The chorus also takes a different position in conjunction with an orchestra such as this. It is no longer the principal object in the sense of making everything else subservient to itself; but the independence of the instruments renders it freer in its own motion. Since so much was left to be rendered by the orchestra, the chorus was able to characterise what belonged essentially to it all the more sharply and strongly; and the powerful and effective orchestra called forth all the strength of the chorus that they might keep pace with each other. For this there was requisite, besides an intensified meaning in the subjects, a free and melodious treatment, which made the separate voices the foundation for the display of natural and forcible effects of sound. To satisfy these varied conditions in detail, and to unite them harmoniously into combined effect, has been Mozart's successfully executed task. Let any one place those earlier works, in which the voices supply the harmonies to a continuous violin passage and a basso continuo side by side with these hymns where an independent chorus, complete in itself, is united with an equally independent and carefully arranged orchestra, so as to form a compact and solid whole, and what an extraordinary progress is apparent!
Mozart, who executed this work with loving care, composed both choruses twice over. The first chorus, in the earlier and completely carried-out attempt, has essentially the same features as the later, only the solo parts are simpler and without the delicate accompaniment which gives them their chief charm. The voices are only altered in the details of the main portions of the chorus, but the orchestra is subjected to a thorough elaboration. At first there were no flutes, and the addition of these has given to the oboes a different position and in many ways caused a different grouping of the instruments. But, apart from this, there are so many improvements in detail that this work may be considered as a regular study in instrumentation. The difference between the two versions of the second chorus are more essential. Only the beginning and the fundamental ideas of some of the subjects in the first attempt are identical with the later elaboration. The working-out is quite different, not only much shorter, but in every respect scantier and less important; and more especially are the orchestral parts far removed from their present rich perfection. Mozart did not even finish this first attempt; it breaks off in the middle of the last passage, although only a few bars are wanting. The difference in the elaboration proves once more that the true gift of an artist consists in the unerring judgment with which, after no matter how many experiments in the process of his work, he seizes in the end on what is best for his purpose. It is instructive to follow the progress of development from the earlier ideas and attempts—in the second chorus the main features are more carefully perfected, in the first the details.
The magnificent effect of these two choruses seems to have suggested the idea of bringing the drama to an impressive close by means of another chorus. In the place of the instrumental movement which represented Pheron's death, there was introduced a short exhortation by the High Priest to fear the Divine wrath, which is taken up by the chorus, and passes into joyful trust in the protection of the Almighty.
Mozart's composition (to words provided by a Salzburg
{ZAIDE, 1780 (1779-Einstein:"Mozart")}
local poet—perhaps by Schachtner)[ 26 ] is altogether worthy of the two first hymns. The bass solo of the High Priest foreshadows the Commendatore in "Don Giovanni." The chorus which follows gives the right expression of humble reverence on the part of the bystanders; and the cheerful dignity of the conclusion is quite appropriate when we take into account that the chorus was intended for the stage and not for the church.
Another composition falling within Mozart's present residence at Salzburg is a German operetta, for which honest Schachtner provided the libretto. It was almost finished when Mozart went to Munich in November, 1780.
His father wrote (December 11, 1780) that nothing could then be done with "Schachtner's play" on account of the public mourning at Vienna. This was all the better, since "the music was not quite ready." But Wolfgang begs him (January 18, 1781) to bring with him "Schachtner's operetta." "People come to see Cannabich, with whom the hearing of such things does not come mal ä propos." Later on the father revived the idea of producing the operetta in Vienna, but Wolfgang answered (April 18,1781): "Nothing can be done with Schachtner's operetta, for the same reason that I have often given before. I could not contradict Stephanie; I could only say that the piece—except the long dialogues, which could easily be altered—was very good, but not suited for Vienna, where they only care for comic pieces."
There can be no doubt that this is the opera[ 27 ] in two acts, without a title, preserved in Mozart's carefully executed original score, and complete all but the overture and the conclusion (344 K.), which was published by André, with the COURT SERVICE IN SALZBURG. suitable title of "Zaide."[ 28 ] The handwriting, style, and instrumentation, as well as some special circumstances to be presently noted, prove this beyond a doubt. The plot may be conjectured in its general features by the songs and music: [ 29 ]—
