Hitherto we have attempted an exposition only of the musical-dramatic characteristics of the opera, the psychological conception which makes the actions of the characters correspond with their individual nature... Not less important are the events and circumstances which give rise to the combined action of the different characters; in the opera this is displayed in ensemble movements. The prevailing principle is here again truth in the expression of feeling; but the juxtaposition of the different characters necessitates a greater stress to be laid on individual peculiarities;
and again, these characteristics of detail must be subordinated to the main idea of producing a well-formed whole. A due balance of parts can only be produced by compliance with the conditions of a musical work of art. The substance and form of these ensemble movements are of course subject to many modifications; many of them are nothing more than a detailed and fuller exposition of some definite situation or mood; and their whole design is therefore simple. Such are the duets between Figaro and Susanna (Act I., i, 2), between Susanna and Marcellina (Act I., 5), the writing duet (Act III., 5), and the duet between the Count and Susanna (Act III., 1); they are distinguished from airs more by their form than their nature. If during the dressing scene Cherubino were to chime in with Susanna's remarks, the Countess were also directly to interpose, such a duet or terzet would represent the situation in greater variety of detail, the form would become richer by means of contrasting ENSEMBLES. elements, but the musical matter would not differ essentially from that to which we are accustomed in solo airs. The terzet in the second act is of this character; a situation or a mood is maintained, and only variously mirrored in the various personages. Here, then, is the point of departure for unity in the grouping of the whole; and the ordinary resources of musical construction, such as the repetition of a motif in different places, the elaboration and combination of the motifs, for the most part lend themselves to the situation.
The difficulty of the task increases in proportion as the music forms part-of the plot. We have an instance of this in the duet between Susanna and Cherubino (Act II., 5); when the latter tries to escape, and finally jumps out of the window. The simple situation gives rise to an expression of fear and disquiet in short, interrupted motifs, and the prevailing characteristic is an agitation almost amounting to action__in progress. The agitation, however, is so characteristically rendered by the music, that, while appearing to flow from an irresistible impulse, it is in reality only an effect of a definite musical formula fitly working out a given motif. The orchestral part forms a separate piece of music of very varied character.[ 33 ]
The terzet of the first act comes in the very middle of the action (Act I., 7). Here we have not merely three persons of dissimilar natures thrown together, but at the particular point in the plot their interests and sentiments are altogether opposed, and each of them is influenced by different suppositions. The plot proceeds, however, and the discovery of the page in the arm-chair gives a turn to affairs which changes the position of each person present. We are struck in the first place with the striking, delicately toned musical expression, especially when the voices go together, as at the beginning, when the Count's anger: "Tosto andate e scacciate il LE NOZZE DI FIGARO. seduttor!" Basilio's lame excuse: "In mal punto son qui giunto," and Susanna's distress: "Che ruina, me meschina!" are all blended into a whole, while preserving throughout their individual characters. The same is the case at the end also, when the Count, taken by surprise, turns his displeasure against Susanna in ironical expressions: "Onestissima signora, or capisco come và"; while she is anxious on her own account: "Accader non puo di peggio!" and Basilio gives free expression to his malice: "Cosi fan tutte le belle!" But while the music appears only to follow the plot, we cannot fail on closer examination to perceive that I we have before us a work constructed and carried out I according to the strictest laws of musical form. It is all so naturally and easily put together that what is really owing to deep artistic insight might be considered by the uninitiated as the result of a fortuitous coincidence of dramatic and musical effects. The intensely comic effect produced by Basilio's repetition of his previous sentence, a fifth higher is brought about of necessity by the musical form. A similar effect is produced when, at the point where a return to the original key leads us to expect a recurrence of the principal subject, the Count, with the same notes in which he had exclaimed, full of resentment at Susanna's intercession; "Parta, parta il damerino!" now turns to Susanna herself with the words: "Onestissima signora, or capisco come và," the point being brought out by the change from forte to pianissimo. Traits like this of delicate dramatic characterisation proceed immediately from the musical construction, and are to be ascribed solely to the composer; the text does not by any means directly suggest them.
The dramatic interest reaches a far higher level in the two great finales. The finale to the second act is judiciously constructed, as far as is compatible with musical exigences, out of the elements already existing in Beaumarchais. The dramatic interest rises with the increasing number of persons taking part in the action, and grows to a climax, while new developments proceeding from the unravelling of each complication bring the actors into ever-varying relations with each other. The different situations afford the most FINALES. animated variety, moving onwards in close connection, but each one keeping its ground long enough to give ample scope for musical elaboration.[ 34 ] The situations thus give rise to the eight movements, distinct in design and character, which form the finale. The masterly combination of the different movements is more effective than would be any amount of emphasis laid on particular points of characterisation. The finale opens with a manifestation of intensest passion—the Count glowing with rage and jealousy, the Countess, wounded to the heart, trembling at the consequences of her imprudence.
In no other part of the opera is the pathetic element express so prominent, the conflict being so strongly expressed that a serious catastrophe appears inevitable. But Susanna's unexpected appearance brings about an explanation, which could not be more aptly expressed than by the rhythmical motif of the second movement.[ 35 ] Susanna's mocking merriment, which for a moment rules the situation, is in some degree moderated by the uncertainty of the two others. The want of repose of the following movement alters the character again, while the chief characters have to adapt themselves to their change of relative position. The Count has to propitiate his wife, without being altogether convinced himself; the Countess's anger and forgiveness both come from the heart, but she feels that she is not now quite in the right. Susanna is exerting herself to bring about explanation and reconciliation, and in so doing takes involuntarily, as it were, the upper hand of the Countess. It is a mimic war, carried on in the most courteous manner; every emotion is broken and disturbed.
Now let us turn to the music. A succession of short motifs, each of which characterises a particular element of the situation, are loosely put together, none of them independently worked out, one driving out the other. But the LE NOZZE DI FIGARO. motifs occur in every case just where dramatic expression demands, and each repetition throws a new light upon the situation, turning the apparent confusion into a well-formed musical whole. Figaro brings an element of unrestrained gaiety into the midst of this troubled atmosphere; the G major following immediately on the E flat major breaks away from all that has gone before. His merriment is truly refreshing, but even he feels some constraint knowing that his secret is betrayed, without being aware of what has led to it. The eagerness with which the Count interrupts him, the anxiety with which the women seek to put him in the right way, his alternate holding back and yielding, give the scene a diplomatic sort of tone, wonderfully well-rendered by a tinge of dignity in the music, which only here and there betrays, involuntarily as it were, more animation. The closing ensemble gives to each of the four voices a mysterious character which is quite inimitable. A complete contrast to this delicate play is afforded by the half-drunken gardener with his denunciation; this opponent requires quite a different treatment. The musical characterisation becomes more lively and broader, the different features more strongly marked. As soon as the Count begins his examination of Figaro, the tone alters again. The remarkable andante 6-8 in which the beating motif—[See Page Image] is hurried through the most varied harmonic transitions expresses an impatience which is scarcely to be kept from violent explosion, quite in accordance with the suspense with which the progress of the explanation is followed by all present without arriving at any satisfactory solution. Finally Marcellina enters with her confederates. The firm, bold pace which is at once adopted by the music marks the commencement of a new struggle; the peril becomes serious, and the change of situation brings about a new FINALES. disposition of the characters. Marcellina, Basilio and Bartolo range themselves on one side, the Countess, Susanna and Figaro on the other, both parties aggressive and prepared for the fight, the Count between them turning first to the one side and then to the other. When the crisis is over, and Marcellina's claim acknowledged, the previous positions are reversed; Marcellina's party has the advantage, Figaro's is defeated. The vanquished party now lose self-command and become violently agitated, while the victors express their triumph with mocking composure. The finale ends in doubled tempos with a diffuse but decided expression of those discordant moods on both sides, bringing the long strife and confusion to an end.[ 36 ] The plan of the second finale is quite different; we plunge at once into the midst of an animated intrigue, one misapprehension and surprise following close upon another. The Countess, disguised as Susanna, awaits the Count; Figaro, and Susanna listen concealed; first the page enters, then the Count, and the play proceeds, every one getting into the wrong place, receiving what is not meant for him, and addressing himself to the wrong person. Mozart has only grasped the amusing side of the complication, and the music maintains a cheerful, lively character, without leaving room for any expression of deeper feeling. By this means whatever is objectionable in the situation seems to spring unavoidably as it were from the facts of the case, on which the play is founded and developed. It is sufficiently astonishing that the music should succeed in following this development step by step in all its turns; the higher art of the master is displayed in his power of representing dramatic life and reality in all its perfection within the limits of a musical movement of scientific conception and form. Nowhere perhaps is the style of intrigue which Zelter praises as the special quality of the opera[ 37 ] brought LE NOZZE DI FIGARO. so prominently forward as in this ensemble. It consists in the art of making each character express himself naturally and appropriately, at the same time rendering the due meaning of the situation and throwing the right light on every separate utterance, while giving the whole a brighter colouring. As soon as Figaro and Susanna are opposed to each other, the tone and style are altered. Serious genuine feeling breaks through the mask of deception, and asserts its sway. Not until the Count enters does the trickery begin again, leading to a succession of surprises which find their climax in the appearance of the Countess. The music renders so bewitchingly the impression of her pardoning gentleness and amiability that we are forced to believe in the sincerity of the reconciliation, and to share in the rejoicings which follow on so many troublous events.[ 38 ]
Next to these two finales a prominent position is assigned to the sestet (Act III., 3) which according to Kelly was Mozart's favourite piece in the whole opera.[ 39 ] This partiality is characteristic, for his amiable nature finds fuller expression in this piece than in any other. The trial scene is omitted in the opera, but the recognition of Figaro by Marcellina and Bartolo is brought into the foreground. The cool sarcastic tone of Beaumarchais gives this scene something unpleasant; but the musical version even here allows human sentiment to assert itself; if it were not for the extraordinary circumstances on which the scene is founded it would be quite pathetic. Both the parents and the son are in the act of expressing the tenderest affection and delight when Susanna hastens in to redeem Figaro. The violence with which she manifests her anger at Figaro's apparent want of constancy is meant quite seriously, and is necessary in order to show how deeply her heart is affected. Amid the caresses of her supposed rival she learns the truth, the charming melody to which Marçellina had made herself known to her THE SESTET. son being transferred to the orchestra while she acquaints Susanna of her relationship to Figaro. Susanna, incredulous of the wonderful story, demands confirmation from each person present in turn, and the situation assumes a comic character, consisting however only in the unexpected turn of events, not in the sentiments of the persons interested, who only wish to be quite sure of their facts before giving themselves up to unmitigated delight. Once assured of their happiness, it overflows in fervent gratitude with an enchanting grace that invests the happy lovers with a sort of inspired and radiant beauty. Mozart has added very much to the effect by keeping the whole passage sotto voce, a device which he always employs with deep psychological truth.[ 40 ] But the lovers are not alone, and the contrast afforded by the other personages present prevents the purely idyllic character which would be incongruous in this scene. One of these is the Count, who with difficulty restrains his rage so far as not to commit himself. The other is the stupid, stuttering judge, Don Curzio, who has pronounced judgment as the Count's tool, and is now amazed at what is passing before him; incapable of an idea, he says first one thing and then another, and finally takes refuge in obsequiously following the opinions of his lord and master. The striking musical effect of the high tenor going with the Count's deep bass gives an expression of cutting irony, and emphasises the stupidity of the judge who chimes in with the Count, without in the least entering into the passions which agitate him. Don Curzio serves here the same purpose as Basiliain the terzet of the first act, mingling a comic element with the expression of a deeper emotion, and modifying, without injuring, the serious ground-tone of the piece. This mode of construction is altogether Mozart's own, and is a striking testimony to his power of grasping and delineating dramatic truth.
Kelly narrates that Mozart begged him not to stutter LE NOZZE DI FIGARO. while he was singing lest the impression of the music should be disturbed. He answered that it would be unnatural if a stutterer should lose his defect as soon as he began to sing, and undertook to do no harm to the music. Mozart gave in at last, and the result was so successful that the sestet had to be repeated, and Mozart himself laughed inordinately. He came on the stage after the performance, shook Kelly by both hands and thanked him, saying: "You were right and I was wrong."[ 41 ] This was doubtless very amiable of Mozart, but his first view was the right one, nevertheless. The artifice might succeed in a master of mimicry, but Don Curzio ought certainly not to be made the principal person in the sestet. On the contrary, he might well be omitted altogether as a musical pleonasm; at least, if Basilio were to be brought in and made to take the same part in the action.
The sestet may be taken as an excellent example of the manner in which Mozart turned his means of representation to account. We are struck first of all with his power of grouping so as to produce a clear and distinct whole. The effect and appreciation of music depends, like architecture, on symmetry. Even though a strict parallelism of the different component parts may be in all but certain cases inapplicable, yet their symmetry must be always present to the apprehension of the hearers. In the musical drama the characterisation of the situation dominates the construction side by side with the laws of musical form. In the sestet before us Marcellina, Bartolo, and Figaro form a natural group, announcing themselves at once as connected from a musical point of view, Marcellina and Bartolo closely corresponding, Figaro forming the uniting member of the little group. Opposed to them we have the Count and Don Curzio, who also keep together, but with greater freedom of independent movement. Susanna's entry introduces a new element. At first she opposes Figaro, and allies herself to the Count, and we have then two strongly characteristic groups of three persons, each with a construction and TREATMENT OF THE VOICE PARTS. movement of its own. The explanation which ensues necessitates the dissolving of the ensemble into a monologue, after which the situation is changed. Susanna goes over to Figaro, Marcellina, and Bartolo, and fresh group is formed, with Susanna as the chief member, though the others do not by any means renounce their independence. Against this concentrated force the discontented minority gives expression to additional energy and resentment, coming to an end in unison. These hints will suffice to show with what a firm mind of the hearers an impression of the perfect freedom of dramatic action, within the limits of strict and simple musical form.
