Chapter XXV: "die Entführung Aus Dem Serail." (2)

In order to give an adequate idea of Fischer's powers, the two serious songs composed for him by Mozart must be considered along with this decidedly comic part. The above-mentioned, "Non sò d'onde viene" (512 K.), broad in conception and style, displays the whole compass and wealth of Fischer's organ in the most favourable light. The other, "Aspri rimorsi atroce" (432 K.), composed in 1783, is remarkable for the expression of a gloomy, agitated mood, not illumined by any ray of light.

An expressive recitative is followed by a single movement (allegro, F minor) in incessant agitation, the almost uninterrupted triplets of the stringed instruments giving it the character of trembling unrest. The voice part is very striking by reason of its decided rhythm and frequent dissonant intervals; but it is mostly declamatory, and there is no appearance of a cantilene proper; the wind instruments give effect to the strong accents. The whole song pursues its rapid course like a gloomy nocturne, and dies away at last in a dull moan. This song is distinguished among all that Mozart has written by its uninterrupted expression of gloomy passion, and it would be almost inconceivable that he intended it for concert singing, did we not know that Fischer was to sing it: he was unsurpassed in every species of delivery.

The parts of Blondchen and Pedrillo are not by any

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means so important in their characterisation as those of the principal personages, neither have they much influence on the development of the plot. Blondchen, besides her share in the duet with Osmin, has two songs, of which the first (8) is in no way remarkable, written evidently for a seconda donna. The only point to be noted is a passage going up to--[See Page Image]

which gives proof of Mdlle. Teyber's vocal powers.[61] The second song (12) is far fresher and more original, and expresses heartfelt joy in so lively and charming a manner, without ever overstepping the province of a good-humoured soubrette, that the hearer is involuntarily beguiled into the same cheerful frame of mind. A German element is unmistakably present (we are reminded of the "Zauberflote"), and we may note the first appearance of those naïve girl-parts common to German opera.[62]

Mozart has given to Pedrillo's song (15) somewhat of a military tone, suggested perhaps by the opening words "Frisch zum Kampfe!" and although his servile nature is indicated here and there in the accompaniment, the effect of the whole is too forcible and brilliant for the character.[63] On the other hand, the romanze (18) which he sings in the third act to the guitar is a jewel of delicate characterisation. Not, however, with any reference to Pedrillo himself, for he sings the song, not from personal impulse, but as something he has heard and learnt; but the strange effects of harmony and rhythm, the mixture of bold

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knightly impulse with timid dismay, is so fantastic, so unreal, that we seem to be ourselves in Moorish lands, and are readily persuaded that we are listening to genuine Moorish music. But we are listening, in fact, to no music but Mozart's, whose own mind evolved the music which the situation demanded, without any previous philological study of Moorish national melodies. The two choruses of janizaries (so Mozart calls them in the score[64] ) are not only characterised by the Turkish airs they embody, but by original harmonies and rhythm which give them a foreign and national character, without any special regard as to whether it is actually Turkish or not.[65]

We have already had occasion to remark how the ensemble movements proceed naturally from the exigencies of the situation, and are therefore essential to the musical characterisation of the work. This is especially true of the quartet (16), which forms the conclusion of the second act. Belmont and Constanze meet for the first time in the Pasha's garden, where are also Blondchen and Pedrillo. The meeting of the lovers is the more significant, since it is in anticipation of their approaching flight. An unusually elevated tone of sentiment is therefore common to them all; but the particular circumstances produce many different shades of feeling, and each character has its own distinct peculiarities. It is the task of the composer to combine this multifariousness into an artistic whole. The scenic accessories come very happily to his aid. The two pairs of lovers wander about the garden in close converse, so that they are heard sometimes apart, sometimes one after the other, sometimes together, according to the requirements of the situation and of the musical grouping. The beginning is a simple matter. Constanze and Belmont

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express their feelings in a short duet-like movement, full of heart, such as Mozart has made proper to lovers. When they turn aside Pedrillo and Blondchen advance, deep in consultation on the flight, so that the music assumes a lighter and more cheerful tone. But their thoughts are also occupied with the approaching happy turn in their fortunes, and when Belmont and Constance draw near, they all spontaneously join in the expression of joyful emotion. Small touches betray the master. The consultation between Pedrillo and Blondchen is in A major, and closes with an easy phrase on the words: "Wär der Augenblick schon da!" ("O, that the moment had come!"), very expressive of the girl's character. The orchestra at once takes up this phrase with great emphasis, produced both by the sudden change to the key of D major and by the forcible unison of the instruments, as if they were exclaiming, "It has come!" and then leads back simply and expressively to the leading motif, which now for the first time asserts its full significance:--[See Page Image]

But now the tone grows troubled. Belmont cannot repress a feeling of jealousy, and, embarrassed and confused, he seeks to express his doubts to Constanze, who does not understand him. Pedrillo follows in the same direction to Blondchen, who is far more ready in apprehending his meaning. The oboe gives charming expression to the feelings which the jealous lovers scarcely dare to clothe in words. Then Belmont and Constanze came forward again. The two men speak together, each after his manner--Belmont noble and open, Pedrillo with chattering haste. Constanze bursts into tears, Blondchen answers Pedrillo with a box on the ears; the women lament together, and the men are aware that they have gone too far. After the lively expression of these contrasting emotions in rapid alternation,

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the lovers emerge from the confusion, explain themselves as to their true feelings, and so prepare for the reconciliation. The short ensemble movement in which Mozart consummates this dénouement (andante 6-8) is one of those passages of which a friend used to say that "der liebe Gott" himself could not have done it better; the purest beauty and a truly holy expression of satisfaction penetrates the simple and unpretending phrase. The magic of such conceptions cannot be rendered in words, nor can it be satisfactorily indicated by what actual means the effect is attained, and yet it is always of interest to see the master in his workshop.

It is easy to see in this case that the key selected (A major) combines with the rhythm and the harmonic treatment to produce the wished-for effect. It gives the voices a pitch allowing of the clearest and most melodious tones, heightened in their effect by the deeper pitch of the accompanying stringed instruments, and it also, although in fact the nearest key to the principal one, produces an impression of surprise as great as though it were a more distant one. This is due to what precedes the adoption of the A major key. The first movement in D major is followed by one in G minor, which leads to E flat major, B minor, F major; D minor is just touched, but only to pass again through C minor and B flat major into G minor, with a rapid transition into E major. After this restless change of key, the passage into A major has a wonderfully tranquillising effect, and the adherence to the key throughout the movement gives it a peculiar charm. But the reconciliation has not yet taken place; the lovers sue for pardon, but the two women allow them first to feel their injustice, and here Blondchen assumes the lead by virtue of her fluent tongue, while the men supplicate more and more earnestly, until at last peace is concluded. This movement is a model of dramatic characterisation. An excellent effect is produced by Blondchen's singing throughout in triplets (12-8 against 4-4), in contrast to the calm flowing melodies for the other voices. The movement only acquires its full significance by contrast with what has preceded it.

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When pardon has been granted, every trace of past sorrow is obliterated by the feeling of complete satisfaction. After so much mental strain a complete relaxation is necessary from a musical point of view. The last movement is therefore very simple, although appropriately brilliant and fiery. It seldom departs from the principal key, and is frequently in canon form; very light passages for the voices, rapid instrumentation, and an unusually effective _crescendo_ at the close, give it an impulsive and quickening effect. This was the first really dramatic ensemble movement in a German opera, and in it we find concentrated all Mozart's services to the German opera--a full and free employment of all the means afforded by song and orchestra to give musical expression to emotion, without subservience to any more binding forms than those laws which are founded on the nature of music.

The masterly treatment of the orchestra in the "Entführung has been repeatedly pointed out, and there is no need to repeat that Mozart turned to account all the advantages offered to him by the Vienna orchestra. In comparison with "Idomeneo" the instrumentation is not exactly scantier, but it is clearer and simpler; the tendency to employ the different instruments independently, to bring forward subordinate subjects, &c., is held in check, and the details are more lightly treated on account of stage effects. "I think I may venture to lay down," says Weber, "that in the 'Entführung' Mozart's _artist experience_ came to maturity, and that his _experience of the world_ alone was to lead him to further efforts. The world might look for several operas from him like 'Figaro' and 'Don Juan,' but with the best will possible he could only write one 'Entführung.' I seem to perceive in it what the happy years of youth are to every man; their bloom never returns, and the extirpation of their defects carries with it some charms which can never be recovered."[66]

FOOTNOTES OF CHAPTER XXV.

[Footnote 1: Gottsched, Nothiger Vorrath, p. 314.]

[Footnote 2: Schletterer, Das Deutsche Singspiel, p. 110.]

[Footnote 3: Chronologie des Deutschen Theaters, p. 109. Plümicke, Entwurf e. Theatergesch. von Berlin, p. 193.]

[Footnote 4: Furstenau, Zur Gesch. der Musik zu Dresden, II., p. 246.]

[Footnote 5: Chronol., p. 159; Cäcilia, VIII., p. 277.]

[Footnote 6: Weisse, Selbstbiogr., pp. 25, 41; Blümner, Gesch. d. Theat. in Leipzig, p. 98.]

[Footnote 7: Blümner, ibid. Danzel, Gottsched, p. 172.]

[Footnote 8: Chronol., p. 202]

[Footnote 9: Chronol., p. 247.]

[Footnote 10: Blumner, Gesch. d. Theat. in Leipzig, p. 159. Hiller, Wochentl. Nachr., I., p. 219; II., pp. 135, 150. N. Bibl. d. Schön. Wiss., 1767, IV., p. 178. [Reichardt] Briefe e. Aufm. Reia., II., p. 23. Meyer, L. Schroder, I., p. 131. Goethe, Werke, XVII., p. 295.]

[Footnote 11: Hiller, Wöch. Nachr., I., p. 253; III., p. 59.]

[Footnote 12: Weisse, Selbstbiogr., p. 102.]

[Footnote 13: Hiller, Lebensbeschr. beruhmter Musikgelehrten, p. 311.]

[Footnote 14: Cf. Deutsch. Museum, 1779, II., p.268. Plümicke, Entwurf e. Theatergesch. von Berlin, p. 205. The contrary is reported of Cassel as a rare exception (Berl. Litt. u. Theat.-Ztg., 1783, II., p. 409).]

[Footnote 15: L. Schneider, Gesch. d. Oper in Berlin, p. 209.]

[Footnote 16: The constitution of the operatic repertory of the time is shown in the review of the operettas performed in Berlin from 1771-1787 by Schneider (Ibid., p. 206.).]

[Footnote 17: Reichardt, Ueb. d. Com. Oper., p. 20.]

[Footnote 18: "Operettas are the favourite pieces in Berlin, and cost a great deal of money," wrote Ramier to Knebel, in 1772 (Litt Nachl., II., p. 36). He paid the actors of the first parts one louis-d'or, of the second one ducat, and the rest two gulden for a first performance (Plümicke, Entwurf e. Theatergesch. von Berlin, p. 274).]

[Footnote 19: Briefe e. Aufmerks. Reisenden, I., p. 147.]

[Footnote 20: Briefe e. Aufmerks. Reisenden, II., p. 94. Burney, Reise, III., p. 46.]

[Footnote 21: "Comic operas push out all tragedies and legitimate drama," complained Ramier in 1771 (Knebel, Litt. Nachl., II., p. 33). Boie writes to Knebel to the same effect in 1771 (Litt. Nachl., II., p. 108): "I do not like operettas. The taste which our public is developing for them threatens to extinguish all hope of the revival of true comedy." So also Schubart, Teutsche Chronik, 1774, pp. 349. 478; Knigge, Ephemer. d. Litt. u. d. Theat., 1785, II., p. 98.]

[Footnote 22: A. M. Z., III., p. 327.]

[Footnote 23: Lessing's Werke, XI., p. 152.]

[Footnote 24: Weissc, Selbstbiogr., p. 103. Engel says the same in the preface to the "Apotheke," p. viII. Cf. Schmid, Das Parterr, p. 155.]

[Footnote 25: Briefe eines Aufmerks. Reisenden, I., p. 141. Ueb. d. Com. Opera, p. 6. Cf. Mus. Kunstmag., I., p. 161. Geist des Mus. Kunstmag,, p. 94.]

[Footnote 26: Riemer, Mitth., II., p. 111.]

[Footnote 27: Riemer, Mitth., II., p. 194.]

[Footnote 28: Goethe, Br. an Frau von Stein, III., pp. 181,191. Knebel, Litt. Nachl., I., P 149.]

[Footnote 29: Riemer, Mitth., II., p. 192. Briefw. m. Zelter, II., p. 121.]

[Footnote 30: Goethe, Werke, XXI., p. 6. Cf. Br. an Frau von Stein, III., p. 235.]

[Footnote 31: Cf. Goethe, Briefw. mit Zelter, II., p. 121. Riemer, Mittheil., II., p. 292.]

[Footnote 32: "Belmont und Constanze, oder die Entfuhrung aus dem Serail." Eine Operette. in drei Akten von C. F. Bretzner (Leipzig, 1781). A French adaptation, "L'Enlèvement" was made by Ch. Destrais, Strasburg, 1857.]

[Footnote 33: Jul. André has lately published this interesting relic: duet, "Welch ängst-liches Beben," zur Oper "Die Entfuhrung aus dem Serail " von Mozart. Offenbach: André (389 K.).]

[Footnote 34: Cramer, Magazin der Musik, II., p. 1057.]

[Footnote 35: In Constanze's aria the words run:-- Mozart had previously written to his father (September 26, 1781): "! have altered Hui into schnell, thus: 'Doch wie schnell schwand meine Freude.' I do not know what our German poets are thinking of. Even if they do not trouble themselves to understand what is best fitted for dramatic or operatic treatment, they need not make human beings converse like pigs."]

[Footnote 36: Reichardt finds special fault with the rhyming in his Briefe über die musikalische Poesie, p. 115 (an appendix to his pamphlet on the German Comic Opera, Leipzig, 1774).]

"Doch im Hui schwand meine
Freude Trennung war mein banges;
Und nun schwimmt mein Aug' in
Thränen Kummer ruht in meinem Schooss."]

[Footnote 37: It must be kept in mind that German operatic poets confined themselves to imitating Italian opera libretti, which were all cast in the same mould. Krause's pamphlet, highly esteemed by contemporaries, Von der musikalischen Poesie (Berlin, 1752) takes this for granted; Hiller (Ueber Metastasio, 1786, p.6) refers the German librettists to Metastatio; even Goethe, although in another way, endeavoured to form German vaudeville after an Italian type. Views of the subject, similar to those of Mozart and Reichardt, are carried out in detail in Cramer's Magazin der Musik, II., p. 1061.]

[Footnote 38: Gluck's intentions were unquestionably the same. He warred against the mechanical formalism of musicians, and strove to free the composer from the fetters of form and make him a poet. But he was in some danger of going too far, and making the musician merely the interpreter of the poet.]

[Footnote 39: Cf. Hanslick, Vom Musikalisch-Schönen, p. 27.]

[Footnote 40: The same difficulty has led composers of the present day to write their own libretti. But it is not in nature that the highest aims can thus be attained. Burney quotes Metastatio's utterances on this point (Reise, II., p. 222). Cf. O. Jahn, Ges. Aufs. üb. Musik, p. 70.]

[Footnote 41: Cf. Hanslik Vom Musikalisch-Schönen, p. 78.]

[Footnote 42: Lessing has some excellent observations on the relations of music to poetry in the continuation of his Laokoon (Werke, XI., p. 153).]

[Footnote 43: Hiller, Wochentl. Nachr., I., p. 256. Lebensbeschreibungen, I., p. 312. Reichardt, Ueb. d. Com. Oper, p. 8.]

[Footnote 44: He was perfectly aware that comic opera must follow its own laws. "You cannot imagine,'' he wrote to his father (June 16,1781), "that I should write an opéra comique in the same style as an opera seria. Just as in an opera seria there must be a display of much learning and good sense, and very little playfulness, so in an opera buffa there must be very little display of learning and a great deal of playful merriment. It cannot be helped if people will have comic music in an opera seria; but there is a great difference. I believe that buffoonery is not quite rooted out of music yet; and in this case the French are right."]

[Footnote 45: The autograph score of the "Entfùhrung" (384 K.), in three volumes (453 pages), was presented by Mozart to his sister-in-law, Madame Hofer, one evening when she had especially gratified him by her singing; it is now in the possession of Paul Mendelssohn-Bartholdv. of Berlin. Some of the odd sheets are in Andre's collection. Wolfgang writes to his father July 20, 1782: "You will find many erasures, because I knew that the score would be copied at once; so I let my ideas have free play, and made my alterations and abbreviations before sending it to the copyist."]

[Footnote 46: The ancients indicated this distinction by the terms _pathos_ and _ethos_.]

[Footnote 47: Meyer II. Schroder. I., p. 368 speaks of his nasal tones in the high notes.]

[Footnote 48: These are the beautiful air, "Per pietä non ricercate" 420 K.. part Si; the air written in 1785 for the oratorio "Davide Penitente " (469 K.. 61. "A te fra tanti attanni" and a grand air belonging to 1783 (431 K. part 3.) which is one of the most beautiful. It supposes a faithful lover awaking to find himself in prison, and expressing his surprise and anger in an agitated recitative, "Misero! O sogno!" In the andante, "Aura che intomo spin," his thoughts turn to his beloved one, for whom he is suffering; a simple and dignified cantilene, full of warm, deep feeling. The allegro, expressive of his horror at his position, is full of wild excitement and anguish. The whole song is simple and full of manly dignity without bravura, which seems to have been Adam-berger's peculiar style. The musical treatment is rich in interesting detail; the wind instruments--flutes, bassoons, and horns--are employed to give individual colouring.]

[Footnote 49: This air was considerably abbreviated by Mozart. In the adagio there was originally a distinct middle movement following the second occurrence of the subject; it passed into the key of E flat major, and at the seventeenth bar closed in D minor, whereupon the first subject recurred. The allegro was also shortened.]

[Footnote 50: This air also was considerably altered by Mozart.]

[Footnote 51: The same may almost be said of the air "Tra le oscure ombre funeste," which Mozart composed in 1785 for Mdlle. Cavalieri in the oratorio, "Davide Penitente" (469 K., 8). The first movement is expressive of earnest feeling; the second has more of bravura.]

[Footnote 52: Salieri narrates that Gluck was dissatisfied with one part of his "Danaides" without knowing the reason why; after many repetitions he exclaimed at last, "I have it! the passage _smells of music!_" (Mosel, Salieri, p. 79).]

[Footnote 53: The bravura part was originally extended into eleven bars (from bar 5, p. 153)f with the voices and instruments contending; the close was also longer, fifteen bars being inserted at p. 175, bar 7. Rochlitz asserts (A. M. Z., I., p. 145) that in later years Mozart undertook a searching revision of the "Entfuhrung," making numerous alterations, especially abbreviations. "I heard him play one of Constanze s principal airs, after twofold revision, and deplored some of the omitted passages. 'They may do for the piano,' said he, 'but not on the stage.' When I wrote that I was too fond of hearing myself, and did not know when to leave off." This is the only instance known of such hypercriticism on Mozart's part.]

[Footnote 54: It has already been remarked that Mozart made use of a motif from "Zaide" for this air (Vol. II., p. 121).]

[Footnote 55: Tieck, Dramaturg. Blatter, II., p. 315: "The duet is one which may draw tears from the eyes of the most insensible." Even Berlioz (X Travers Chants, p. 243) thought highly of it.]

[Footnote 56: Cf. Lobe, A. M. Z., XLVIII., p. 537.]

[Footnote 57: A singular effect is given by the sustained notes of the oboes and bassoons with the appoggiatura:--[See Page Image] Mozart has made a similar use of them in the Wedding March in "Figaro," where he was equally desirous of imparting peculiarity of colouring.]

[Footnote 58: Mozart has used only the piccolo flute here, as specially adapted for the tattoo-like principal subject, and its wild, shrill conclusion. The clarinets are very originally treated, particularly in those places where they are apart from the other wind instruments and support the voice with sustained notes.]

[Footnote 59: Mozart's expression, in his letter to his father (September 26, 1781), "The drinking duet, which consists entirely of my Turkish tattoo (Zapfenstreich)," leads to the conclusion that he has here made use of an earlier composition, with which I am not acquainted. The Turkish music, in conjunction with trumpets (no drums), is admirably suggestive of Osmin's excited, half-tipsy state.]

[Footnote 60: This motif was evidently composed just as Osmin sings it. Fischer's flexible and melodious voice made it doubly effective in contrast to the less voluble tenor, so characteristic of the insignificant Pedrillo. At the outset, an admirable effect is produced by the violins, strengthened by piccolo and ordinary flutes, which gently accentuate the melody detached from its simple but agitated accompaniment. There is something peculiarly seductive in this melodious rippling sound, of which there is another instance in the Moor's song in the "Zauberflöte."]

[Footnote 61: In its first design this air was considerably longer; the second part began at p. mt bar 9, instead of p. 109, bar 19; it was in D major, instead of A major, and led back into the first subject, bringing the whole to a conclusion after twenty-nine interpolated bars.]

[Footnote 62: The instrumentation of this air in full, and the orchestral parts carefully worked out; the accompaniment at the words "ohne Aufschub will ich eilen" is unusually charming and animated. It also has been shortened by Mozart.]

[Footnote 63: Arnold (Mozart's Geist, p. 375) interprets the words as though Pedrillo was trying to assume a courage which he did not possess.]

[Footnote 64: He writes to his father of the first (September 26, 1781): "The janizary chorus is all that can be desired, short and merry, and very well suited for the Viennese public."]

[Footnote 65: Ulibicheff, who makes some striking observations on this chorus, notices its many points of resemblance (such as the alternation of relative major and minor keys) to Russian national melodies, with which Mozart may have become acquainted at Prince Gallitzin's (II., p. 375).]

[Footnote 66: C. M. von Weber, Lebensbild, III., p. 191. Cf. A. Wendt, Leipzig Kunstbl., 1817, p. 189. (Heinse, Reise- und Lebensskizzen, I., p. 298.)]