Dal Prato also, for whom the part of Idamante was intended, had only the knowledge of an Italian singer, and that in no considerable degree. Mozart was again, therefore, fettered by tradition, and could venture little to render the song more original and lifelike. In all the three songs for this character (3, 8, 27), the old type is clearly to be recognised. The first, if the singer had had a powerful execution, MUSIC FOR DAL PRATO AND RAAFF. which he avowedly had not, would probably have been an ordinary bravura song; it has the general plan of one, but is without bravura passages. The emphasis is laid on the accompaniment, which is independent and interesting throughout; the constant use of the wind instruments supplies it with fine sound effects. The frequent changes of time, the construction of the song being in all other respects very regular, is intended to give animation to the expression. The second air is shorter, to suit the situation, more lively and energetic in expression, but equally dependent on the accompaniment for originality and interest. The third adheres to the old form by the introduction of a slow middle movement (Larghetto 3-4) and the accompaniment is simpler; but the song as a whole is conciser than was the fashion formerly.
Raaff's advanced age would have prevented his satisfying any very great expectations; but he was also, as Mozart complained, "so wedded to his old jog-trot ideas that it was enough to drive one crazy." He was obliged therefore in the very important part of Idomeneo to submit to much that was against his convictions and inclinations. But Raaff was an accomplished and sensible singer, from whom much could be looked for in respect of delivery and expression. His first air (6) vividly expresses deep and painful feeling in two tolerably short and precise movements, an andantino sostenuto 3-4, and allegro di molto (5); it is dramatically quite in its place, and gives opportunity to the singer to display a well-trained voice. The detached, sharply defined motifs, united by interludes, remind us of the old style, but they are very cleverly arranged and carried out, and the treatment of the wind instruments gives a splendidly sonorous and yet subdued effect to the orchestra, which was then quite novel, and must have been remarkably impressive. The second air (13) is a long bravura song in one movement (allegro maestoso) in the grand style. Mozart calls it "the most splendid song" of the opera; and protests vigorously against the idea that it was not written "for the words"; but more was demanded from the singer than Raaff was able to give. It has the proper heroic character of the opera seria, and affords opportunity for the display of vocal art in IDOMENEO. sustained passages, long notes, and bravura passages. The last are completely obsolete; but Mozart was right to think well of the song; it is full of expression and character, interesting through its rich and brilliant accompaniment, and containing, especially in the middle movement, surprising beauties of harmony. How striking and expressive is, for instance, this harmonic transition:—[See Page Image]
The third air (30), which Mozart endeavoured to write to please his old friend, is on that very account quite after the old pattern; it has great resemblance to the song which Mozart had so accurately fitted to Raaff at Mannheim (p. 408). The chief movement is a broadly sustained adagio, simple and noble in tone, and giving opportunity to the singer to display sustained singing, the effect of which is enhanced by a figured accompaniment, shared between the strings and the wind instruments; the middle movement, allegretto 3-8, is of less importance. A sketch which has been preserved of this song affords a good example of Mozart's method of work; the ritornellos, the voice and the bass are ILIA—ELECTRA. all fully noted. Probably he submitted the sketch to Raaff before elaborating the song; it coincides in all but a few unimportant alterations with the later elaboration. He wished at first to compose the words of the middle movement in the same time and measure as the first movement; after four bars, however, which he erased, he wrote the middle movement as it at present stands.
In spite of the restrictions laid upon him in this far from inconsiderable part of the opera, Mozart's progress since the "Re Pastore" is very marked. What we now find is not the struggle of youthful genius against obsolete and hampering forms, but a conscious compliance with them, on definite grounds, by means of which the composer strives to extract all the good possible from his unfavourable circumstances, and knows exactly how far he can go. It is difficult, however, now that the tradition of these forms is wholly lost, to decide with certainty how much is due to the insensible effect of custom, and how much to the conscious labour of the artist. Those pieces in which Mozart could act without control make an entirely different impression.
To these belong the parts of Ilia and Electra. Bravura has a decided place in the conception of the latter, but with an individual colouring of passion which Mozart has made free use of as the characterising element. The two great airs (5, 29) are the vivid expression of a glowing impulsive nature, which is raised by an admixture of haughty dignity above that vulgarity into which violent outbreaks of jealousy and revenge so readily fall. In spite of the text, which puts the traditional bombastic pathos into the mouth of Electra (29)—
D' Oreste, d' Ajace Ho in seno i tormenti,
D' Aletto la face Giä morte mi dä.
Squarciatemi il core Ceraste, serpenti!
the composer has succeeded in infusing character and individuality into the song.
The two songs are allied in subject, but their treatment is IDOMENEO. different. While in the first passion ferments, as it were, and breaks forth in separate bursts, the second is a continuous stream of wild rage, and calls for the more particular employment of the higher notes of the voice. Purely executive display is not sought after, with the exception of one passage going up to C in alt, and very expressive, if well sung, but a passionate, well-declaimed delivery is taken for granted throughout. Occasionally the voice part is more declamatory than melodious, and the effect is provided for by a rapid succession of striking harmonies. How wonderfully affecting, for instance, is the passionate outcry:—[See Page Image]
The orchestra has an altogether novel function as a means of musical characterisation. It goes its independent way ELECTRA—ILIA. side by side with the voice, interesting by virtue of the singular vitality of its accompanying passages and its own motifs, and its masterly tone-colouring gives body and force to the whole composition. In the first air all is restless motion—we have the flutes in broken chords, flashes of sound like lightning from the wind instruments, and only at certain points are the forces united into a concentrated expression of emotion. How striking, again, is the effect in the last song when, after the long torturing shake passage for the violins,[ 11 ] the united orchestra bursts forth into a very transport of revengeful feeling.[ 12 ]
Electra's middle song (14) is in strong contrast to the passionate outbursts of the other two; here her happy love seems to fill her very being. She breathes forth a calm serenity and tender sweetness, as if there could be no place in her heart for jealousy and revenge. The voice part with the exception of one ornamental passage resembling the string quartet accompaniment, is very simple; rightly delivered the expression of satisfied affection will be found quite in accord with Electra's character.