Life of Mozart, Vol. 2 (of 3)

by Otto Jahn

The noble forms of the two lovers stand in the sharpest contrast to that of Osmin, which is altogether Mozart's creation, and certainly one of the most original characters of dramatic music. The very way in which he is introduced is masterly. After Belmont has sung his cavatina, which breathes the noblest love and constancy, Osmin comes out of the house to gather figs; he sings a song for his pastime; it is a love song, but one suggested by painful jealousy. The minor key of Osmin's song gives it a wild, desolate expression, in strong contrast to the cheerful candour of the cavatina; many popular songs have this expression, and Osmin's song is successfully imitated from the popular style. The phrasing is clumsy in spite of the marked rhythm, but the effect is quite startling when Osmin in a complacent hum DIE ENTFÜHRUNG AUS DEM SERAIL. repeats the last words an octave lower, and then at once breaks out into a wild "Trallalera!" The uncouth fellow lolls and stretches so completely at his ease that there cannot be a moment's doubt of how unamiable he will prove to be if any one should venture to cross his path.[ 56 ] This is soon put to the proof. He refuses with assumed indifference to answer Belmont's repeated inquiries, and on the latter interrupting him (involuntarily, as it were, with the melody of his own song, which has so irritated Belmont), the unabashed rudeness of Osmin breaks out in speech. It is as interesting as instructive to note how in this duet the simplest and easiest means of musical representation are used to produce a continuous climax and the most lively characterisation. While it is still in full train Pedrillo enters, and Osmin turns upon him with a fresh outbreak of rage in the song which Mozart had spoken of to his father (3). Again changing his tactics, he endeavours to repress his opponent with all the weight of his dignity and cleverness. Gravity and importance, expressed by the rhythm, the pompous intervals, the syncopated accompaniment, alternate with impatience and haste, when the singer becomes irritated. Very characteristic is the demeanour of Osmin as he complacently nurses the thought: "I have my wits about me!" ("Ich hab' auch Ver-stand!"). He works himself gradually up into a rage, and the threats which he pours forth in a breath fall like blows on the head of the hapless Pedrillo. The effect is produced by the accentuation given to the rapid flow of words; the first fourth of every bar is forcibly given by the orchestra, and the second is taken up by the voice in fifths, and then in octaves. At last he comes to a triumphant close, and one thinks it is all over. But he has only stopped to take breath, and at once resuming his furious course, he ends by completely overpowering his opponent. Mozart writes to his father on the conclusion of this song (September 26, 1781): "The 'Drum beim Barte des Propheten' is in the same time, but the notes are more rapid, and as his anger grows one imagines the climax must be close at hand; the allegro assai OSMIN—TURKISH MUSIC. follows in quite a different time and key, and has an excellent effect. A man in such violent rage oversteps all bounds of moderation, and loses all command over himself, and so must the music. But since," he continues, expressing in simple words that wherein lies the charm of all true art, "since the passions, violent or not, must never be carried to the point of producing disgust, and the music, however thrilling, must never fail to satisfy the ear, consequently must always remain music, I have not chosen a distant key to follow the F (the key of the song) but an allied one; not the nearest key of all, D minor, but the farther one of A minor." In point of fact, the effect of the minor key is extraordinary, both here and in other places where it is only cursorily touched. It adds to the frenzied wildness of the character in which lust and cruelty are blended, and it is emphasised by the strongly marked though monotonous rhythm. And how wonderfully all these characteristics are enhanced by the instrumentation!

"Osmin's rage," writes Mozart, "acquires a comic element by the introduction of the Turkish music." The effect is enhanced by the simplicity which has hitherto characterised the instrumentation. The oboes (with bassoons and horns) predominate until, in the last verse: "Sonderlich beim Monden-scheine," a flute insinuates itself with very good effect. There are many characteristic touches in spite of the scanty means at disposal, as for instance, the mocking entry of the oboe at the words, "Ich hab' auch Verstand."

The Turkish music serves for far more than local colour and characterisation. The expression of fanaticism is coloured as well as heightened by the shrill sound of the piccolo flute, the blows of the drum and cymbals, and the tingle of the triangles.[ 57 ] The bewilderment produced by these DIE ENTFÜHRUNG AUS DEM SERAIL. instruments, the breathless rapidity of the movement, and the monotony of the rhythm make one feel that giddiness must ensue if it goes on much longer. But Mozart never makes us giddy, he makes use of the most forcible means for characterisation, but never to the point of becoming painful, and all with so much cheerfulness and humour that the total effect is decidedly pleasing.

We make acquaintance with Osmin's boorish character in many different situations; he is true to himself in them all. The second great song (19) contrasts in some measure with the first. He is triumphant, he has his enemies in his power, and he is beside himself with joy; but he retains the same savage nature, and in the midst of all his rejoicing the main point for him is that he can now loll and stretch himself comfortably, which he proceeds to do to his heart's content on the long-sustained A and D, to which he easily carries his scale. Especially characteristic is the middle movement of this song. One seems to see a wild beast, now yawning and stretching, now crouching for a spring; grim cruelty and lustful indolence are wonderfully characterised by the alternation of octaves and dissonant suspensions in the accompaniment, as well as by the triplet passages which are given by the orchestra in unison, as if there could be no harmony here; the expression of joy is mingled with unspeakable brutality, and comes to a climax in the shrill note of exultation at the close.[ 58 ] But Osmin shows himself a true poltroon in the duet with Blondchen (9)—her snappish impudence completely gets the better of him, and although he endeavours to overawe her with the deepest notes of his deep bass voice, her persiflage drives her unwieldy antagonist quite out of the field. The lament which he thereupon sings: "Ihr Englander, seid ihrnicht Thoren, ihr lasst euren Weibem den Willen!" ("You Englishmen, what fools you are, to leave your wives their freedom!") is in contrast to his love song, and completes the conception of it. Here there is nothing of OSMIN. the barbarous nature which showed itself in lust and jealousy, but only the pitiful whining of a slavish soul which trembles before a resolute woman's will. The characterisation of the last movement—when Osmin gives up all appearance of superiority and yields upon every point—is charming, and produced by the simplest musical means. He displays another side of his character in the duet (14) in which Pedrillo induces him to drink.[ 59 ] His senses are soon overcome, and he endeavours to outvie Pedrillo. It is of advantage to the situation that the personality of the singers required that even here Osmin must be considered the chief person; one only needs to hear the arrogance with which he delivers the principal subject in order to feel sure on whom the wine will take strongest effect,[ 60 ] and even when the rapidly concluded entente cordiale is expressed in unison, Osmin's low-pitched octaves keep the upper hand. But here, too, Mozart keeps within bounds, and never goes beyond a joke; Osmin's drunken sleep is excluded from his representation. Osmin's character is least strongly characterised in the terzet (7), of which Mozart writes to his father as follows (September 26, 1781):—

Now for the terzet which concludes the first act. Pedrillo has represented his master as an architect, which affords him an opportunity of meeting his Constanze in the garden. The Pasha has taken him into his service; and Osmin, as overseer, and knowing nothing of this, is insolent to him as a stranger, being himself an unmannerly churl and the arch-enemy of all strangers, and refuses to allow him to enter the garden. The first movement is short, and as the words allowed of it I DIE ENTFÜHRUNG AUS DEM SERAIL. have kept the three voices fairly well together; but then begins the major pianissimo, which must go very fast, and the conclusion will draw many tears, which is just what the conclusion of a first act should do; the more tears the better—but the shorter the better, so that the audience may not forget the applause.

We see from this that Mozart thought more in this instance of a vivid expression of the situation than of minute characterisation, and all the three characters are alike in their urging and scolding. The advisability, therefore, of keeping the three voices "fairly well" together, their imitative arrangement keeping up the impression of great excitement, is indicated by the situation, although, owing to the necessity for stricter attention to form, the individual characterisation is thereby limited.

Osmin's last appearance in the finale is very amusing. While all the other characters are expressing their gratitude, in the favourite form of a round, Osmin tries in vain to keep in the same track; but the round sticks in his throat, and his angry spite will have vent; the hunting-song of the first act with the obbligato janizaries' music rushes once more past our ears. Although some elements borrowed from the conventional forms of the Italian bass buffo are discernible in the part of Osmin, yet Mozart has made use of them in such an entirely original manner that they are closely interwoven in his own creation. It is, however, the consistency of the individual characterisation which distinguishes the part of Osmin and raises it far above the ordinary buffo parts, causing it to afford a striking instance of Mozart's eminent talent for dramatic construction.

The part requires a performer such as Fischer, of whom Reichardt writes: "He is an excellent bass singer; his voice has the depth of a violoncello, and the height of an ordinary tenor; its compass is—[See Page Image]

so that his deep notes are never harsh, nor his high ones shrill; his voice flows with ease and certainty, and is full of charm. In praise of his style I need only say that he is a FISCHER. worthy pupil of the great tenor Raaff, who was, and still is considered, the best tenor in all Europe. Fischer has a more flexible organ than perhaps any other bass singer, and his acting is as good in serious drama as in comic."

Such materials as this are calculated to bring forth good effects. Among them may be noted the original sense of climax which Mozart produces by repeating a passage an octave lower; this is done in the Lied and in both of Osmin's airs at the words "Ich hab' auch Verstand" (3), and "Denn nun hab ich vor euch Ruh!" (19). The same effect occurs in the beautiful song "Non sö d'onde viene," composed also for Fischer; an expressive and sustained passage is repeated an octave lower, and the effect is very beautiful.