CHAPTER XXI. COURT SERVICE IN SALZBURG.
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 MOZART'S DISTASTE TO SALZBURG. 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 COURT SERVICE IN SALZBURG. 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. 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; COURT SERVICE IN SALZBURG. 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. 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 COURT SERVICE IN SALZBURG. 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.
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 ]
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.
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, COURT SERVICE IN SALZBURG. 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 VESPERS, 1779, 1780. 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 COURT SERVICE IN SALZBURG. 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 VESPERS, 1779, 1780. 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, COURT SERVICE IN SALZBURG. 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. 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 COURT SERVICE IN SALZBURG. 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 LAUDATE DOMINUM AND MAGNIFICAT. 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 COURT SERVICE IN SALZBURG. 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.
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 COURT SERVICE IN SALZBURG. 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. 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 COURT SERVICE IN SALZBURG. 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]
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 COURT SERVICE IN SALZBURG. 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 ENTR'ACTES TO KÖNIG THAMOS. 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; COURT SERVICE IN SALZBURG. 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 CHORUSES TO KONIG THAMOS. 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, COURT SERVICE IN SALZBURG. (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 CHORUSES TO KÖNIG THAMOS. 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!
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")}
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 COURT SERVICE IN SALZBURG. 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 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 COURT SERVICE IN SALZBURG. 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. 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 COURT SERVICE IN SALZBURG. 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. 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] COURT SERVICE IN SALZBURG. 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 ]
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 COURT SERVICE IN SALZBURG. 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
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.
To 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 ]