Life of Mozart Volume 2 — CHAPTER XXII. "IDOMENEO.", Part 2

All that we read, however, of the success of the opera in rehearsal leaves us no doubt that it met with a very favourable reception.

As to the sum received by Mozart in payment for "Idomeneo" we know nothing; but it cannot have been a large one, or L. Mozart would not have written (December 11, 1780): "How about the score?

will it not be copied?

You must be careful as to this, for _with such a payment the score cannot be given up_."

To which Wolfgang answered (December 16, 1780): "I made no ceremony as to the copying of the score, but spoke openly on the subject to the Count.

It was always the custom in Mannheim (where the kapellmeister was well paid besides) to give up the score to the composer."

The original score, in three volumes, is written in a very neat but rapid hand, with scarcely any alterations except a few in the recitatives.

As usual, the different numbers are written separately and then put together; the double-bass part was written larger, as in other scores, for the convenience of the bass-player at the clavier.

The score was to have been printed at the time, as appears from a letter of L.

Mozart to Breitkopf (August 10, 1781): "We were advised to publish the opera, printed or engraved, either in full score or clavier score.

Subscribers were promised for some thirty copies, among whom was his highness Prince Max of Zweibrücken, but my son's journey to Vienna and the intervening events caused us to postpone the whole affair."

The music for the ballet which was given with "Idomeneo" has not yet been printed (367 K. ).

Mozart seems to have set great value on "Idomeneo" {IDOMENEO.

} (142) (366 K.

), even in later years;[9] it is certain that soon after he had made good his footing in Vienna he exerted himself to have it placed on the stage, for which purpose he intended entirely to remodel it.

Unfortunately this project fell through, and when in 1786 a company of distinguished amateurs performed the opera at the residence of Prince Karl Auersperg, Mozart contented himself with several alterations, but did not attempt a complete remodelling.

Later, and more especially quite recently, "Idomeneo" has been given from time to time on different stages, without exciting as much interest in the general public as the better-known works of Mozart; the judgment of connoisseurs, on the other hand, has always distinguished it.

[10] Both phenomena are comprehensible on a close examination of the distinctive features of the work.

Ulibicheff remarks with great justice that it is easy to distinguish in "Idomeneo" where Mozart has still clung to the formulas of the opera seria, where he strives to imitate Gluck and the French opera, and where he gives free play to his own independent impulses as an artist.

These indications are, of course, not to be met with accurately marked out in the different pieces, Mozart's individuality, in the perfection to which it had now attained, being throughout the very pith of the work.

We have seen that the libretto unites the characteristics of Italian and French opera as far as style is concerned, but that the determining element is the Italian style.

We have seen further that the singers, with the exception of the two female characters, belonged to the Italian school, which fact tended to the maintenance of Italian form.

It might therefore be expected that Mozart, especially in the songs, should set out from the traditional forms, and only {ITALIAN CHARACTER OF THE MUSIC.

} (143) attempt to modify them as far as was possible.

But the influence of the French original on the opera lay deeper than this, and was impressed on its poetry, language, and nationality, Italian as these all were in external form.

Let us consider the songs.

The effort is evident to give a more individual expression to the sentiment arising from the dramatic situation than was usual even with Metastasio; but the form and construction are only modified, and have retained the specific character of Italian poetry.

The rhetoric differs altogether from the rhetoric of French poetry.

Indirectly, too, language by its rhythm and accent affects musical construction, and the distinctions between the Italian and French language are strikingly apparent, not only in the recitatives, which are governed by the musical character of the language, but in the formation of the melodies, where language must be taken into account as an essential element.

But deepest of all lies the difference in the conceptions and ideas of the two nations.

The emotions and passions of different nations vary not only in intensity but in mode of expression, and where a truly national art has developed itself this special character is stamped on all its productions.

The Italians express their feelings vividly and accent them strongly, and not only so, but their instinctive love of formula calls forth sharply defined characterisation and favours typical developments, as is shown, for instance, in their singularly perfect talent for pantomimic representations.

This tendency has had a marked influence on the development of music, particularly of dramatic music, in Italy.

It still bears a national character, which is not only stamped on it in certain forms and turns of expression, but which is the artistic expression of emotions springing from the very nature of the people.

Whoever has heard Italian music performed both by Italian and German singers will readily be convinced that the difference rests not only on style and method, but still more essentially on the peculiarities of the Italian national character.

It should not therefore be matter for surprise that music which to Germans appears false or unnatural should make a much deeper impression on Italians than the merely sensual one which strikes the ear.

{IDOMENEO.

} (144) Mozart's "Idomeneo" bears this distinctive Italian colouring, as do all his Italian operas, not only in the employment of Italian technicalities and mechanism, but in the living breath and fragrance which nothing but an absorption into the national spirit could bestow.

Even as a boy he displayed a delicate sense of national distinctions, when in "Bastien und Baitienne" and the "Finta Semplice" he defined so sharply the limits of German vaudeville and of opera buffa.

If "Zaide" is compared with "Idomeneo," the fundamental distinctions of conception and style are not less definitely marked; and the same was the case later in the "Entführung" and the "Zauberflote," in "Figaro," "Don Giovanni," "Cosi fan Tutte," and "Tito."

To give only one example: one of the most beautiful and affecting scenes that Mozart ever wrote is that in which Idomeneo, at the request of the high priest, indicates his son as the sacrifice demanded by the gods, and all the people break out into lamentations; and yet this chorus (24) is a most unmistakable instance of the Italian form and style.

Places like "Giä régna la morte" appear typical of similar modes of expression which occur so frequently in Italian operas.

But the Italian mould in which Mozart's work is cast, and on which the harmony of the whole depends, is not consciously put forward as a national colouring.

It proceeds from such an intimate acquaintance with the Italian style as was then considered the proper foundation for musical studies, and was only possible so long as Italian music bore actual sway in German churches and theatres, and found no contradiction in the national consciousness.

This sway was undisputed in South Germany during Mozart's youth and period of artistic development.

The musical atmosphere in which he grew up, the elements of culture which were offered to him, were thoroughly Italian; and Italian conceptions and fashions had become second nature to him as to all other German artists who took part in the development of Italian opera during the last century.

The relation in which an artistic genius stands to his time and nation is difficult to grasp.

Far from shunning the influences of either, his genius displays itself in his power of representing their significant {MOZART'S USE OF ITALIAN FORMS.

} (145) features and tendencies with force and vigour, amounting even to one-sidedness; and then again it sets itself in opposition to them, and struggles until it rules and determines them anew.

It would be a hard task indeed to fathom the nature of an artist to that point where the threads of his personal powers and proclivities, and those of the cultivation of his time and nation, are so interwoven that they appear as the root of his artistic individuality; we must be content with tracing onward the path of his development.

Although Mozart's training had so imbued him with the spirit of Italian music that its essence appeared to him as the essence of music itself, yet he transformed the elements which he had so absorbed with the whole force of his individuality.

He did not consciously adopt them as national, neither did he oppose them from motives of patriotism, and seek to substitute a German style.

His individuality joined issue with the elements of an art ready to hand in full development, and produced works of art which were genuinely Italian, and also genuinely Mozart.

The fresh new life which had awakened in German poetry, and which first caused a consciousness of national existence to show itself in the realm of art, touched Mozart at a time when his musical education was already firmly grounded.

He could therefore without self-contradiction continue along the trodden path, and carry on the development of the Italian opera as a settled form of art, which he had made his own in the truest sense.

But the impulse of German art laid hold, as we shall see, of his innermost being, and gave him clear consciousness of his capabilities as a German artist.

Granted that the German element of his nature--with which he could never dispense--remained latent and inactive while he appropriated Italian art as his own, yet all that he so took was treated as his own free property and turned to account with German thought and feeling.

While thus the German school of music was partly founded, partly endued with new life by him, he brought Italian opera to a climax as far as its universal application was concerned; after Mozart it becomes more exclusively national.

Like every genius who has made his mark in the history of art, he casts his {IDOMENEO.

} (146) glance over the past as well as into the future.

To him it was given to concentrate the living elements of Italian music into works of mature perfection in art, and, setting to work with freshly tempered force, to turn to account the youthful impulses of German music, and lead them towards the goal of artistic freedom and beauty.

Thus, in Idomeneo we recognise the genuinely Italian character of the opera seria, brought to its highest perfection by the force of Mozart's perfectly cultivated individuality; but in details we still perceive the ascendency of traditional form, to which the artist was obliged to yield.

It is most unmistakably present in the two songs allotted to Arbace.

The part of confidant was intended both musically and dramatically as a stop-gap; it served as a foil for the more important characters, and was a principal adjunct in the production of that _chiaroscuro_ which was considered as essential to scenic effect.

On this account Arbace's two songs (11, 22) are not woven into the dramatic web of the opera either in words or music.

Some concessions were doubtless made to Panzacchi, a clever and accomplished singer of the old school, and there is no lack of runs, jumps, and similar feats for display of execution.

The songs follow the old fashion in other ways also (except that they have only one tempo, and a structure modified accordingly), as, for instance, in the introduction of cadenzas; a very long ritornello of the second song is afterwards shortened at both ends.

But in order to give them some musical interest, the accompaniment, although weak in instrumentation, is carefully worked out in counterpoint, especially in the second song.

The preceding accompanied recitative, in composing which Mozart plainly had Panzacchi in view, is fine and expressive.

Dal Prato also, for whom the part of Idamante was intended, had only the knowledge of an Italian singer, and that in no considerable degree.

Mozart was again, therefore, fettered by tradition, and could venture little to render the song more original and lifelike.

In all the three songs for this character (3, 8, 27), the old type is clearly to be recognised.

The first, if the singer had had a powerful execution, {MUSIC FOR DAL PRATO AND RAAFF.

} (147) which he avowedly had not, would probably have been an ordinary bravura song; it has the general plan of one, but is without bravura passages.

The emphasis is laid on the accompaniment, which is independent and interesting throughout; the constant use of the wind instruments supplies it with fine sound effects.

The frequent changes of time, the construction of the song being in all other respects very regular, is intended to give animation to the expression.

The second air is shorter, to suit the situation, more lively and energetic in expression, but equally dependent on the accompaniment for originality and interest.

The third adheres to the old form by the introduction of a slow middle movement (Larghetto 3-4) and the accompaniment is simpler; but the song as a whole is conciser than was the fashion formerly.

Raaff's advanced age would have prevented his satisfying any very great expectations; but he was also, as Mozart complained, "so wedded to his old jog-trot ideas that it was enough to drive one crazy."

He was obliged therefore in the very important part of Idomeneo to submit to much that was against his convictions and inclinations.

But Raaff was an accomplished and sensible singer, from whom much could be looked for in respect of delivery and expression.

His first air (6) vividly expresses deep and painful feeling in two tolerably short and precise movements, an andantino sostenuto 3-4, and allegro di molto (5); it is dramatically quite in its place, and gives opportunity to the singer to display a well-trained voice.

The detached, sharply defined motifs, united by interludes, remind us of the old style, but they are very cleverly arranged and carried out, and the treatment of the wind instruments gives a splendidly sonorous and yet subdued effect to the orchestra, which was then quite novel, and must have been remarkably impressive.

The second air (13) is a long bravura song in one movement (allegro maestoso) in the grand style.

Mozart calls it "the most splendid song" of the opera; and protests vigorously against the idea that it was not written "for the words"; but more was demanded from the singer than Raaff was able to give.

It has the proper heroic character of the opera seria, and affords opportunity for the display of vocal art in {IDOMENEO.

} (148) sustained passages, long notes, and bravura passages.

The last are completely obsolete; but Mozart was right to think well of the song; it is full of expression and character, interesting through its rich and brilliant accompaniment, and containing, especially in the middle movement, surprising beauties of harmony.

How striking and expressive is, for instance, this harmonic transition:--[See Page Image] The third air (30), which Mozart endeavoured to write to please his old friend, is on that very account quite after the old pattern; it has great resemblance to the song which Mozart had so accurately fitted to Raaff at Mannheim (p. 408).

The chief movement is a broadly sustained adagio, simple and noble in tone, and giving opportunity to the singer to display sustained singing, the effect of which is enhanced by a figured accompaniment, shared between the strings and the wind instruments; the middle movement, allegretto 3-8, is of less importance.

A sketch which has been preserved of this song affords a good example of Mozart's method of work; the ritornellos, the voice and the bass are {ILIA--ELECTRA.

} (149) all fully noted.

Probably he submitted the sketch to Raaff before elaborating the song; it coincides in all but a few unimportant alterations with the later elaboration.

He wished at first to compose the words of the middle movement in the same time and measure as the first movement; after four bars, however, which he erased, he wrote the middle movement as it at present stands.

In spite of the restrictions laid upon him in this far from inconsiderable part of the opera, Mozart's progress since the "Re Pastore" is very marked.

What we now find is not the struggle of youthful genius against obsolete and hampering forms, but a conscious compliance with them, on definite grounds, by means of which the composer strives to extract all the good possible from his unfavourable circumstances, and knows exactly how far he can go.

It is difficult, however, now that the tradition of these forms is wholly lost, to decide with certainty how much is due to the insensible effect of custom, and how much to the conscious labour of the artist.

Those pieces in which Mozart could act without control make an entirely different impression.

To these belong the parts of Ilia and Electra.

Bravura has a decided place in the conception of the latter, but with an individual colouring of passion which Mozart has made free use of as the characterising element.

The two great airs (5, 29) are the vivid expression of a glowing impulsive nature, which is raised by an admixture of haughty dignity above that vulgarity into which violent outbreaks of jealousy and revenge so readily fall.

In spite of the text, which puts the traditional bombastic pathos into the mouth of Electra (29)-- D' Oreste, d' Ajace Ho in seno i tormenti, D' Aletto la face Giä morte mi dä.

Squarciatemi il core Ceraste, serpenti!

the composer has succeeded in infusing character and individuality into the song.

The two songs are allied in subject, but their treatment is {IDOMENEO.

} (150) different.

While in the first passion ferments, as it were, and breaks forth in separate bursts, the second is a continuous stream of wild rage, and calls for the more particular employment of the higher notes of the voice.

Purely executive display is not sought after, with the exception of one passage going up to C in alt, and very expressive, if well sung, but a passionate, well-declaimed delivery is taken for granted throughout.

Occasionally the voice part is more declamatory than melodious, and the effect is provided for by a rapid succession of striking harmonies.

How wonderfully affecting, for instance, is the passionate outcry:--[See Page Image] The orchestra has an altogether novel function as a means of musical characterisation.

It goes its independent way {ELECTRA--ILIA.

} (151) side by side with the voice, interesting by virtue of the singular vitality of its accompanying passages and its own motifs, and its masterly tone-colouring gives body and force to the whole composition.

In the first air all is restless motion--we have the flutes in broken chords, flashes of sound like lightning from the wind instruments, and only at certain points are the forces united into a concentrated expression of emotion.

How striking, again, is the effect in the last song when, after the long torturing shake passage for the violins,[11] the united orchestra bursts forth into a very transport of revengeful feeling.

[12] Electra's middle song (14) is in strong contrast to the passionate outbursts of the other two; here her happy love seems to fill her very being.

She breathes forth a calm serenity and tender sweetness, as if there could be no place in her heart for jealousy and revenge.

The voice part with the exception of one ornamental passage resembling the string quartet accompaniment, is very simple; rightly delivered the expression of satisfied affection will be found quite in accord with Electra's character.

In the character of Ilia, Mozart has followed his natural bent; it is full of sentiment, tender and graceful, without any violent passion.

It was played by the excellent actress and singer, Dorothea Wendling; here Mozart had free scope, and in her songs (2, 12, 19) we find the finest expression of his manner as an artist.

In the first air (2) we find the simplest means lying ready to hand employed to give dramatic effect;

such, for instance, is the alternation of major and minor key for the principal subject, the climax produced by its repetition, the different ways in which the exclamation "Grecia!"

is treated, &c. Not only are we affected by the charm of beautiful and graceful ideas, but the expedients of formal construction become the natural {IDOMENEO.

} (152) expression of the innermost feelings of the heart.

The second air (12) is a cavatina, having two verses repeated with trifling alterations, and accompanied by four obbligato wind instruments, viz.

: flute, oboe, horn, and bassoon, Besides the string quartet.

Mozart's old Mannheim friends, wendling, Ramm, Lang, and Ritter were together again, and he was delighted to write a piece that should do honour to them and to him.

There can be no question as to his success.

The first impression is one of the purest melody, filling the musical listener with perfect satisfaction.

A nearer examination shows as much to admire in the simplicity of the artistic structure (the symmetry of which in reading the score is displayed as it were on a ground plan) and in the delicate use of sound effects, as in the tenderness and grace of the conception.

Let us consider the situation.

Ilia comes to thank Idomeneo for the kindness which she, as a captive, has received in Crete.

She is embarrassed by the remembrance that she has lost her father and her fatherland, that Idomeneo is her ruler, and the father of Idamante, and, more than all, by the consciousness of her love for Idamante; and yet this very love sheds for her a rosy light on all around.

She begins, then, with a composed, almost reverential address, and as her feelings grow more intense, the remembrance of her sorrows returns;

but all gives way to the one feeling: "or gioja e contento," in which she altogether loses herself.

Such a combination of different elements into a harmonious whole constitutes a true work of art, and it must needs be found beautiful as long as the principles of music remain what they are.

The situation of the last air (19) is less striking; it is the longing sigh of a deserted lover; but the main features of Ilia's character have already been so clearly defined that her singular charm is as indelibly impressed here as elsewhere.

It is only necessary to compare the air (14), in which Electra expresses her tenderest feelings, to perceive how the essential distinctions between the two women are characterised by the music.

The duet for the two lovers (20 b) is interesting and pleasing, but not very striking; in form and change of tempo, {ENSEMBLES.

} (153) as well as in conception and treatment, it adheres to the old-established custom of making a love duet light and graceful.

It proceeds in unbroken movement and precise form throughout, and there is no true bravura.

The terzet (17) is more striking, noble, and simple, and of fine musical effect, but the dramatic situation is not brought to expression in the full energy of which it is capable.

It is certainly placed with design between a succession of pleasing situations and of more agitated ones;

its calm and earnest mood fitly concludes what has gone before and prepares the mind for what is to follow, without unduly diminishing the effect of surprise.

In the situation, as here presented, the three characters are all in a depressed and anxious mood, which restrains any lively outburst of emotion, and justifies the moderation of the musical rendering.

The quartet (21) takes a higher place as regards invention and characterisation; Mozart himself preferred it, and rejected any interference from the singers in its composition as decidedly as he gave way to them in the songs.

It is not an easy task to write a quartet for three sopranos and a tenor, but Mozart's accurate knowledge of the capabilities of the voices, and his skilful combinations, enabled him to command the most original and beautiful sound effects.

We must admire, too, his genius in marking out a distinct plan, within the limits of which he moves at his ease, and in giving sharp touches of character without disturbing the unity of the piece.

Ilia and Idamante stand in natural contrast to Idomeneo and Electra, and each individual is accurately characterised.

This is most apparent where they all sing together, and gives life and significance to the music.

Besides the independent treatment of the voices, the quartet is especially distinguished by harmonic beauties of an uncommon kind, and undeniably belongs to Mozart's finest performances.

His wife relates that once, when singing in this quartet, he was so deeply affected that he was obliged to desist, and for a long time would not look at the composition again.

[13] The {IDOMENEO.

} (154) conclusion is original and appropriate.

Idamante's commencement is that of a man who has made up his mind: "André ramingo e solo," however, dies away with the words "morte cercando" into gloomy meditations.

At the close he again announces, "Andrò ramingo e solo," and leaves the scene while the orchestra continues to express gloom and sadness, dying away gradually into silence.

[14] The chorus forms a principal feature of "Idomeneo."

There is an important difference, however, between those choruses which actually belong to the plot and express the meaning of the situation with emphasis, and those which are only superficially connected with the plot, and serve principally for ornament.

These last are mostly in connection with the ballet, and should be placed side by side with the ballet music.

Such are the first chorus (4), during which the Trojan captives are loosed from their fetters, the closing chorus during Idamante's coronation, and most especially the chorus at the end of the first act (10), in which we should not fail to recognise dance music, even without the superscription "Ciaconna" and the express indication of the libretto.

The orchestra has a more independent part here than in the two other choruses.

The character of them all is fresh and cheerful;

as with a man rejoicing in the fulness of his health and strength, everything is stirring and full of sound and bustle, so it is with these choruses, which, without any striking qualities, are thoroughly effective where they stand.

The charming chorus previous to the embarkation of Electra and Idamante is more characteristic, and seems to mirror the cheerful heavens and the calm sea, together with Electra's happy frame of mind.

Very happy in expression are the verses which Electra sings between the choruses--simple, clear, and full of grace and delicacy.

{CHORUSES.

} (155) But the remaining choruses, which are more properly dramatic, are incomparably more important, grand, and earnest.

The first (5), representing the shipwreck of "Idomeneo," is a double chorus for male voices.

One chorus in the distance is in four parts--the other, nearer, is in two parts; the former is mostly in unison, the latter imitative;

each chorus is complete in itself, and quite independent of the other, but the two together form an artistic, clearly apprehended whole.

The orchestra contrasts with it as a solid mass, the stringed instruments belonging more especially to the second, and the wind instruments to the first chorus.

It falls to the orchestra to depict the storm, and there are plenty of chromatic scales for the purpose, but the effect depends chiefly on bold and forcible harmonies.

How little Mozart shunned difficulties and obstacles may be proved by several parts of this scene, the following passage among others:--[See Page Image] Still more powerful are the choruses which close the second act.

Again there arises a storm, the sea-monster appears, and horror seizes the people.

While the orchestra is in constant agitation, the chorus interposes _en masse_, partly in full chords, partly in effective unison.

The succession of striking harmonies reaches its height in the four-times repeated {IDOMENEO.

} (156) question "il reo quai è?"

which closes with a pause on a dissonant chord, repeated, like an echo, by all the wind instruments.

Such a magnificent and agitating effect as is attained by this concentration into one point of every musical expedient, without overstepping the boundaries of the beautiful, had scarcely been heard in any opera, and Mozart himself never surpassed it.

The concluding chorus, which follows an accompanied recitative for Idomeneo, is of an entirely different character, expressive of a flight, winged by fear and horror.

The 12-8 time, seldom used by Mozart, is suited to the expression of haste and agitation, and so also is the generally independent and partially imitative treatment of the voices.

They only unite sometimes into an outcry of horror, otherwise they make detached exclamations, and each goes his way in hurried confusion until all are dispersed.

The chorus in the third act (24) expresses a totally different sentiment in equally grand style.

When, after the effective appeal of the High Priest, Idomeneo discloses his obligation to sacrifice his son, the people, still discontented and murmuring, are struck with grief and horror.

The intensity and almost over-wealth of beauty with which these emotions are expressed give the music, as we have already remarked, the national stamp of the Italian opera.

We may learn from this chorus how in a true work of art the universal emotions of the human heart may be blended with the peculiarities of national and individual life and transported into the realm of pure art.

The effect of unison at the words "giä régna la morte," expressing the depressed murmur of the people, is wonderfully fine; the chromatic triplet passage of the accompaniment seeks meanwhile in vain to raise the fainting spirits higher.

This motif passes finely into the calm confidence of the High Priest's prayer, and the touchingly beautiful orchestral conclusion lets a ray of light on to this dispirited mood.

But the climax has not yet reached its highest point.

After a simple but wonderfully effective march, there follows a prayer for Idomeneo and the Priest which is a complete masterpiece, whether we consider its truthful expression of emotion, its rich and original orchestral accompaniment, or the combination in it of the various elements which produce the {CHORUSES--RECITATIVE.

} (157) total effect.

We can here merely indicate the short chorus of priests, which remains in unison in the one key of C, while the instruments (the strings _pizzicato_ in a harplike movement, the wind instruments in characteristic passages) proceed in varied harmonies from C minor to F major, whereupon the voices sink to F and keep this key, while the orchestra gives out the solemn and quieting chords of the so-called church ending (B minor, F major).

It is much to be regretted that after this chorus the opera follows the usual course of opera seria, and leaves important dramatic situations unused for the purposes of musical representation.

If, according to the original design, the remaining chief situations had been wrought together into a duet for Ilia and Idamante and a quartet, we should then possess masterpieces of grand dramatic music at the close of the opera;

instead of this separate songs have been detached from their context in order to satisfy the singers.

The grandiose and free treatment of the choruses, both in the voice parts and the accompaniments, places them almost on a level with those of "König Thamos"; but a more condensed and pregnant style of music was required in the opera than in "König Thamos," where the connection with the drama was loose and superficial.

Mindful of this consideration, Mozart, while giving the choruses free scope for musical execution, never allows them to stand independent of and apart from the words.