A very favourable idea of Aloysia's vocal powers may be formed from the songs composed for her in Vienna; the promise of the young girl had been amply fulfilled.[ 31 ] The fabulous height of her voice, which reached with ease to—[See Page Images]
was moderated in the second song to—
but the low notes appear to greater advantage, and we are surprised by intervals such as—
The flexibility of the voice appears to have been cultivated to an astonishing degree in every direction, and though the merit was chiefly Mozart's that these passages were interesting, expressive, and in good taste, yet their execution required a cultivated and accomplished singer. Hufeland wrote in 1783 that Madame Lange's voice was one of the finest he MOZART'S FAMILY AND FRIEND. had ever heard, unusually pleasing and sympathetic, although somewhat weak for the stage,[ 32 ] and in this judgment Cramer concurs.[ 33 ] It was no doubt from consideration for the distinctive tone-colouring of the voice that Mozart did not make use of the whole body of wind instruments, particularly not of the clarinets, but allowed the gentler oboe to predominate in the accompaniment.
Mozart's eldest sister-in-law, Josepha, made her first appearance as a singer at Schikaneder's theatre, after her marriage with the violinist Hofer. With the exception of a high and flexible voice (a common inheritance, apparently, of all the Webers), she had no special gifts nor musical cultivation, and Mozart seems to have taken great pains in practising her parts with her. He wrote a bravura song for her on September 17, 1789 (580 K.), "Schon lacht der holde Frühling," which she, as Rosina, was to insert in the German adaptation of Paesiello's "Barber of Seville"; only portions of the score remain. It has no special significance, and reminds us in its embellishments of the Queen of Night's songs, which it resembles in other respects. Mozart interested himself also in his brother-in-law Hofer, studying his quartets with him, although Hofer was an indifferent musician; he took him with him on his last professional journey to Frankfort, that the name of Mozart might facilitate his public appearance, and be of use to him in his very narrow circumstances.
Mozart was always ready to lend a helping hand, even where family considerations had no influence. When Nancy Storace, the original Susanna, in "Figaro," was leaving Vienna, he composed for her the beautiful song with obbligato pianoforte (505 K., part 6), which he played himself at her concert.[ 34 ] He selected the words of the song which had been composed for Idamante in the Vienna performance of "Idomeneo," "Non temer amato bene." The circumstance that Idamante addresses laments and endearments to Ilia, who is OCCASIONAL COMPOSITIONS. present, perhaps suggested the appropriateness of an obbligato accompaniment, and, in point of fact, the piano part represents the lover in the most charming and expressive manner, appearing now to assent, now to reply to the expressions of the singer. In this respect, as well as in its tone and sentiment, this song is far in advance of the earlier one with obbligato violin; the spirit of "Figaro" moves over it, and we seem to recognise the depth of feeling and the tinge of sentimentality which characterise the Countess.
Mozart's comparative failure in his attempt to insert songs in Anfossi's "Curioso Indiscreto" did not prevent his coming forward as soon as another opportunity of the same kind offered itself. On November 28, 1785, Bianchi's "Villanella Rapita" was produced for the first time, and Mozart was induced to give the opera the support of some ensemble movements of his composition.[ 35 ] The beautiful Celestine Coltellini (second daughter of the poet Coltellini, who had written the libretto of Mozart's first opera) was engaged in 1783 by the Emperor Joseph II. himself at Naples, where she had been singing with great success since 1779.[ 36 ] She first appeared on April 6, 1785, in Cimarosa's "Conta-dina di Spirito,"[ 37 ] and took the place of Mdlle. Storace (who had temporarily lost her voice)[ 38 ] in the first performance of Storace's opera, "Gli Sposi Malcontenti," on June 1,1785.[ 39 ] Her voice was not first-rate, and her compass only moderate, but she had been thoroughly well trained, sang with ravishing expression, and fascinated her audience by her acting, especially in comic parts.[ 40 ]These qualities were made MOZART'S FAMILY AND FRIENDS. prominent in Mozart's charming terzet and quartet; her part is that of a peasant-girl, simple even to silliness, who receives presents from a Count, without being in the least aware of his intentions, nor of the rage and jealousy of her betrothed and her father. In the terzet (450 K.—(Probably 480 K. DW)) "Mandina amabile" (composed November 21, 1785), the delight with which she accepts the money, and, at the request of the Count, gives him her hand with the words, "Ecco servitevi!" is not given with any particular refinement by the poet; but Mozart has thrown so much grace and roguery into the action that it becomes an excellent point for a clever actress. The opening has a certain resemblance to the duet between Don Giovanni and Zerlina, although the latter stands several degrees higher, in accordance with the different characters of the personages; a comparison of the two pieces affords a proof of Mozart's skill in basing his characterisation on the conditions of the dramatic situation. Even when the lover interferes with jealous violence, and the Count seeks to excuse himself with as good a grace as possible, she fails to perceive what is passing before her; and Mozart does not neglect the opportunity of combining these opposing elements into a well-proportioned animated whole. The effect is excellent when the key, after the duet has pursued its rollicking course in A major and the nearly related keys, passes into A minor, and then with rapid transition into C major; even when it has reverted into A major the minor key constantly recurs in discords suggestive of jealousy. The quartet (479 K.) "Dite almeno, in che mancai" (composed November 15, 1785), has a less strongly marked situation. Mandina confronts her indignant lover and father with innocent simplicity; when the Count enters, a violent altercation arises between the men, of which she cannot understand the cause, but, anxious at any sacrifice to restore peace, she begs with really touching earnestness for pity and forgiveness. Her calmness, in opposition to the voluble excitement of the men, gives the movement its distinguishing character, which it was the task of the performer to throw into relief; her part, especially in the tender and beseeching passages, is full of feeling and charm. As to MUSIC FOR THE "VILLANELLA RAPITA," 1785. the other parts, the ever-increasing tumult of an animated dispute is represented with very simple, well-calculated expedients in a manner which is thoroughly Italian; a striking instance of this is the joining in of the orchestra when the wrangling is at its height, with the preservation of all the delicate comic effects. The masterly treatment of the orchestra, both in detail and in effects of grouping, would alone suffice to raise these two pieces far above similar movements of the then commonly received opera buffa type. More excellent even than the brilliant and characteristic sound effects is the independent and copious construction of the instrumental parts, which nevertheless are kept within their proper provinces as foils to the voices. Of the voice parts it need scarcely be said that they are delicately and characteristically treated, and move freely and with animation side by side, producing at the same time an effective whole. There is no bravura, and the treatment of the voices indicates moderate capabilities on the part of the singers. Coltellini's part never goes above—[See Page Image]
rarely so high, and calls for no great amount of execution. Among the male singers Mandini was by far the most important; the part of Almaviva was afterwards written for him, and the passionate expressions of the lover Pippo in the terzet remind us of that part. The tenor Calvesi (Count) and the second bass Bussani (Biaggio) were of less account. These ensemble pieces were the mature and graceful products of Mozart's fully developed genius, and nothing but their simplicity of design and construction points them out as pieces inserted in an opera, and dependent upon it for their peculiar character.
We can well believe that Mozart composed songs to please the singers, male and female, who appeared in his operas. He was not only ready to write additional pieces for them in his own operas, but frequently offered songs as an acknowledgment to the performers who sang for him. Louise Villeneuve appeared on June 27, 1789, as a new performer MOZART'S FAMILY AND FRIENDS. in Martin's "Arbore di Diana," and was received with well-deserved and genuine applause on account of her pleasing appearance, her expressive acting, and her artistically beautiful singing.[ 41 ] When she was about to appear as Dorabella in "Cosi fan tutte," in August, 1789, Mozart wrote for her an aria to Cimarosa's opera, "I Due Baroni" (578 K.), "Alma grande e nobil cuore," of forcible expression without making any great demands on the voice.[ 42 ] More original, although not very deep, are the two songs composed for the same singer in October, 1789, for insertion in Martin's "Burbero di Buon Cuore." The first (582 K.), "Chi sa, chi sa quai sia," is a single andante movement very moderate in tone. The second (583 K.), "Vado, ma dove," begins with a short, passionate allegro, with which is connected an andante simple in design and construction, but with a wonderfully beautiful and expressive cantilene, the effect of which is much heightened by the splendid instrumentation.
A bass song, composed for Signor Franc. Albertarelli in Anfossi's "Le Gelosie Fortunate" (May,1788), was occasioned by the singer's connection with the performance of "Don Giovanni." It is a cheerful, thoroughly buffo aria, and the principal melody—[See Page Image] has been employed again by Mozart, with a slight but expressive alteration, in the first movement of the C major 1 symphony, the only instance of the kind known to me. Similar demands were made upon Mozart's generosity when he came into connection with Schikaneder's theatre. He composed (March 8,1791) for the bass singer, Gerl, who sang Sarastro in the "Zauberflote," an aria (612 K.), "Per questa bella mano," with an obbligato double-bass accompaniment, OCCASIONAL COMPOSITIONS, 1788. which was played by Pischlberger with extraordinary execution. The combination reminds us of other similar Schikaneder-like effects, and the interest of the song depends mainly on the executive powers of the double-bass player, which are nevertheless confined within narrow limits. The limitation has in some degree influenced the treatment of the voice part, and this pleasing and, for a powerful bass voice, effective song can only be regarded as a curious occasional piece. Another occasional composition is Gleim's German war song, "Ich möchte wohl der Kaiser sein"[ 43 ] (539 K.), composed March 5, 1788, for performance by the favourite comedian, Friedrich Baumann, jun., at a concert in the Leopoldstädter Theatre on March 7, with special reference, no doubt, to the Turkish war which had just broken out.[ 44 ] This accounts for the running accompaniment of Turkish music to an otherwise simple and popular song.[ 45 ] To sum up: it would appear that during Mozart's residence in Vienna, from 1781 to 1791, he completed five ensemble movements of different kinds, besides at least thirty separate songs for various occasions,[ 46 ] among which there is not one which does not possess artistic interest, and a great number which may be placed in the first rank of works of the sort.
