Still more animated is the next three-part chorus (17), when, Silvia having repulsed Ascanio and fled, the chorus express surprise in a short imitative movement addressed to Venus. The following chorus (20), which is repeated three times, has simple harmonies, but is powerful and effective. The concluding chorus (22) is effectively worked up after the manner of the first into a quick animated movement, followed by a full ballet.
The choruses, heightened by the scenic arrangements, must have contributed greatly to the success of the opera. They display so much freedom and assurance, such perfect mastery of method in order to attain the truest effect, that perhaps it was here that Hasse recognised the footprints of the lion.
The second festival piece, composed in honour of the MOZART'S EARLY OPERAS. newly elected Archbishop Hieronymus in 1772, was Metas-tasio's "Sogno di Scipione" (126 K.), an allegorical poem in one act, on a classical model.[ 11 ]
To the younger Scipio, asleep in the Palace of Massinissa, appear Steadfastness (Costanza) and Fortuna, and require him to decide which of the two he will choose for his guide through life. On his demanding time for consideration, Fortuna depicts in a song her fleeting, unstable nature. Costanza answers his question as to where he is by telling him he is in heaven, instructs him on the harmony of the spheres, and informs him that he is in that region of heaven where his departed ancestors abide. These approach him in a chorus, and from their midst steps out the elder Scipio Africanus, who acquaints him with the immortality of the soul, and the reward of the good in another life. Then Scipio's father, Emilius Paulus, draws near; he shows him the earth as a little point in boundless space, and warns him of the nothingness of all earthly things in comparison to the heavenly. Struck by this, Scipio wishes at once to leave earth and remain with his forefathers, but Africanus refuses, telling him that he is destined to save Rome, and that he must therefore tarry on earth, and earn by his great deeds the reward of immortality. Africanus refuses also to influence by his advice Scipio's choice between the two goddesses, who now demand his decision. Fortuna, who has more than once expressed her impatience, again depicts her omnipotence, which Costanza opposes with a representation of her victorious strength. On Scipio's declaring himself in favour of the latter, Fortuna threatens him with her heaviest penalties, the dazzling apparition disappears, a tremendous storm breaks forth, and Scipio awakes in the Palace of Massinissa, and declares himself true to Costanza.
The allusions to the circumstances under which the piece was first produced on October 1, 1735—the birthday of Charles VI., who had suffered severe defeats in Italy—are evident enough, especially in the speeches of Africanus and Costanza. Nevertheless, the Licenza comes at the conclusion, making a direct address to the hero of the occasion, and winding up with a formal congratulation in the form of an aria and chorus.
This occasional piece was considered by the Salzburg authorities to be a suitable greeting to the new Archbishop without any alteration, apparently on account of its philosophic moral reflections, and it may indeed be considered as a good example of the dramatic treatment of such reflections.[ 12 ] Dramatic the treatment can hardly be called; it is a kind of concert in costume. It is difficult to comprehend how Scipio can act or sing songs while he is supposed to be dreaming; yet Metastasio makes him awake from his dream at the end of the piece.[ 13 ]
Mozart's composition, of which the original score, in one volume of 315 pages, is preserved, has more of a concert character than any other of his dramatic works of the period. It keeps strictly within the customary limits, and is poor in original invention, giving just the impression of work done to order; the score bears traces also of great haste.
The overture closes with the second and slower movement, which prepares the scene for the slumbering Scipio by a change from the principal key of D major to E major, and a decrescendo to pp.[ 14 ] This, and the accompanied recitative, that closes with the storm in the midst of which Scipio returns to earth, are the only dramatic or characteristic movements. It is curious that the opportunity for an obbligato recitative (for instance, at the description of the harmony of the spheres) is never taken advantage of; the long speeches are all in plain recitative.
Not one of the ten songs has any dramatic characterisation; even the parts of Fortuna and Costanza do not offer any marked contrast. Each of them has two songs—one freely conceived in a broad style, with full orchestral accompaniments, the other of smaller design, and both richly provided with high passages. First, Fortuna sings her principal song (2), and Costanza her shorter one (3); afterwards the case is MOZART'S EARLY OPERAS. reversed (8, 9); but the character, pitch, and formation of the songs differ so little that apart from the words they might easily be mistaken the one for the other. There is a second composition of the Licenza in existence, pointing by its handwriting, firm structure, and the independence and delicate treatment of the orchestra, to a considerably later date.
