The first bar of this—[See Page Image] reminds us, as Sonnleithner has remarked, both of the minuet and trio of the Symphony in D major (385 K.), and of a couple of bars in the first allegro of the Symphony in E flat major (543 K.).
The Podestà is a genuine buffo, proud, amorous, consequential in virtue of his office, easily excited, easily perplexed, but good-natured at bottom; the genuine type of a comic old man; there was probably a personal reason for making this character tenor instead of bass, though the course was not an unusual one.[ 24 ] The musical conception of the character is that of the traditional buffo. The first air (3) depicts, according to a fashion of the time, different instruments which are heard in the orchestra in a concerted accompaniment. This song has nothing in common with the situation or with the character of the Podestà, and is an interpolation for the German version.
The Italian text contains a song for Sandrina, "Dentro il mio petto io sento," which Mozart composed, as we learn from a letter of his father's (December 2, 1780), who had it copied for Schikaneder. The other two songs (17, 25) are genuine buffo—lively, rapidly uttered—a continual struggle between false dignity, anger, vexation, and perplexity.
The servants are also, according to custom, comic OPERA BUFFA. personages. Serpetta contrasts with Sandrina in want of refinement; disappointed in her hopes of the Podestà, she becomes envious and spiteful to every one, and especially to her lover, Nardo. Besides a neat, pretty little song, of which each character sings a verse (9), she has two songs (10, 20) of a distinctly soubrette character, gay and pleasing, not without grace, but as yet without the delicate wit with which Mozart later endowed his soubrettes.
Nardo, as the attached and faithful servant of Violante, displays an address which is inconsistent with his röle of the simple lover who pursues Serpetta in spite of all her ill-treatment. The first words of the mock-heroic air (5), "A forza di martelli il ferro si riduce," have suggested an accompaniment—[See Page Image] which gives the song a peculiarly rhythmical character. In the second air (14) the rondo form is employed with striking effect. Nardo seeks to win Serpetta's hand by compliments in different languages and styles, which form alternating interludes to the main theme; this is pretty enough, but the other jokes are obsolete.
The ensembles are of a far higher character than the solos, both as regards characterisation and musical execution.
The introduction is immediately connected with the overture, and borrows its lively chorus from the third movement, but its development is completely independent. The overture itself consists of an Allegro molto, precise in its subjects and execution, but fresh and cheerful, and of a somewhat tedious Andante grazioso.
Sandrina, Serpetta, Ramiro, the Podestà, and Nardo, are discovered in the garden, awaiting the arrival of the wedding guests, and their festive mood is expressed by a joyous choral movement. Then each character in a short soliloquy explains the position of affairs, and indicates the main elements of the plot. In these soli, which pass from one to the other in the same tempo, and without a pause, Mozart "LA FINTA GIARDINIERA"—ENSEMBLES. has displayed his rare power of individualisation, and without the sacrifice of interdependence in the parts of a great whole. The moonstruck Ramiro, the amorous Podestà, the excitable, prying Serpetta—each is admirably touched off, without any disregard to unity of tone. The repetition of the first chorus, with which the piece concludes, is led up to by the accompaniment, and the whole forms as complete a musical rendering of the text as was possible.
The later ensembles belong immediately to the action of the piece. At the close of the third act Sandrina and Belfiore awake from refreshing sleep healed of their madness. Belfiore seeks acceptance of Sandrina, who now acknowledges herself to be Violante, but she, abashed at his declarations of love, bids him depart, and prepares to go herself. Neither, however, can summon resolution to part, and after several attempts, they sink at last in one another's arms, forgetful of all but their newly found happiness. This situation, somewhat coarsely rendered by the poet, has been transformed by the composer into an admirable piece of character-painting (27). A long accompanied recitative passes into an elaborate and effective Adagio, in which professions of love alternate with reproaches. The Andantino (3-8), which follows is lighter in tone, and well expresses alternations of repulsion and attraction. The oboes are employed with a charming effect of longing appeal to the words: "Cont. Lei mi chiàma?—Sandrina. Signor, nö. Lei ritoma?—Cont. Oibö, oibö!" Finally, the joy of the united pair flows forth in an Allegro, which gives full opportunity for display on the part of the singers. Especially to be admired is the art with which the intense and genuine expression of emotion is tempered by the timidity of the Count and the coquetry of Sandrina, in a happy union of the pathetic and the comic which keeps the whole within the limits of' opera buffa. The rapid winding-up of the plot in the recitative dialogue, and the short animated ensemble with which the opera concludes (28) are no doubt intended not to weaken the effect of the great duet.
The finales (12, 22) of the first and second acts are masterpieces; the separate characters act and react on each other OPERA BUFFA. in a way which is admirably true to life. Two conditions are essential to the elevation of such pieces into musical works of art; important points in the action or the characters must be brought out by prominent motifs, and the fundamental idea of the situation must be grasped and maintained in one motif which shall serve as a clue to the whole.
