The task of the musician is the combination and elaboration of the detached elements into an interdependent whole, in which the laws of musical and dramatic art are in unconscious harmony; the master makes good his claim to the title by the depth with which he grasps the idea, by the delicacy with which he apportions the claims of individuals to independence, and by the strength and truth with which he gives life to his creations. Mozart's genius amply satisfies all these conditions. When there are few characters, and they are consequently brought nearer together, the characteristics of each are sharper and more detailed; but when the relations of the characters to each other are more involved, the musical grouping becomes more careful, so that, just as in an architectural masterpiece, the parts are merged in the whole. Each motif has its own peculiar expression, but is capable of such manifold effects of light and shade, that an oft-used motif in a new combination is as effective as if it appeared for the first time.
The form and style of opera buffa are maintained in all essential points, but with great freedom of treatment. The usual means are employed of the repetition of a short phrase with increasing intensity, the parlando while the orchestra carries on the motif, the comic effect produced by rapid speaking, sudden pauses, strong contrasts, &c.; but to these are added many traits of original invention.
In the earlier operas the boy's skill in the management of accepted forms was what we had chiefly to notice; here for the first time we are amazed at the originality of his musical powers. The wealth of characteristic, well-moulded, well-rounded melodies is quite as surprising as the organic dependence in which they mutually stand related to each other, not merely joined together. This fertility is of course "LA FINTA GIARDINIERA"—ORCHESTRA. more prominent as the development of the plot renders the musical elements more complicated; especially admirable is Mozart's power of giving character and suggestiveness to his melodies in their first and simplest form. One subject from the last Allegro but one of the first finale—[See Page Image] will not fail to remind the reader of one almost identical from the first finale of "Figaro." But if the mode of treatment of the simple motif in the two instances be compared, it will be clearly seen that inventive power does not consist merely in the combination of notes. That of the later opera is of course by far superior, but even the earlier leaves little to wish for in its wealth of harmonic variety, in its union with other subjects, and in the effect of climax produced by imitation in the several parts.
It may finally and with justice be maintained of the melodies of this opera that they, as well as the whole intellectual conception, are high above the ordinary level; their grace, delicacy, and purity—in short, their beauty—belongs to Mozart, and to him alone.
The orchestra is treated quite otherwise than in the opera seria. The individual peculiarity of each instrument is OPERA BUFFA. brought out, and tone-colouring as a means of characterisation is delicately and skilfully employed. In Sandrina's cavatina (22), for instance, the fine effect of the oboe and bassoon in contrast to the violin is due to the individualities of the instruments; in Ramiro's song (18) the treatment of the bassoon is original; and in the first finale an oboe solo comes in with startling effect (the Munich oboist, Secchi, was very famous).[ 25 ] The horns are also frequently made the means of effective tone-colouring; twice (13, 26) four horns are employed in a minor key to heighten the effect of a dramatic climax. More important than these detached instances is the altered relation of the orchestra to the whole work.[ 26 ] It no longer serves as an accompaniment in the sense of sustaining the voices and filling up necessary pauses; it is no longer a mere adjunct to the vocal parts, but takes its share in the effective working of the whole, filling out details which the vocal parts leave imperfect, and obeying not so much the requirements of the vocalist as the conditions of artistic perfection. This altered relationship required an altered organisation; each component part of the orchestra must have a distinct existence, so that each, according to its place and kind, might contribute to the general effect. The single example of the treatment of the basses will serve to make this clear. Hitherto the basses had served merely as the fundamental of the melody, indispensable indeed, but often clumsy and insignificant; but here, without losing their character as the ground-work of harmonic elaboration, they have an independent movement; they serve not only to support the superincumbent mass, but their quickening power sets in motion and gives the impulse to its formation.
By the side of these many excellencies the too great length of most of the pieces, especially of the songs, is felt as a defect throughout; a defect due, no doubt, to the taste of the time and to the youth of the composer. The influence of the broader form of the opera seria, and the pleasure of the public in the mere hearing of music, were combined with the fact that Mozart was not yet capable of that self-criticism which rejects all that is superfluous, even when it is good in itself.
It may well be conceived that the opera was performed with extraordinary success in Munich (1775), and that it soon attained pre-eminence among the most admired contemporary comic operas. Nissen informs us that it made little effect in Frankfort (1789); the clumsy German adaptation may have been in part to blame for this; but the chief cause was doubtless the altered taste of the public, brought about by the French operettas and Mozart's "Entführung."