3. Passepied (B flat major) "pour Madame Redwen," short and simple, but very neat and graceful, and quite in dance form.
4. Gavotte (G major), not elaborated, delicate and graceful; a very good effect is produced by the simple imitation of the violoncello, which is carried out in harmony in the third part.
5. Passecaille (E flat major). This piece was intended for further elaboration with a Pas de seul "for M. Antoine," and a Pas de deux (Madame Falgera et M. Le Grand), but it was considered too long. Mozart only planned two longer portions without completing them, and in performance the whole Pas de deux was omitted.
The traditional style of the different dances, as they are known to us from the suites of Handel and Bach, has been preserved in their rhythmical structure, and also in other IDOMENEO. characteristics; the Passepied, for instance, would have its own place in every suite, and so also would the Gavotte.
Besides this, the whole of the ballet music in "Idomeneo" is similar to corresponding movements in the opera, fresh, melodious, and appropriate throughout. But it is easy to see that Mozart was aware that the delicate details and the orchestral treatment that are present throughout the opera would not be in place here. It is true that he has done justice to himself in the free and flowing arrangement of parts and the animated grouping of the instruments, and true also that delicate harmonious transitions constantly betray the hand of a master; but he was well aware that he must depend chiefly for light and shade on sharp pregnant rhythm and strong emphasis. With this view, trumpets and drums are not spared, but the orchestra, with the exception of some separate strong strokes, is seldom used en masse; there are few attempts after peculiar effects through unusual instrumental combinations, and only in the Gavotte does a solo violoncello occur, and that in very modest fashion. The influence of the ballet-master is apparent from the fact that there are many more erasures and alterations in this than in any other part of the opera.
In the overture, a magnificent piece, Mozart altogether abandoned the old forms. It is in one lively movement, and maintains its character as an introduction by not coming to a proper conclusion, but passing immediately into the first scene. A certain typical tone of heroic solemnity is heard in the first bars, and reiterated more than once afterwards; but the whole is governed by a severe earnestness, expressed by the frequent occurrence of the minor key, and by the strong but beautiful dissonances. The middle subject, on the contrary, begins a gentle plaint in A minor, which is calmed and relieved by the wonderfully beautiful introduction of the key of C major, enhanced in effect by variety of tone-colouring.
If we gather together the results of our observations of "Idomeneo," we cannot fail to discern in it the work of a master who has arrived at the maturity of his powers while still in the full bloom of youth. It was only his GLUCK'S INFLUENCE. submission to those restraints which seemed unavoidable, which prevented his freeing the opera seria from the conventionalities which formed, indeed, no essential part of its being. Even had he succeeded in doing so, it would have involved no renunciation of its national character, which, as we have seen, in no way fettered Mozart's individuality. But, since in the improvements he made he was indebted to French opera, and especially to Gluck, the question arises how much, and in what way, Mozart had learnt from the great Parisian master. It is not merely unquestionable that Gluck exerted a general influence over Mozart's opinions and tendencies, but the traces of a close study of his works, and especially of "Alceste," may be easily discovered. He had been present as a boy at the first representation of "Alceste." Its influence is apparent in many details, such as the harmonic treatment of the oracle, and the use of sustained chords for the horns and trombones in the accompaniment to the appeal of the High Priest. The march in "Alceste" has served as a model for the style, if not for the execution, of the last march in "Idomeneo." The High Priest's soliloquy is altogether analogous in plan and treatment to that of Gluck's High Priest; again, the recurring subject of the interlude—[See Page Image] reminds us of the corresponding one in "Alceste"—and other similarities may be detected. More important is the similarity of dramatic style, which is especially evident in the treatment of the recitatives, and in the share taken by the orchestra in the characterisation. But that Mozart learnt from Gluck only as one master learns from another, and that he turned his borrowed pound to rich account, it needs but a closer consideration of these details, as well as IDOMENEO. of the whole work, to make plain. We must not underrate the wholesome and powerful effect which grand and important works must have made upon him, and the enlightenment and correction of his views as to the nature of the opera thereby obtained. But we must also remember that Mozart received these impressions and this instruction into a nature self-dependent and productive, and that his artistic cultivation enabled him to appropriate only what was in accordance with his nature. Gluck sets aside the fixed expressions of operatic form as far as is practicable, in order to gain perfect freedom of dramatic action; Mozart, on the other hand, strives to spare these forms, and so to mould and develop them that they may themselves serve as vehicles for dramatic expression. This he does not because he clings to what is old and established, but with the just perception that these forms contain an essential element of artistic construction which is capable of development. Mozart never seeks, as Gluck did, to forget that he is a musician; on the contrary, he remembers it at every point of his artistic production, and could not ignore the fact if he would. In opposition to the one-sided requirements of dramatic characterisation, he falls back upon the principles of musical construction, which are far from contradicting such requirements, and are in fact the higher power which establishes them. On these grounds we assert that Mozart's creative power in music (to which we must first turn our glance in judging an artist) was more universal and deeper than that of Gluck; that he surpassed him in artistic cultivation and discipline will be doubted by no one who compares the technical work, the disposition of the orchestra, &c., in "Idomeneo" with Gluck's operas. This judgment does not exclude the fact that some of Gluck's performances as an artist are not only grand and striking, but surpass kindred works by Mozart. But if the laws and nature of art are once perceived, a more certain rule is provided for the judgment of the work of art as well as of the artist; and here Mozart may bear away the palm.
Mozart's leave of absence was not extorted from the Archbishop without difficulty, and it was limited to six weeks.
The better satisfied he became with his life in Munich, where he found friends, appreciation, and enlightenment, the more appalling grew the prospect of returning to Salzburg, and he was in terror lest the Archbishop should recall him even before the performance of the opera. With this idea he writes to his father (December 16, 1780):—