The esoteric character of the mysteries is brought to view in the second act. A solemn, slow march (10) introduces. the assembly of the priests in the most appropriate manner. It is said that in answer to the accusation of a friend that he had stolen this march from Gluck's "Alceste" (Act I., sc. 3), Mozart laughingly replied that that was impossible, as it still stood there. It was perhaps the best answer to such an impertinence. The similarity to Gluck's march, as well as to the last march in "Idomeneo" (25), consists entirely in the fitting expression of closely related moods.
But the special points in the conception are altogether new and original. A presageful mood, tinged with a gentle melancholy, rising to greater energy towards the close, transfuses this wonderful movement, the very tone-colouring of which is affecting. The soft muted tones of the basset-horn and bassoons are made clearer and purer by the addition of a flute, while the full chords of horns and trombones and the stringed instruments bind these elements into unity. The same tone-colouring, only several shades deeper (the flute being omitted, and of the strings only violas and violoncelli retained), is continued in the prayer (11) which follows, addressed to Isis and Osiris in a mysterious twilight, from which the simple impressive melody for the bass voice sounds forth with majestic and soothing effect. The repetition of the closing passage by the male chorus is of quite indescribable effect, when Sarastro's characteristic passage—[See Page Image] is given an octave higher. The earnest religious conception which underlies this prayer shows the spirit in which the symbols and rites of Freemasonry were approached by Mozart, who once thanked God that through Freemasonry he had learnt to look upon death as the gate of true happiness (Vol. II., p. 323).
The duet for the two priests (12)—a warning against feminine malice—does not come up to the same high standard, and only becomes at all imposing at the closing bars, "Tod und Verzweiflung war sein Lohn." The words could not be delivered with gravity without producing too comic an effect; Mozart has therefore treated them as a piece of friendly counsel, not as a priestly admonition, The second chorus of priests (19), which greets Tamino at the successful issue of his first trial, has, on the other hand, quite the dignity and solemnity of the first; although doubt and anxiety are for the present at an end, there is as yet none of the jubilant delight with which the victor is hailed at the final victory. A character of purity and elevation is expressed with a manly confidence differing from the SARASTRO—AIR—TERZET. intense sympathy of the first chorus, and the instrumentation is modified accordingly. Trombones and horns give an imposing tone, lightened by trumpets, flutes and oboes, instead of basset-horns, while the prevailing low position of the stringed instruments supplies force and gravity to the movement. The moderate length of this chorus, as of all the movements which have the same solemn and mystic tone, is a fresh proof of Mozart's sure insight. The powerful impression is made, the excited mood is appeased, without fatiguing the mind or dulling the charm of the unusual characterisation.
Sarastro never descends altogether from his high priestly eminence, but he shows a genial side to his character, and sometimes, as on his first appearance in the finale, a fatherly one. This more genial nature is expressed in the air (16),
"In diesen heiligen Hallen," which, as with so many other pieces from the "Zauberflöte," we have first to forget having so often heard maltreated before we can realise the original impression made by it. The simple instrumentation and the easy treatment of the cavatina shows at once that the priestly character is not meant to be maintained here: it is the paternal friend speaking words of comfort to the maiden who confides in him.[ 45 ] Mozart, convinced that Freemasonry is the key to true philanthropy and friendship, has not contented himself with merely setting the trivial words before him to music, but has given expression with all the warmth and intensity of his nature to the highest and noblest feelings of the human heart. The beautiful terzet (20) gives a peculiarly elevated calm to Sarastro's sympathy in a situation which is more dramatic and musical than almost any other in the opera. Pamina is led in to bid farewell to Tamino before he sets forth for his final ordeal. This in itself is a test of his fortitude, for he is constrained to oppose reserve to her excitement, and to endure her reproaches for his apparent want of tenderness in silence. Between them stands Sarastro, consoling and DIE ZAUBERFLöTE. exhorting them, like a higher power holding the fate of them both in his hand.[ 46 ]
It was Mozart's task to blend into one these conflicting elements of passionate grief, of deep emotion restrained by an inflexible will, and of unyielding earnest exhortation. It was comparatively easy to accentuate the contrasts. Pamina and Sarastro are in absolute opposition, and Tamino, joining issue now with one, now with the other, forms a natural middle point. It is fortunate, from a musical point of view, that the arrangement of the parts falls in with these conditions, land that the natural course of the emotions depicted lends itself to a musical climax. The simplicity of the orchestral means here made use of by Mozart shows how much he was able to accomplish with very little, especially in the accompaniment passage, which renders so marvellously the agitation of the situation.[ 47 ] It may at first sight appear fcommonplace; but the unusually low position of the violas, violoncelli, and bassoons gives it a striking expression of power and of breathless urgency.[ 48 ]
The part of Sarastro taxed all the resources of a deep bass voice, such as that for which Franz Gerl, the original supporter of the part, was celebrated.[ 49 ] It was in another way as original a conception as that of Osmin. The latter may be said to have had a predecessor in the buffo of the Italian opera, but Sarastro is the first of his kind, and can as little be compared to the regulation bass parts of Italian opera as Almaviva and Don Giovanni to the baritones. The dignity and calm of the philosopher to whom passion is unknown would have afforded little opportunity for musical characterisation had not Mozart's genuinely German nature gone down to the intellectual depths of the character. For TAMINO. Sarastro's good temper and amiability, which might so easily do violence to the idealism of the conception, show their German origin unaffected by the symbolism around them. Mozart sought and found in the powerful sonorous tones of the bass voice the musical organ for the expression of a nature passionless indeed, but open to all that is good and noble, and possessing the benevolence and truthfulness of a mind matured in the graver experiences of humanity.
The intrusion of Masonic mysteries into the plot has had a bad effect upon the treatment of the characters, Tamino especially being injured by it. At first he scarcely presents an heroic appearance—rather that of a susceptible and generous youth longing to meet danger and strife that the right and his love may prevail. The original course of the plot leads him into dangers which he has to overcome by strength and courage; here, for some incomprehensible reason, he is to be converted to a belief in Sarastro. The fact of his probation taking place for the most part in silence is of disadvantage to him, both as a tenor and a lover; the dark cave and the wandering through fire and water are not particularly terrifying to the spectators, and his praiseworthy endeavours after virtue are too abstract to be interesting. And yet Mozart has filled in this colourless outline with the warm tints of youthful enthusiasm for all that is noble in life and in love. The first air (4) strikes the tone which is to prevail throughout. We may trust the word of the poet, that the sight of a lovely woman is sufficient to inspire the heart with a love that is irresistible, and to rouse it to a new and blissful life; but the musician alone has the power of so realising the miracle to the mind of the hearer that he feels it working in himself; and such a musician is Mozart. After a twice-repeated sort of sigh from the orchestra, there streams forth from an overflowing heart:—[See Page Image]
More agitated feelings follow this first glad expression of love, and the development of strong emotion is expressed by the form of the musical representation which follows every DIE ZAUBERFLöTE. turn of thought, breaking off the threads and joining them again without any connected flow of melody. The whole piece is a well-constructed cantilene, formed from separate symmetrical phrases, and recurring at the close with the words, "und ewig ware sie dann mein," to the same melody which followed the first exclamation with "mein Herz mit neuer Regung füllt."
