Chapter XLI: "così Fan Tutte," (2)

which the wind instruments take up by turns. These are the elements which in rapid and incessant alternation chase each other through the overture like feather balls tossed from hand to hand, until the merry game is interrupted by the phrase which gave birth to it: "Cosi fan tutte!" Again the crescendo rises to its highest pitch, and closes with a few powerful chords. The gay and wanton tone of the opera could scarcely be better suggested, the overture being in very truth the most perfect expression of careless gaiety. In the clear flow of its lively frolic we see some resemblance to the overture to "Figaro," but the deep, fine feeling which shines through the tumult of the earlier work would be out of place, and may be sought for in vain in the overture before us.

The characters presented to us in this opera lend themselves best to musical treatment when they join in ensemble pieces.[59] The definite situations give strength to the characterisation, which is further aided by the contrast of the persons concerned; and the dramatic motive adds variety and energy of expression. The sestet in the first act (13) is very simple in design, but effective from its well-placed contrasts and judicious climax. The introduction of the friends has a marchlike character. Don Alfonso recommends them to Despina's favour, and they add more lively entreaties, in accordance with their assumed characters; Despina's mirth

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is excited by the extraordinary figures before her, while they are delighted to find that she does not recognise them.

The action begins with the entrance of the two ladies. The urgent suit of the lovers is now opposed to the strong displeasure of the sisters, Despina making common cause with the former. The declaration of love is emphasised in an unusual fashion by the transition of the harmony into a minor key,[60] by the chromatic movement of the parts, and by the clarinet, bassoon, and violoncello accompaniment. The astonishment of the two ladies at first gives a painful tone to the expression, but as soon as they have recovered sufficiently to give vent to their indignation the situation changes. The lovers rejoice in silence over this proof of fidelity, while Despina and Don Alfonso affect to find some grounds for suspicion in the very violence of the resentment displayed by the sisters. The grouping of the characters is also changed. Fiordiligi and Dorabella, divided between anger at the intruders and the remembrance of their absent lovers, stand together; on the other side the lovers join issue, and Despina and Don Alfonso observe the course of affairs together; it is with right judgment that the two latter are put prominently forward, especially at the passage--[See Page Image] for they command the situation, and this passage throws a light upon the tumult and confusion which prevail. Mozart's temperate discrimination in the use of means has here again enabled him to mould all this into a musical whole of perfect unity. The situation of the first finale is nearly allied to this, but more vividly characterised in the details, and more elaborately worked out. It begins with a very amorous

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duet for the forsaken fair ones, introduced by a long ritornello and worked out in independent style; a counterpart to the first duet, only that here the expression is naturally more fond and languishing. The sensual, dreamy mood thus represented is broken in upon by the harsh dissonances and disjointed rhythm of the poisoning scene, and ends with a pathetic ensemble and the swooning of the lovers. During the absence of Don Alfonso and Despina in quest of aid, a calmer tone is adopted, which grows gradually more animated as the sisters express their terror and anxiety, and the lovers their satisfaction at the state of affairs, and enjoyment of the comic scene in which they are playing the chief parts. But when the sympathy displayed by the ladies at the sight of their apparent sufferings gradually becomes so demonstrative that there seems some danger of pity being transformed to love, the tables are turned, the lovers begin to be anxious, and a state of painful suspense overmasters them all. At this point there occurs one of those deeper and more delicate psychological manifestations which Mozart so well knew how to render, and in which, as usual, the orchestra co-operates. At first, two characteristic motifs which go through the whole movement, a triplet figure--[See Page Image] and an interrupted one of quite a different character-- combine together, but then there enter two others-- to express the painful sensations of the poisoned lovers. The orchestra carries this idea out in manifold combinations, and thus affords a characteristic groundwork for the expressions of gradually augmenting compassion. The lovers, become suspicious, now express their anxiety, and they finally all concur in a distrustful uncertainty, plaintively

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rendered by imitative chromatic passages. The entertaining and truly comic element of the situation consists in the fact that the merry trick which Ferrando and Guillelmo hoped to play takes so doubtful a turn, and that the emotions, on both sides genuine, spring from quite other sources, and take quite different directions from those which are outwardly indicated. Mozart has seized the situation with ready humour, and, as usual, the right apprehension of the dramatic part of the work has improved the conception and treatment of the musical element; this movement is in every respect a masterpiece, and belongs to Mozart's most exquisite compositions. The scene changes completely with the entrance of the disguised physician, and the key of the dominant G major, following the close in C minor, makes the same impression of freshness as the introduction of an entirely new element.[61] All is now animation and life--question and answer are rapidly exchanged, help is asked for and given, and in the midst stands the charlatan playing out the farce with due solemnity, and infusing the whole scene with wit and humour.

After the completion of the pretended cure, the lovers again come to the foreground and express their passion in extravagant ravings; the reluctance of the ladies, in spite of Despina's and Don Alfonso's persuasions, again gives a comic tone to the situation, contributing to the production of an ensemble singularly rich in contrasting sentiments. The orchestra again serves as a groundwork, and an original and persistent violin figure gives the andante a strange, somewhat solemn character, with which the voices frequently contrast in a manner highly suggestive of the situation. The instrumentation also lends its aid. Not only are the stringed instruments here employed so differently to the preceding movement that they scarcely seem the same instruments; but, whereas oboes with flutes and bassoons

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predominated in the former case, here clarinets and bassoons are reinforced by trumpets with highly original effect. The tone-colouring alters completely at the commencement of the allegro. The flutes in unison with the violins, and the tremolo quaver accompaniment, express a decree of sensual excitement which contrasts strikingly with the calm, exalted tone of the andante. The lovers awaking from their trance and demanding a kiss, the sisters are transported with an indignation far more intense than that excited by the first encounter. Don Alfonso and Despina seek to pacify them, and an unwilling suspicion that the very violence of the resentment argues against its absolute sincerity modifies in the minds of the lovers the comic impression of the whole scene. The dramatic characterisation of all these opposing elements, the well-defined grouping of the characters, the force and fire with which the climax is worked up, and the tumult of excited emotions with which the finale ends, give it a place above the corresponding first finale in "Figaro," and on a level with that in "Don Giovanni."

The second finale begins with the wedding ceremony, which is charmingly and graphically depicted. Despina, who is joined by Don Alfonso, gives directions to the servants for the reception of the bridal party, and the whole of the first movement sparkles with life and gaiety, preparing the way for the festive chorus in which the two couples are presently welcomed. Then follows the endearing talk of the lovers, who seat themselves at table, drink to each other, and finally join in an amorous canon. This is a trait taken from the social manners of the time (Vol. II., p. 362), just as the independent treatment of the wind instruments during the whole scene represents the customary table music.[62] A startling enharmonic transition (from A flat major to E major) transports us out of this lovesick mood, and the scene which follows with the notary is as full of humour as that with the physician, although the context

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necessitates greater moderation of tone; it is effectively interrupted by the distant chorus proclaiming the return of the warriors. The consternation and confusion which ensue have no real interest for the audience, who are aware of what the issue must be; the plot is therefore hurried rapidly to an end, and does not admit of any connected musical treatment. The composer has been forced to content himself with bringing out certain points, such as the feigned terror of Don Alfonso, the real alarm of the ladies, and the joyful greetings of the returning lovers. The situation becomes more piquant when Despina unmasks, and when the lovers discover themselves as the pretended Albanians; and Mozart has rendered both these points with true musical humour. But the purely musical interest does not reassert its sway until the reconciliation has taken place, and a feeling of peace and happiness is diffused around. The last movement more especially is full of such calm and melodious beauty that we feel lifted above the vanity and triviality of so much that has gone before, and left with an impression of heartfelt gaiety and satisfaction.

A nearer examination of the opera shows that the libretto, never rising above the ordinary opera buffa, has not seldom dragged the music down to its own level. The caricature and exaggeration indispensable to this species of comic drama have indeed been made by Mozart, as far as possible, the natural outcomes of the situations and characters, and are thus justified as an artistic element of the work, but he has not been able altogether to avoid the substitution of external stage devices for psychological truth. The attempt is more visible in this work than in any other to render the meaning of the words through the senses; the accompaniment is especially rich in detail-painting, instead of being, as in Mozart's other works, called upon to add the more delicate shades of emotional characterisation. In the duet between Guillelmo and Dorabella (23) the orchestra gives the heart-beats which are made the chief point of the words; in the lovely terzet (10) the raging of wind and waves, and in the preceding quintet (9) the sobs, are distinctly expressed. Even subordinate ideas are represented

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after the same realistic manner, as, among others, the drawing of the swords in the first terzet, the flourish of trumpets and clinking of glasses in the third, the piping and cannon reports in the war chorus (8), the beating of the heart in Dorabella's air (28) suggested by the quavers on the oboe, and the general clinking of glasses in the last finale by the pizzicato of the violins.[63] These are all pleasing touches, introduced without injury to more important features, but they do not reach to the same height of psychological characterisation which we are wont to admire in Mozart's operas. Other devices of opera buffa are more constantly employed here than elsewhere, especially rapidity of speech; but, on the other hand, there is no trace of any attempt at imitating national peculiarities, even when the disguises assumed might have given rise to it; Mozart could not but feel that a musical disguise of the kind would very soon, fatigue the audience. The effort to cater to the taste of the public goes hand in hand with submission to the dictates of the singers, and we find their influence far more visible in "Cosi fan Tutte" than in "Figaro" or "Don Giovanni." There is an evident effort to please individual taste in the concerted airs, and in the unusually light and pleasing melodies; such concessions cause this opera, more than any other, to resemble the best works of Italian masters.

The peculiar qualities of Mozart's nature, his refinement and nobility of thought, his wealth of productivity, and his marvellous technical knowledge, are as distinctly marked in this opera as elsewhere. The planning, the construction, the grouping of parts, are so firm, so transparently clear, that we follow even the most complicated movements with ease. The freedom and pliancy of the disposition of parts, where there occurs a combination of different characteristic melodies, the easy dexterity displayed in the employment of contrapuntal forms, co-operate to excite and rivet the attention of the hearer, without causing him any sense of effort.

The quality, however, which delights us more than any other in this opera is its delicate sense of beautiful sound,

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and the ease with which this sense is made evident throughout. It is a quality, no doubt, inseparable from inventive power and a talent for construction, but it is not universally effective in the same degree, and it is rare to find such a union of the forces which regulate the impression made by musical beauty upon the senses. Even the orchestra, although deficient in the delicate detail of "Figaro" and "Don Giovanni," is in other respects fuller, more brilliant, and richer in separate instrumental effects. The wind instruments are brought more forward, in more varied combinations and finer shades of tone-colouring. The clarinets are made effective, and a characteristic distinction made between their employment and that of the oboes. An original use is made of the trumpets: apart from drums they are not trumpet-like in the ordinary sense, but are used in place of the horns (not in combination with them), and mostly in the lower registers, in order to give freshness and force to the tone-colouring. Similar observations might be extended to show in detail with what refined penetration and correct judgment of effect the forces of the orchestra are made to conduce to the euphonious charm of the opera. That "Cosi fan Tutte," considered as a whole, and in respect of importance and detail of characterisation, is inferior to "Figaro" and "Don Giovanni," no competent critic will deny. Nevertheless many separate portions of the work, and the large majority of the characters, display Mozart's genius and mastery of his art in full measure of originality and brilliancy, and in many respects this opera may be held to indicate an important step in advance of all that has gone before it.

FOOTNOTES OF CHAPTER XLI.

[Footnote 1: N. Berl. Mus. Ztg., 1856, No. 5, p. 35.]

[Footnote 2: N. Wien. Mus. Ztg., 1852, No. 35.]

[Footnote 3: Wien. Ztg., 1788, October 15, No. 83, p. 2,541.]

[Footnote 4: From August 29, when "Figaro" was first placed on the stage, it was given eleven times (August 31; September 2, 11, 19; October 3, 9, 24; November 5, 13, 27); fifteen times in 1790, and three times in 1791.]

[Footnote 5: Fr. Heinse (Reise-und Lebensskizzen, I., p. 184) mentions a rumour that a story current in Vienna at the time concerning two officers and their mistresses furnished the subject for the opera, which was adopted by the express desire of the Emperor.]

[Footnote 6: Da Ponte mentions it only briefly (Mem., II., p. 109).]

[Footnote 7: In the Wien. Ztg., 1790, No. 9, Anh., the date is printed, "Mittwoch, 16 Januar."]

[Footnote 8: Joum. des Luxus u. d. Moden, 1790, p. 148: "I have again to announce a new and excellent work by Mozart acquired by our theatre. It was performed yesterday for the first time at the Imp. Nat. Theatre. It is entitled,'Cosi fan Tutte, osia la Scuola degli Amanti.' Of the music, it is sufficient to say that it is by Mozart."]

[Footnote 9: It was repeated after the first performance, on January 28,30; February 7, 11. After the death of Joseph II. (February 20) the theatre was closed until April 12; Mozart's opera was given again June 6, 12; July 6, 16; Aug. 17; in all, therefore, ten times; then it was allowed to drop.]

[Footnote 10: The first book of the words, "Cosi fan Tutte, osia la Scuola degli Amanti. Dramma giocoso in due atti, da rappresentarsi nel Teatro di Corte l' anno 1790," was shown to me by Sonnleithner.]

[Footnote 11: In the original recitative (Act I., sc. 9), Trieste was written, and altered into Naples; Venezia is in the printed score.]

[Footnote 12: The words with which Don Alfonso begins the second terzet-- "È la fede delle femine Come l' Araba fenice: Che vi sia, ciascun lo dice Dove sia, nessun lo sà"--are borrowed from Metastasio's "Demetrio" (Act II., sc. 3), and were composed by himself as a canon (where it runs, "La fede degli amanti, &c.). It is therefore an old familiar song that Alfonso sings to them.]

[Footnote 13: According to the original score the march is first played by the orchestra alone, piano at the beginning, and _crescendo_ from the second part; at the repetition the chorus joins in _forte_.]

[Footnote 14: This scene was originally introduced by a Cavatina for Despina; after the recitative is written, _Dopo la cavatina di' Despina._ Mozart afterwards crossed out these words, probably because a better place was found for Despina's air.]

[Footnote 15: Schneider, Gesch. d. Oper, p. 61.]

[Footnote 16: Schneider, Ibid., p. 76.]

[Footnote 17: A. M. Z., XXVIII., p. 26. Berl. Mus. Ztg., III., p. 12.]

[Footnote 18: A. M. Z., XXXIII., p. 550.]

[Footnote 19: A. M. Z., XLVIII., p. 870.]

[Footnote 20: A. M. Z., X., p. 409.]

[Footnote 21: A. M. Z., XXV., p. 428.]

[Footnote 22: A. M. Z., XXXIII., p. 222.]

[Footnote 23: A. M. Z., XL., p. 440.]

[Footnote 24: A. M. Z., VII., p. 240.]

[Footnote 25: A. M. Z., XXXII., p. 375. Fr. Heinse, Reise-und Lebensskizzen, I., p. 183.]

[Footnote 26: A. M. Z., XIV., p. 189. Cf. XVI., p. 154.]

[Footnote 27: A.M.Z., XII., p. 500; XVI., p. 451.]

[Footnote 28: A. M. Z., XVIII., p. 895.]

[Footnote 29: A. M. Z., XIII., pp. 526, 720; XIX., p. 550; XXII., p. 813.]

[Footnote 30: Pohl, Mozart u. Haydn in London, p. 146. Parke, Mus. Mem., II., p. 259.]

[Footnote 31: A. M. Z., XLIV., p. 750.]

[Footnote 32: The autograph score is arranged and written quite in Mozart's usual manner. The recitative of the scena (XI. and XII.), [the duet (29), completed by a strange hand, exists in Mozart's manuscript], the serenade (21), the accompanied recitative for Fiordiligi before the air (25), and the whole of scena (XIII.) of the second act, besides some extra sheets for the wind instruments, are wanting.]

[Footnote 33: B. A. Weber declared after the performance in Berlin (Mus. Monatsschr., 1792, p. 137): "After the 'Marriage of Figaro,' this opera is indisputably the finest. The concerted pieces more especially have a beauty and an expression which can be rather felt than described."]

[Footnote 34: Journ. d. Mod., 1792, p. 504: "The opera in question is the most absurd stuff in the world, and only sought after on account of the excellence of the music."]

[Footnote 35: In a Musikalischer Briefwechsel (Berlin Mus. Ztg., 1805, p. 293) the opera, both words and music, are severely criticised by "Arithmos," who is then in his turn ridiculed as a Philistine by "Phantasus," and the opera praised as a model of genuine irony. E. T. A. Hoffmann, too, who places the essence of comic opera in the fantastical, considers that the much-abused text of "Cosi fan Tutte' is genuinely operatic (Serapionsbrüder, I., 2, 1, Ges. Schr., I., p. 120).]

[Footnote 36: Cf. A. von Wolzogen, Deutsche Mus. Ztg., 1861, p. 137.]

[Footnote 37: In this form the opera was performed in Berlin, and again in 1822 at Braunschweig (A. M. Z., XXIV., p. 378), in 1823 at Cassel (A. M. Z., XXV., p. 450), and in 1824 at Munich (A. M. Z., XXVI., p. 588).]

[Footnote 38: Morgenblatt, 1856, No. 4, p. 75.]

[Footnote 39: This has occasioned the displacement of some of the songs, not always to their disadvantage. This version is not only far superior to all that preceded it, but is excellent in itself by reason of its taste and cleverness and careful regard for musical requirements.]

[Footnote 40: A Danish translation by Oehlenschläger, with which I am not acquainted, appears to have altogether transformed the plot (Oehlenschläger, Lebenserin-nerungen, I., p. 121; IV., p. 43).]

[Footnote 41: Hogarth, Mem. of the Opera, II., p. 188.]

[Footnote 42: These pseudo improvements have been adopted at the more recent performances of the opera at Leipzig, Dresden, Munich, Vienna, and even at Karlsruhe,by Ed. Devrient (1860).]

[Footnote 43: In the second act there are six airs, four duets, the so-called quartet and Alfonso's short scena; in the first there are six airs, two duets, five terzets, and one quintet, besides a sestet and the great scena with the chorus.]

[Footnote 44: "Oh, how inexpressibly I prize and honour Mozart," says Richard Wagner (Oper u. Drama, I., p. 54), "in that he found it impossible to write the same kind of music for 'Titus' as for 'Don Juan,' for 'Cosi fan Tutte' as for 'Figaro' I How music would have been debased thereby! A sprightly, frivolous poet handed him his airs, duets, and ensembles to compose, and according to the warmth with which they inspired him, he set them to the music which would endow them with the fullest amount of expression that they were capable of." Hotho (Vorstudien f. Leben und Kunst, p. 76) is of opinion that in "Cosi fan Tutte" the female parts are thrown into the shade by the male, while the contrary is the case in "Figaro" and "Don Giovanni," and accounts for this fact by saying that Mozart was always attracted by that side of his subject which was mostly suggestive of melody.]

[Footnote 45: It is advertised in the Wien. Ztg., 1790, No. 16, Anh., as the most beautiful duet of the new opera.]

[Footnote 46: Da Ponte, Mem., II., pp. 108,117.]

[Footnote 47: Parke, Mus. Mem., I., p. 48.]

[Footnote 48: The first part was originally given to Dorabella, the second to Fiordiligi, as far as the first finale; this was afterwards altered by Mozart. It can only have arisen from an exchange of names, for that the first part was always intended for Ferraresi is clear from the manner in which the low notes are made use of, evidently to suit her voice.]

[Footnote 49: It is suggestive for the execution that _lietissimo_ is the direction at the beginning of the voice part.]

[Footnote 50: An excellent effect is given by the alternations of the keys of E flat major and C major in the second theme, and the interchange of clarinets and oboes connected therewith.]

[Footnote 51: The tenor, Vincenzo Calvesi, who made his first appearance with his wife in April, 1785 (Wien. Ztg., 1785, No. 33, Anh.), is the same for whom, in 1785, the inserted piece, "Villanella rapita," was written (Vol. II., p. 331), and who, in 1786, took the part of one Antipholus in Storace's "Gli Equivoci," while Kelly took the other (Kelly, Reminisc., I., p. 237).]

[Footnote 52: Bassi distinguished himself subsequently in Dresden in the part of Guillelmo (A. M. Z., X., p. 410; XIII., p. 730; XIX., p. 649).]

[Footnote 53: Here again an alteration must have been made. The preceding recitative ended originally after Ferrando's words, "Dammi consiglio!" in C minor, whereupon the direction follows: _Segue Varia di Guillelmo_. Afterwards the two last bars were crossed out, and the recitative was continued on another sheet, as it is now printed, with the same direction at the end.]

[Footnote 54: The repetition by the wind instruments of the passage of such irresistibly comic gravity--[See Page Image] is wanting in the original score, and is written by the hand of a copyist on a separate sheet for flutes and bassoons only; nor do the references appear to me to be by Mozart. The insertion, however, was unquestionably in accordance with his intentions.]

[Footnote 55: In both versions, Guillelmo's air breaks off on the chord of the seventh, and is immediately followed by the terzet. At the beginning of the latter is written _ridono moderatamente (not fortissimo_).]

[Footnote 56: Rochlitz, A. M. Z., III., p. 592.]

[Footnote 57: This appears to be a later alteration. The preceding recitative ended originally at--[See Page Image] and the direction followed _Segue V aria di Don Alfonso;_ the d was crossed out, and attacca written against it. Even if Mozart did not look upon the ensemble as a regular quartet, he could scarcely have denominated it "Aria di Don Alfonso"; such an aria must therefore have been projected, and afterwards changed for the ensemble.]

[Footnote 58: Rochlitz, A. M. Z., III., p. 593. Cf. Ambros, Culturhistor. Bilder., p. 191.]

[Footnote 59: One can hardly credit Schroder's remark, on seeing the opera, rechristened by Stegmann "Liebe und Versuchung," May 1, 1791, at Frankfort: "Wretched! Even Mozart's music is only good in the second act." (Meyer, L. Schroder, II., i., p. 68.)]

[Footnote 60: The minor key is employed only in Don Alfonso's caricatured air (5) in the poisoning scene of the second movement of the first finale, and very cursorily in Ferrando's air (27).]

[Footnote 61: The change of key, simple though it is, is more marked than in the first finale of "Figaro " and "Don Juan." G minor follows D major, then E flat major, C minor, G major, then immediately B flat major, and again without transition D major.]

[Footnote 62: The canon was originally more spun out, and Guillelmo, having vented his wrath in parlando, was to take up the theme against Dorabella; but Mozart rightly gave up the idea, and struck out the bars he had already written.]

[Footnote 63: Cf. Gugler, Morgenblatt, 1856, No. 4, p. Si.]

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MOZART 42

BY DAVID WIDGER