The great stress laid upon dramatic reality necessitated in general simple forms and moderate execution in the musical part of the work. In the airs the traditional form of two elaborate movements is only exceptionally employed the cavatina or rondo form being in most cases preferred and treated freely, although with considerable precision the majority of the duets are similar in design, Mozart having usually written over them duettino, arietta, But neither confined limits nor dramatic interest have been made a pretext for the neglect of well-constructed, well-rounded form;
he never fails to hit upon the right point, whence a whole may be organised. Thus, every separate passage in the finale heightens the contrast, and leads by a 'natural process of development to a conclusion for which '+ helps to prepare the way. What has been said in general terms may be applied to the treatment of details, and primarily of the voices. The dramatic characterisation necessitates perfect freedom in the employment of every source of effect; long-drawn cantilene shorter melodious phrase; well-marked motifs requiring elaborate working-out, declamatory delivery merging into an easy conversational tone—all are employed in their right place, often in rapid alternation and varied combination. It is not sufficient, however that each separate device should be employed effectively the essential point is that they should be placed in right relations with each other, and with the whole of which hand the musical edifice is put together so as to leave on the LE NOZZE DI FIGARO. they form parts. The unhesitating use of the resources of the voice, and the harmony of the effect, are admirable alike in the great ensemble movements and in the smallest passage to be sung; the sestet and the second duet may be brought forward as essentially differing in style and subject, yet each in its place distinguished by delicacy of detail and striking effect. Great simplicity in the treatment of the voices is a noteworthy consequence of this tendency. Song is merely the means adopted for expressing emotion of different kinds. Homely simplicity not only corresponds to truth of expression—it is necessary for the combination of heterogeneous motives, which would otherwise be incomprehensible.
This simplicity, however, is not of the kind that reduces all expression to the same level, and abjures ornament and grace; rather is it the simplicity of a nature which draws its inspiration from the depths of the heart, and excludes all merely virtuoso-like displays which would serve but to glorify the singer.[ 42 ]
An important aid to characterisation and colouring was found by Mozart in the orchestra. We know by what means he had prepared and cultivated every part of a full orchestra as a means of characteristic expression and euphonious charm. His contemporaries were particularly impressed by his use of wind instruments, and in point of fact they were little likely ever to have experienced before the sensations produced by the tender interweaving of the wind instruments in Cherubino's romanze (Act II., 2), or their soft, melting sounds in his air (Act I., 6). In these days we should, indeed, appreciate rather Mozart's moderation in the employment of wind instruments. Trombones are never used, and trumpets and drums only in the overture the march with a chorus (Act III., 7), the closing passages of the finales, and in three airs: those of Bartolo (Act I., 4), Figaro (Act I., 9), and the Count (Act III., 2). This is not saying much; true moderation consists, not so much in THE ORCHESTRA. abstaining from certain methods, as in the way in which those which are employed are held in check. Equally admirable is the masterly treatment of the stringed instruments which form the groundwork of the orchestra, at the same time that the independent movements of the separate instruments develop a fresh and ever-varied vivacity. Mozart has striven above all to preserve a healthy balance of sound effects, and a unity of treatment which never aims at brilliant effects brought about either by an ostentatious extra vagance or an exaggerated economy in the use of his resources; the right effect is produced at the right point, and in the simplest manner, regard being always had to the laws of climax. The simplicity of the voice parts necessitates a corresponding simplicity in the instrumental parts! most distinctly appreciable where they occur obbligato. A comparison with "Idomeneo" and the "Entführung" in this respect will bring out the difference very strongly. The orchestra in the "Entführung" is treated more easily and simply than in "Idomeneo"; in "Figaro" the highest degree of clearness is united with abundant fulness and intensive force of instrumental colouring.
The position here accorded to the orchestra may be regarded as not so much an improvement on earlier operas as an essentially new conception of its powers and functions.[ 43 ] The orchestra appears For the first time not only as an integral part of the whole, but as one with equal rights, taking an independent and active part in the musical-dramatic representation. Such a conception could only be realised when the orchestra and instrumental music had been developed and cultivated as they were by Haydn and Mozart. In this independent position it is neither above nor in opposition to the voices, but each is indispensable to the due effect of the other.
The orchestra is no longer to be looked upon as a mere accompaniment to the voices, but as an independent and co-operating means of representation. And as such we find it in "Figaro." In many passages the orchestra seems to take the lead—as, for instance, in the dressing scene (Act II., 3), when the animated, LE NOZZE DI FIGARO. delicately worked-out orchestral passages not only hold the threads together, but develop the characterisation. At other times the orchestra forms the foundation in the working-out of motifs upon which the voices are suffered to move freely, as in the duet between Susanna and Cherubino (Act II., 5) and in different passages of the finales, the andante 6-8 of the first finale and the first passage of the second. There are, indeed, few numbers in which the orchestra does not temporarily undertake one or the other office, in order to assist the characterisation. The orchestra is never employed in this way with better effect than in the so-called "writing-duet" (Act III., 5). At the close of the recitative the Countess dictates the title, "canzonetta sull' aria," and as soon as Susanna begins to write, the oboes and bassoons take up the ritornello, and undertake to tell, as it were, what Susanna is writing when she is silent and the Countess dictates.[ 44 ] There is a trace here of a subsequent editorial alteration. Instead of the present closing bars of recitative, which are inserted in the original score by a strange hand, there were originally quite different ones, to which the little duet in B flat major could not have immediately succeeded. They probably served as an introduction to a lively scene between the Countess and Susanna, similar to that in Beaumarchais' dialogue. This is confirmed by the first sketch of the writing-duet, which, with the title "Dopo il Duettino," only prefixes the words of the Countess as recitative: "Or via, scrivi cor mio, scrivi! gia tutto io prendo su me stessa." So close an approximation of two duets was most likely the cause of the rejection of the first, with the words of the recitative which called it forth.
Detached features of the orchestral treatment, important as they may be, however, do not constitute its peculiar character; many of them had been previously and successfully attempted by other musicians. The essential point consists in the orchestra taking part, as it were, in the action, so that more often than not the instrumental parts would THE ORCHESTRA—OVERTURE. form a complete and satisfying whole without any voice parts at all. The orchestra, of course, frequently executes the same melodies as the voices, but it treats them in an original manner, producing a constant flow of cross effects with the voices. Sometimes again it works out its own independent motifs, and adds shading and detail to the outlines furnished by the voices. It is not possible to over-estimate the share thus taken by the orchestra in maintaining the main conception of the situation, in increasing the dramatic reality and interest of the plot, and in strengthening the impression made upon the audience.
The capabilities of instrumental music in this direction are most strikingly displayed in the overture, in composing which Mozart appears to have kept before him the second title of Beaumarchais' play, "La Folle Journée." He has made one very characteristic alteration in the course of the overture. At first the rapid impetuous presto was interrupted by a slower middle movement. In the original score the point where the return to the first subject is made (p. 13) is marked by a pause on the dominant-seventh, followed by an andante 6-8 in D minor of which, however, only one bar is preserved:—[See page image]
The leaf on which its continuation and the return to the presto was sketched is torn out, and the portion between vi and de crossed through.[ 45 ] It is plain that Mozart altered his mind when he came to the instrumentation of the overture, which he had sketched in the usual way. Perhaps a middle movement beginning like a Siciliana did not please him; in any case, he thought it better not to disturb the cheerful expression of his opera by the introduction of any foreign element. And in very truth the merry, lively movement pursues its uninterrupted course from the first eager murmur of the violins to the final flourish of trumpets. One bright, cheerful melody succeeds another, running and dancing for very lightness of heart, like a clear mountain stream rippling over the pebbles in the sunshine. A sudden stroke here and there electrifies the motion; and once, when a gentle melancholy shines forth, the merriment is as it were transfigured into the intensest happiness and content. A piece of music can hardly be more lightly and loosely put together than this; there is an entire want of study or elaboration. Just as the impulses of a highly wrought poetic mood exist unobserved, and pass from one to the other, so here one motif grows out of the other, till the whole stands before us, we scarce know how.