The two airs of Cabri (2) and Carmi (14) are, as usual with secondary parts, simple, and not without expression, but in no way original.
The traditional aria form is adhered to in almost all the songs. The second part, distinct from the first in composition if not in time and measure, is short and superficially treated; generally only the last part of the first movement is repeated. The latter is broadly conceived, with long ritomelli; the invariable cadenza is brought in in the usual way. The accompaniment resembles that of operatic songs, but is more carefully worked out. Original passages for the second violins—sometimes, too, for the violas—occur, here and there, as well as attempts at imitation; and the wind instruments are occasionally employed independently. All these attempts show decided talent, but they are few and far between, and the orchestra has not the stamp of independent vigour.
The choruses, although occupying more space in the composition, do not materially differ from those of the opera. The concluding chorus of the first part (8) is like a study for a recitative, turned into a chorus by means of the accompaniment, which consists of two alternate strongly marked subjects. The elaboration is not contrapuntal, but ORATORIO. harmonic, and a simple but rich modulation gives significance to the movement. The voices give the full harmony, and a moderate amount of agitation in the melody and rhythm appears when the declamation demands it. The favourable pitch, the interesting modulation, the characteristic accompaniments, and the dignified seriousness which runs through the whole, all combine to make this chorus effective and excellent of its kind.
The two other choruses are prayers connected with solos. The first (4) is very simple. Ozia sings a melodious, beautifully conceived cantilene, full of feeling, which is accompanied by the violins pizzicato, and the chorus ends with a repetition of the two last lines. The second verse, with a change of composition, preserves the same character; after which the first is repeated, and leads with effective climax to a full close.
The last chorus is more grandly conceived. Judith answers the thanksgiving of the chorus in two strophes descriptive of the victory, and then the chorus falls in again; this is repeated three times, and a moral reflection follows as a closing chorus. Mozart has chosen an ancient church melody for the refrain of the chorus:—[See Page Image]
The melody is four-part, the partially varied harmony dignified and powerful, and interesting in its simplicity; the voices are well treated and animated. At the fourth "BETULIA"—COMPARISON WITH HASSE. repetition Mozart has assigned the Cantus firmus, somewhat altered in the second part, to the tenor voice:—[See Page Image]
Thence he passes to the closing chorus. The solo part of Judith, simple, dignified, and earnest, resembles a regular song; but the declamatory is more prominent than the melodious element. Although somewhat overpowered by the chorus, the character of Judith is here most significantly expressed. Whenever Mozart allows himself free play, he exhibits originality, truth, and earnestness.
The closing chorus is lively and brilliant, but kept in moderation, and its character is not without strength and dignity.
That this conception of the oratorio was not peculiar to Mozart, but was the then commonly received one, is plain from a comparison of this with other contemporary oratorios—with those, for instance, by Hasse, which are reckoned among his most important works. Whoever should form, on the strength of the eulogies pronounced by Hiller on the oratorio "Sant-Elena al Calvario," [ 17 ] a conception of this ORATORIO. and similar pieces founded on our present ideas of sacred music, would find himself much deceived. Here, as in all Hasse's oratorios, the art of the vocalist is the determining element, and the expression of emotion coincides in essentials with that of the opera. The differences in Mozart's oratorio are unimportant, and are founded on variations in the taste of the time and of the composer.
Hiller speaks with great admiration of the pilgrims' chorus, to which Hasse has set the chorale "O Lamb of God" in such a way "that its whole attraction consists in the alternation of the voices and of the various instruments among whom the melody is divided; the bass and violin are in unison throughout, and give animation to the whole, with a simplicity that is worth more than ten fugues, and which betrays more insight into the true beauty of song than the most artistic counterpoint." It almost seems as if Hiller wished to point at J. S. Bach, and remembering some of the marvellous creations of Bach—for instance, the first chorus in the St. Matthew "Passion Music"—the contrast between different artistic tendencies and personalities can hardly be better exemplified than by comparing him and Hasse. Hasse has succeeded in bringing the chorale into accordance with the Italian style of his oratorio, but he loses thereby the proper significance and effect of the chorale. The way in which Mozart has introduced the Catholic church melodies unaltered is, from this point of view, grander and more striking. And Hasse was looked upon in Mozart's day as a representative of the good old times in the traditions of which he had been educated.