This assertion was justified at a concert given by Cannabich, at which Rose Cannabich, Mdlle. Weber, and Mdlle. Pierron Serrarius, after three rehearsals, played the concerto for three claviers very well:—
Mdlle. Weber sang two of my songs, "Aer tranquillo," from the "Re Pastore," (208 K.), and the new one, "Non sö d'onde viene." The dear creature did herself and me infinite honour. Every one said that she surpassed herself in this song; she sang it just as it should be sung. Cannabich called out aloud when it was finished, "Bravo, bravissimo, maestro! veramente, scritta da maestro! This was the first time MANNHEIM. I had heard it with the instruments. I wish you could have heard it as it was sung then, with such accuracy of taste, such piano and forte. Who knows? you may hear it yet. I hope so. The orchestra have not left off yet praising and talking of the song.
And he himself cannot leave off talking of it:—
I do certainly wish you could hear my new song sung by her; I say by her, for it is just made for her. You, who know what is meant by singing with portamento, would find rare satisfaction in her singing of it.
He proceeds to beg his father not to allow the song (which he sends him) to be sung by any one else, since it was written only for Mdlle. Weber, and fits her like a garment.
In truth this song is very beautiful, the simple and natural expression of what he felt and wished to imply to the singer, original in form and treatment. Strikingly original are the short violin passages between the phrases of the recitative. The chief movement is adagio, cantabile throughout, in its calm steady progress beautifully expressive of alternate doubt and resolution. A very effective contrast is formed by the animated allegro agitato, which leads back to the adagio in an unexpected but charming manner; the adagio is not simply repeated, but the important points are accentuated, partly by the harmonic treatment, partly by stronger emphasis, and the grouping and connection are varied. The loving care of the composer is displayed again in his management of the orchestra. The stringed instruments are accurate in detail, and written with a view to effect; for instance, when the voice in its highest, sharpest tones, is accompanied by the violins in a far lower position, the effect is excellent. The second violin part is well thought out, and the accompaniment rich without being overpowering. As wind instruments, the flutes, clarinets, horns and bassoons, are' so combined as to give intensity and brilliancy to the colouring of the whole; they are employed with a full mastery of effect, either alone or in varied combination.
The following is the original situation in Metastasio's "Olimpiade." Clisthenes, King of Sicyon, has doomed to death an unknown youth (as afterwards appears, his son), SONG FOR AL. WEBER, 1778. because he has attempted to assassinate him. But in the act of delivering him to death, he feels himself wonderfully moved by the aspect of the youth, and turns to his confidant with the words:—
Alcandro, lo confesso, stupisco di me stesso. Il volto, il ciglio, la voce di costui nel cor mi desta un palpito improwiso, che lo risente in ogni fibra il sangue. Fra tutti i miei pensieri la cagion ne ricerco e non la trovo. Che sarà, giusti Dei, questo ch' io provo?
Non si d' onde viene
Quel tenero affetto
Quel moto, che ignoto
Mi nasce nel petto
Quel gel, che le vene
Scorrendo mi và.
Nel seno a destarmi
Si fieri contrast!
Non parmi che basti
La sola pietà.
Mozart describes graphically how the voice and singing of Mdlle. Weber floated before him, and inspired his composition, but he does not tell us how Metastasio's words, released from their dramatic connection, became the soliloquy of a young heart, feeling with amazement the first stirrings ot love, and scarcely venturing to realise the depth and intensity of its passion; for pity is assuredly not enough to excite such expressions of emotion. This was the condition of his own heart, and what he felt himself, that he also placed in the heart of his beloved, and, being an artist, on her lips—certainly without analysing his feelings or hers. The song expresses purely and beautifully the emotions of a maiden who stands in doubt and perplexity at the innocent impulses of her heart, incomprehensible even to herself. But her budding inclination has not yet become a dominant passion, and she feels that she stands at the turning-point of her whole existence. There reposes, therefore, on the whole song the calmness and purity of innocence, together with intense warmth and deep agitation, and Mozart has lent to these emotions the inexpressible charm of melody.