his father (September 26,
1781), "The drinking duet, which consists entirely of my Turkish tattoo
(Zapfenstreich)," leads to the conclusion that he has here made use
of an earlier composition, with which I am not acquainted. The Turkish
music, in conjunction with trumpets (no drums), is admirably suggestive
of Osmin's excited, half-tipsy state.]
[Footnote 60: This motif was evidently composed just as Osmin sings it. Fischer's
flexible and melodious voice made it doubly effective in contrast to the
less voluble tenor, so characteristic of the insignificant Pedrillo. At
the outset, an admirable effect is produced by the violins, strengthened
by piccolo and ordinary flutes, which gently accentuate the melody
detached from its simple but agitated accompaniment. There is something
peculiarly seductive in this melodious rippling sound, of which there is
another instance in the Moor's song in the "Zauberflöte."]
[Footnote 61: In its first design this air was considerably longer; the second
part began at p. mt bar 9, instead of p. 109, bar 19; it was in D major,
instead of A major, and led back into the first subject, bringing the
whole to a conclusion after twenty-nine interpolated bars.]
[Footnote 62: The instrumentation of this air in full, and the orchestral parts
carefully worked out; the accompaniment at the words "ohne Aufschub
will ich eilen" is unusually charming and animated. It also has been
shortened by Mozart.]
[Footnote 63: Arnold (Mozart's Geist, p. 375) interprets the words as though
Pedrillo was trying to assume a courage which he did not possess.]
[Footnote 64: He writes to his father of the first (September 26, 1781): "The
janizary chorus is all that can be desired, short and merry, and very
well suited for the Viennese public."]
[Footnote 65: Ulibicheff, who makes some striking observations on this chorus,
notices its many points of resemblance (such as the alternation of
relative major and minor keys) to Russian national melodies, with which
Mozart may have become acquainted at Prince Gallitzin's (II., p. 375).]
[Footnote 66: C. M. von Weber, Lebensbild, III., p. 191. Cf. A. Wendt, Leipzig
Kunstbl., 1817, p. 189. (Heinse, Reise- und Lebensskizzen, I., p. 298.)]