In order to give an adequate idea of Fischer's powers, the two serious songs composed for him by Mozart must be considered along with this decidedly comic part. The above-mentioned, "Non sò d'onde viene" (512 K.), broad in conception and style, displays the whole compass and wealth of Fischer's organ in the most favourable light. The other, "Aspri rimorsi atroce" (432 K.), composed in 1783, is remarkable for the expression of a gloomy, agitated mood, not illumined by any ray of light.
An expressive recitative is followed by a single movement (allegro, F minor) in incessant agitation, the almost uninterrupted triplets of the stringed instruments giving it the character of trembling unrest. The voice part is very striking by reason of its decided rhythm and frequent dissonant intervals; but it is mostly declamatory, and there is no appearance of a cantilene proper; the wind instruments give effect to the strong accents. The whole song pursues its rapid course like a gloomy nocturne, and dies away at last in a dull moan. This song is distinguished among all that Mozart has written by its uninterrupted expression of gloomy passion, and it would be almost inconceivable that he intended it for concert singing, did we not know that Fischer was to sing it: he was unsurpassed in every species of delivery.
The parts of Blondchen and Pedrillo are not by any DIE ENTFÜHRUNG AUS DEM SERAIL. means so important in their characterisation as those of the principal personages, neither have they much influence on the development of the plot. Blondchen, besides her share in the duet with Osmin, has two songs, of which the first (8) is in no way remarkable, written evidently for a seconda donna. The only point to be noted is a passage going up to—[See Page Image]
which gives proof of Mdlle. Teyber's vocal powers.[ 61 ] The second song (12) is far fresher and more original, and expresses heartfelt joy in so lively and charming a manner, without ever overstepping the province of a good-humoured soubrette, that the hearer is involuntarily beguiled into the same cheerful frame of mind. A German element is unmistakably present (we are reminded of the "Zauberflote"), and we may note the first appearance of those naïve girl-parts common to German opera.[ 62 ]
Mozart has given to Pedrillo's song (15) somewhat of a military tone, suggested perhaps by the opening words "Frisch zum Kampfe!" and although his servile nature is indicated here and there in the accompaniment, the effect of the whole is too forcible and brilliant for the character.[ 63 ] On the other hand, the romanze (18) which he sings in the third act to the guitar is a jewel of delicate characterisation. Not, however, with any reference to Pedrillo himself, for he sings the song, not from personal impulse, but as something he has heard and learnt; but the strange effects of harmony and rhythm, the mixture of bold PEDRILLO—QUARTET. knightly impulse with timid dismay, is so fantastic, so unreal, that we seem to be ourselves in Moorish lands, and are readily persuaded that we are listening to genuine Moorish music. But we are listening, in fact, to no music but Mozart's, whose own mind evolved the music which the situation demanded, without any previous philological study of Moorish national melodies. The two choruses of janizaries (so Mozart calls them in the score[ 64 ] ) are not only characterised by the Turkish airs they embody, but by original harmonies and rhythm which give them a foreign and national character, without any special regard as to whether it is actually Turkish or not.[ 65 ]
We have already had occasion to remark how the ensemble movements proceed naturally from the exigencies of the situation, and are therefore essential to the musical characterisation of the work. This is especially true of the quartet (16), which forms the conclusion of the second act. Belmont and Constanze meet for the first time in the Pasha's garden, where are also Blondchen and Pedrillo. The meeting of the lovers is the more significant, since it is in anticipation of their approaching flight. An unusually elevated tone of sentiment is therefore common to them all; but the particular circumstances produce many different shades of feeling, and each character has its own distinct peculiarities. It is the task of the composer to combine this multifariousness into an artistic whole. The scenic accessories come very happily to his aid. The two pairs of lovers wander about the garden in close converse, so that they are heard sometimes apart, sometimes one after the other, sometimes together, according to the requirements of the situation and of the musical grouping. The beginning is a simple matter. Constanze and Belmont DIE ENTFÜHRUNG AUS DEM SERAIL. express their feelings in a short duet-like movement, full of heart, such as Mozart has made proper to lovers. When they turn aside Pedrillo and Blondchen advance, deep in consultation on the flight, so that the music assumes a lighter and more cheerful tone. But their thoughts are also occupied with the approaching happy turn in their fortunes, and when Belmont and Constance draw near, they all spontaneously join in the expression of joyful emotion. Small touches betray the master. The consultation between Pedrillo and Blondchen is in A major, and closes with an easy phrase on the words: "Wär der Augenblick schon da!" ("O, that the moment had come!"), very expressive of the girl's character. The orchestra at once takes up this phrase with great emphasis, produced both by the sudden change to the key of D major and by the forcible unison of the instruments, as if they were exclaiming, "It has come!" and then leads back simply and expressively to the leading motif, which now for the first time asserts its full significance:—[See Page Image]
But now the tone grows troubled. Belmont cannot repress a feeling of jealousy, and, embarrassed and confused, he seeks to express his doubts to Constanze, who does not understand him. Pedrillo follows in the same direction to Blondchen, who is far more ready in apprehending his meaning. The oboe gives charming expression to the feelings which the jealous lovers scarcely dare to clothe in words. Then Belmont and Constanze came forward again. The two men speak together, each after his manner—Belmont noble and open, Pedrillo with chattering haste. Constanze bursts into tears, Blondchen answers Pedrillo with a box on the ears; the women lament together, and the men are aware that they have gone too far. After the lively expression of these contrasting emotions in rapid alternation, QUARTET. the lovers emerge from the confusion, explain themselves as to their true feelings, and so prepare for the reconciliation. The short ensemble movement in which Mozart consummates this dénouement (andante 6-8) is one of those passages of which a friend used to say that "der liebe Gott" himself could not have done it better; the purest beauty and a truly holy expression of satisfaction penetrates the simple and unpretending phrase. The magic of such conceptions cannot be rendered in words, nor can it be satisfactorily indicated by what actual means the effect is attained, and yet it is always of interest to see the master in his workshop.
It is easy to see in this case that the key selected (A major) combines with the rhythm and the harmonic treatment to produce the wished-for effect. It gives the voices a pitch allowing of the clearest and most melodious tones, heightened in their effect by the deeper pitch of the accompanying stringed instruments, and it also, although in fact the nearest key to the principal one, produces an impression of surprise as great as though it were a more distant one. This is due to what precedes the adoption of the A major key. The first movement in D major is followed by one in G minor, which leads to E flat major, B minor, F major; D minor is just touched, but only to pass again through C minor and B flat major into G minor, with a rapid transition into E major. After this restless change of key, the passage into A major has a wonderfully tranquillising effect, and the adherence to the key throughout the movement gives it a peculiar charm. But the reconciliation has not yet taken place; the lovers sue for pardon, but the two women allow them first to feel their injustice, and here Blondchen assumes the lead by virtue of her fluent tongue, while the men supplicate more and more earnestly, until at last peace is concluded. This movement is a model of dramatic characterisation. An excellent effect is produced by Blondchen's singing throughout in triplets (12-8 against 4-4), in contrast to the calm flowing melodies for the other voices. The movement only acquires its full significance by contrast with what has preceded it.
DIE ENTFÜHRUNG AUS DEM SERAIL.
When pardon has been granted, every trace of past sorrow is obliterated by the feeling of complete satisfaction. After so much mental strain a complete relaxation is necessary from a musical point of view. The last movement is therefore very simple, although appropriately brilliant and fiery. It seldom departs from the principal key, and is frequently in canon form; very light passages for the voices, rapid instrumentation, and an unusually effective crescendo at the close, give it an impulsive and quickening effect. This was the first really dramatic ensemble movement in a German opera, and in it we find concentrated all Mozart's services to the German opera—a full and free employment of all the means afforded by song and orchestra to give musical expression to emotion, without subservience to any more binding forms than those laws which are founded on the nature of music.