37. "I am glad to compose the book. The time is short, it is true, for it must be performed about the middle of September; but the circumstances connected with the performances, and a number of other purposes, are of such a character that they enliven my spirits in such a degree that I hurry to my writing desk and remain seated there with great joy."
(Vienna, August 1, 1781, to his father. The opera referred to is "Die Entfuhrung aus dem Serail." The "circumstances" were the court festivals which were to celebrate the coming of the Russian Grand Duke, from which Mozart, as was his wont, expected all manner of future benefits.)
38. "As regards the work of Stephanie you are right, of course, but nevertheless the poetry is well fitted to the character of the stupid, coarse and malicious Osmin. I know full well that the style of the verse is none of the best, but it has so adjusted itself to the musical thoughts (which were promenading in my brain in advance) that the lines had to please me, and I will wager there will be no disappointment at the performance. So far as the songs are concerned they are not to be despised. Belmont's aria 'O, wie angstlich' could scarcely have been written better for music."
(Vienna, October 13, 1781, to his father. Stephanie was the author of the libretto of "Die Entfuhrung aus dem Serail.")
39. "An aria has been written for Osmin in the first act….You have seen only the beginning and end of it, which must be effective; the rage of Osmin is made ridiculous by the use of Turkish music. In developing the aria I have given him (Fischer, a bass) a chance to show his beautiful low tones. The 'By the beard of the Prophet' remains in the same tempo but has quicker notes, and as his anger grows continually, when one thinks that the aria is come to an end, the Allegro assai must make the best kind of an effect when it enters in a different measure and key. Here is the reason: a man who is in such a violent rage oversteps all order, all moderation; he forgets himself, and the music must do the same.
"Inasmuch as the passions, whether violent or not, must never be carried in their expression to the verge of disgust, and music, even in the most awful situations must not offend the ear but always please, consequently always remain music, I have not chosen a key foreign to F (i.e. the key of the aria), but a related one,—not the nearest, D minor, but the more distant, A minor. You know how I have given expression to Belmont's aria, 'O, wie angstlich, O wie feurig,'—there is a suggestion of the beating heart,—the violins in octaves. This is the favorite aria of all who have heard it,—of myself, as well,—and is written right into the voice of Adamberger. One can see the reeling and trembling, one can see the heaving breast which is illustrated by a crescendo; one hears the lispings and sighs expressed by the muted violins with flute in unison. The Janizary chorus is, as such, all that could be asked, short and jolly, written to suit the Viennese."
(Vienna, September 26, 1781, to his father. Concerning the composition of "Die Entfuhrung," Mozart delivered himself at greater length and more explicitly than about any other opera. From the above excerpt one can learn his notions touching musical characterization and delineation. ["Turkish" music, or "Janizary" music, is that in which the percussion effects of Oriental music are imitated—music utilizing the large drum, cymbals, etc. H.E.K.])
40. "The close will make a deal of noise; and that is all that is necessary for the end of an act;—the noisier the better, the shorter the better, so that the people shall not get too cool to applaud."
(Vienna, September 26, 1781, to his father. The Trio at the end of the first act is the finale referred to.)
41. "My opera is to be performed again next Friday, but I have protested against it as I do not want it to be ridden to death at once. The public, I may say, are daft about this opera. It does a fellow good to receive such applause."