In the character of Ilia, Mozart has followed his natural bent; it is full of sentiment, tender and graceful, without any violent passion. It was played by the excellent actress and singer, Dorothea Wendling; here Mozart had free scope, and in her songs (2, 12, 19) we find the finest expression of his manner as an artist. In the first air (2) we find the simplest means lying ready to hand employed to give dramatic effect; such, for instance, is the alternation of major and minor key for the principal subject, the climax produced by its repetition, the different ways in which the exclamation "Grecia!" is treated, &c. Not only are we affected by the charm of beautiful and graceful ideas, but the expedients of formal construction become the natural IDOMENEO. expression of the innermost feelings of the heart. The second air (12) is a cavatina, having two verses repeated with trifling alterations, and accompanied by four obbligato wind instruments, viz.: flute, oboe, horn, and bassoon, Besides the string quartet. Mozart's old Mannheim friends, wendling, Ramm, Lang, and Ritter were together again, and he was delighted to write a piece that should do honour to them and to him.
There can be no question as to his success. The first impression is one of the purest melody, filling the musical listener with perfect satisfaction. A nearer examination shows as much to admire in the simplicity of the artistic structure (the symmetry of which in reading the score is displayed as it were on a ground plan) and in the delicate use of sound effects, as in the tenderness and grace of the conception. Let us consider the situation. Ilia comes to thank Idomeneo for the kindness which she, as a captive, has received in Crete. She is embarrassed by the remembrance that she has lost her father and her fatherland, that Idomeneo is her ruler, and the father of Idamante, and, more than all, by the consciousness of her love for Idamante; and yet this very love sheds for her a rosy light on all around.
She begins, then, with a composed, almost reverential address, and as her feelings grow more intense, the remembrance of her sorrows returns; but all gives way to the one feeling: "or gioja e contento," in which she altogether loses herself. Such a combination of different elements into a harmonious whole constitutes a true work of art, and it must needs be found beautiful as long as the principles of music remain what they are. The situation of the last air (19) is less striking; it is the longing sigh of a deserted lover; but the main features of Ilia's character have already been so clearly defined that her singular charm is as indelibly impressed here as elsewhere. It is only necessary to compare the air (14), in which Electra expresses her tenderest feelings, to perceive how the essential distinctions between the two women are characterised by the music.
The duet for the two lovers (20 b) is interesting and pleasing, but not very striking; in form and change of tempo, ENSEMBLES. as well as in conception and treatment, it adheres to the old-established custom of making a love duet light and graceful. It proceeds in unbroken movement and precise form throughout, and there is no true bravura.
The terzet (17) is more striking, noble, and simple, and of fine musical effect, but the dramatic situation is not brought to expression in the full energy of which it is capable. It is certainly placed with design between a succession of pleasing situations and of more agitated ones; its calm and earnest mood fitly concludes what has gone before and prepares the mind for what is to follow, without unduly diminishing the effect of surprise. In the situation, as here presented, the three characters are all in a depressed and anxious mood, which restrains any lively outburst of emotion, and justifies the moderation of the musical rendering.
The quartet (21) takes a higher place as regards invention and characterisation; Mozart himself preferred it, and rejected any interference from the singers in its composition as decidedly as he gave way to them in the songs. It is not an easy task to write a quartet for three sopranos and a tenor, but Mozart's accurate knowledge of the capabilities of the voices, and his skilful combinations, enabled him to command the most original and beautiful sound effects. We must admire, too, his genius in marking out a distinct plan, within the limits of which he moves at his ease, and in giving sharp touches of character without disturbing the unity of the piece.
Ilia and Idamante stand in natural contrast to Idomeneo and Electra, and each individual is accurately characterised. This is most apparent where they all sing together, and gives life and significance to the music. Besides the independent treatment of the voices, the quartet is especially distinguished by harmonic beauties of an uncommon kind, and undeniably belongs to Mozart's finest performances. His wife relates that once, when singing in this quartet, he was so deeply affected that he was obliged to desist, and for a long time would not look at the composition again.[ 13 ] The IDOMENEO. conclusion is original and appropriate. Idamante's commencement is that of a man who has made up his mind: "André ramingo e solo," however, dies away with the words "morte cercando" into gloomy meditations. At the close he again announces, "Andrò ramingo e solo," and leaves the scene while the orchestra continues to express gloom and sadness, dying away gradually into silence.[ 14 ]
The chorus forms a principal feature of "Idomeneo." There is an important difference, however, between those choruses which actually belong to the plot and express the meaning of the situation with emphasis, and those which are only superficially connected with the plot, and serve principally for ornament. These last are mostly in connection with the ballet, and should be placed side by side with the ballet music. Such are the first chorus (4), during which the Trojan captives are loosed from their fetters, the closing chorus during Idamante's coronation, and most especially the chorus at the end of the first act (10), in which we should not fail to recognise dance music, even without the superscription "Ciaconna" and the express indication of the libretto. The orchestra has a more independent part here than in the two other choruses. The character of them all is fresh and cheerful; as with a man rejoicing in the fulness of his health and strength, everything is stirring and full of sound and bustle, so it is with these choruses, which, without any striking qualities, are thoroughly effective where they stand. The charming chorus previous to the embarkation of Electra and Idamante is more characteristic, and seems to mirror the cheerful heavens and the calm sea, together with Electra's happy frame of mind. Very happy in expression are the verses which Electra sings between the choruses—simple, clear, and full of grace and delicacy.
But the remaining choruses, which are more properly dramatic, are incomparably more important, grand, and earnest. The first (5), representing the shipwreck of "Idomeneo," is a double chorus for male voices. One chorus in the distance is in four parts—the other, nearer, is in two parts; the former is mostly in unison, the latter imitative; each chorus is complete in itself, and quite independent of the other, but the two together form an artistic, clearly apprehended whole. The orchestra contrasts with it as a solid mass, the stringed instruments belonging more especially to the second, and the wind instruments to the first chorus. It falls to the orchestra to depict the storm, and there are plenty of chromatic scales for the purpose, but the effect depends chiefly on bold and forcible harmonies. How little Mozart shunned difficulties and obstacles may be proved by several parts of this scene, the following passage among others:—[See Page Image]