In the treatment of the orchestra also the "Zauberflöte" stands alone among Mozart's operas. It is not, as in "Figaro" and "Don Giovanni," employed for delicate details of characterisation, nor is it, as in "Cosi fan Tutte" replete with euphonious charm. It has here a double part: in that portion of the opera which represents purely human emotion the orchestra is free and independent in movement, but easy and simple in construction; while for the mystic element of the story it has quite another character: Unusual means, such as trombones and basset-horns, are employed for the production of unusual and weird effects, while through all the delicate gradations of light and shade, from melancholy gravity to brilliant pomp, the impression of dignity and solemnity is. maintained, and the hearer is transported to a sphere beyond all earthly passion. Not only are the hitherto unsuspected forces of the orchestra here brought into play, but its power of characterisation is for the first time made fully manifest, and the "Zauberflöte" is the point of departure for all that modern music has achieved in this DIE ZAUBERFLÖTE. direction. It must not, however, be forgotten that instrumental colouring is always to Mozart one means among many of interpreting his artistic idea, and never aspires to be its sole exponent, or to overshadow it altogether.
That which gives the "Zauberflöte" its peculiar position and importance among Mozart's operas is the fact that in it for the first time all the resources of cultivated art were brought to bear with the freedom of genius upon a genuinely German opera.[ 69 ] In his Italian operas he had adopted the traditions of a long period of development, and by virtue of his original genius had, as it were, brought them to a climax and a conclusion; in the "Zauberflöte" he stepped across the threshold of the future, and unlocked the sanctuary of national art for his countrymen. And they understood him; the "Zauberflöte" sank directly and deeply into the hearts of the German people, and to this day it holds its place there. The influence which it has exerted in the formation of German music can be disregarded by no one who has an eye for the development of art.
Evidence of the rapid popularity of the "Zauberflöte" is afforded by the imitations of it which were produced at the theatres Auf der Wieden and Leopoldstadt:—
Everything is turned to magic at these theatres; we have the magic flute, the magic ring, the magic arrow, the magic mirror, the magic crown, and many other wretched magic affairs. Words and music are equally contemptible (except the "Zauberflöte"), so that one knows not whether to award the palm of silliness to the poet or the composer. Added to this, these miserable productions are still more miserably performed.[ 70 ]
Schikaneder's opera, "Babylons Pyramiden," the first act composed by Gallus, the second by Winter, first produced October 23, 1797, bore a striking resemblance to the PERFORMANCES AND IMITATIONS. "Zauberflöte."[ 71 ] In the following year appeared "Das Labyrinth, oder der Kampf der Elemente," announced as a continuation of the "Zauberflöte," by Schikaneder and Winter;[ 72 ] it was performed in Berlin with great magnificence in 1806.[ 73 ] Goethe's design of continuing the "Zauberflöte" has been already mentioned (Vol. III., p. 314, note). It would be superfluous to enumerate the performances of the "Zauberflöte" in Germany. It soon took possession of every stage in Vienna. In 1801 it was given at the Karnthnerthortheater with new scenery by Sacchetti.[ 74 ] Schikaneder was not mentioned, which gave rise to some coarse pamphlets in doggerel verse.[ 75 ] Schikaneder's answer was a brilliantly appointed performance of the "Zauberflöte" in his new theatre An der Wien, which he recommended to the public in some doggerel lines as Papageno, not failing also to parody the defective machinery of the other theatre.[ 76 ] The run was extraordinary,[ 77 ] but he had taken so many liberties with the work—omitting the quintet, for instance, and inserting an air for Mdlle. Wittmann—that he did not escape criticism in more doggerel verses.[ 78 ]
From Vienna the opera spread rapidly to every theatre in Germany, great and small.[ 79 ] In Berlin it was first given on May 12,1794, with a success[ 80 ] that testified to the preference for German rather than Italian opera there;[ 81 ] the jubilee of this performance was celebrated on May 12, 1844.[ 82 ]
At Hamburg "the long-expected 'Zauberflöte'" was first put on the stage on November 12,1794, and soon usurped the popularity of "Oberon" and "Sonnenfest der Braminen."[ 83 ] It may be mentioned as a curiosity that the "Zauberflöte" was played in a French translation[ 84 ] at Braunschweig* and in Italian at Dresden,[ 85 ] until the year 1818,[ 86 ] when C. M. von Weber first produced it in German with great care, and quite to his own satisfaction.[ 87 ]
The "Zauberflöte" rapidly gained popularity for Mozart's name, especially in North Germany. How universal was the favour with which it soon came to be regarded may be testified by Goethe, who makes his Hermann, describing a visit to his neighbour in their little country town, say:—
Minchen sass am Klavier; es war der Vater zugegen,
Hörte die Tochterchen singen, und war entzückt und in Laune.
Manches verstand ich nicht, was in den Liedern gesagt war;
Aber ich hörte viel von Pamina, viel von Tamino,
Und ich wollte doch auch nicht stumm sein! Sobald sie geendet,
Fragt' ich dem Texte nach, und nach den beiden Personen.
Aile schwiegen darauf und lächelten; aber der Vater
Sagte: nicht wahr, mein Freund, er kennt nur Adam und Eva?!!!