Life of Mozart Volume 2 — CHAPTER XXV. "DIE ENTFÜHRUNG AUS DEM SERAIL." Part 2

At home as he was in Italian, French and German opera, in sacred and instrumental music, he had obtained such a mastery over musical forms as gave him a freedom of action which his favourable circumstances in Vienna allowed him to make use of, and the fact that he was composing a German opera gave him a sense of a still higher freedom.

He was German in every thought and feeling, and German music was his natural way of expressing himself as an artist, requiring no unusual form, no special characterisation, nothing but freedom of thought and action.

In the "Entführung," German sentiment, emotion, and disposition found expression for the first time at the hands of a true artist.

It is easy to understand how the fulness of life and truth in such a work would throw into the shade all who believed solely in those forms which were borrowed from foreign {DIE EXTFÜHRUXG AUS DEM SERAIL.

} (232) sources, and only superficially remodelled.

[45] This truly German and truly Mozart-like style is nowhere more decidedly exemplified than in the part of Belmont.

It is only necessary to note the contrast between the male sopranos of the opera seria, or the comic lovers of the opera buffa, and this Belmont, who expresses manly love in all its force and intensity.

It is plain that his love is not the wild and transitory gleam of passion, but an emotion having its roots deep in the heart, sanctified by sorrow, and held with the constancy of a true moral nature.

Manliness is the ground-tone of all his agitated sentiments; the steady glow of a well-balanced mind penetrates every" expression of his feelings.

It is an easier task to portray the wild excitement of passion than to depict a mind and character in its totality by means of each separate expression;[46] and the conception of love, the essential motive power of musical drama, from this point of view, marks an era in musical representation, important alike for its national character and its artistic construction.

It was not by mere chance that Mozart made the tenor voice, which had been virtually deprived of its proper province in Italian opera, into the organ of manly love and tenderness.

Belmont has become a type in German opera.

Adamberger, judging from contemporary testimony was the most fitting representative of such a character.

[47] Various songs composed for him by Mozart characterise him as a singer of noble and expressive delivery.

[48] {BELMONT.

} (233) Belmont's character and tone of mind are drawn in firm lines in his first cavatina (1).

His state of anxious suspense is implied rather than fully indicated by his expression of secret devotion.

But this little song, which none but a master-hand could have thrown off so lightly and so surely, is of most significance, by reason of its connection with the overture.

Mozart makes no remark to his father on the overture except that it was short, and that "it alternates between forte and piano, the Turkish music being always forte, modulated by changes of key, and I do not think any one can go to sleep over it, even if they have lain awake all the night before" (September 26, 1781).

As usual, when he speaks of his compositions, he only indicates the means employed and the external effect, and does not attempt any verbal description of the music itself.

It is certainly true that a lively and incessant suspense is kept up by the constant modulatory changes, especially from major to minor, and by sharp contrasts of _forte_ and _piano_.

But this is not all; the character of the overture is so singularly fanciful that a few bars suffice to place the hearer in an imaginative mood.

The most varied emotions of joy and sorrow are lightly touched, but never held, the tone of the whole is so fresh and cheerful that the listener involuntarily yields to the spell; and the impressions of the new world in which he finds himself are heightened by the highly original tone-colouring.

Then comes a slower movement, expressing longing desires in the tenderest, most appealing tones.

It has scarcely died away before we are again whirled along our fantastic course, which ends in an appealing cry, followed without a pause by Belmont's cavatina, "Hier soli ich dich denn sehen, Constanze!"

We recognise at {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (234) once the middle movement of the overture, but changed from the minor to the major key.

This change, and the difference of shading between the arrangement for the voice and that for the orchestra, give to the charming little movement two distinct expressions, just as the same landscape has two different aspects seen at noon or in the moonlight.

The overture renders us free to receive the effect of the work of art as such, prepared by what forms the starting-point of the work; and the first song sets the crown on the overture, while it transports us at once into the frame of mind which predominates throughout the opera.

Still more important in its climax and composition is Belmont's second song (4).

The situation is more definitely developed; Belmont knows now that Constanze is there, that he will soon see her, and this certainty condenses all the emotions roused by the memory of a sorrowful past, and the prospect of a perilous future, into the one feeling of their speedy reunion.

Mozart was so taken with this song that he wrote it down as soon as he received the libretto.

"This is the favourite song of all who have heard it--myself included," he wrote to his father (September 26, 1781), "and is exactly calculated for Adamberger's voice.

'Fo wie ängstlich, o wie feurigl' You can imagine how it is expressed, with the very beating of the heart--the violins in octaves.

One can see the trembling, the hesitation, the very swelling of the breast is expressed by a crescendo, one can hear the sighs, the whispers, rendered by the violins muted, with one flute in unison."

It would be doing Mozart an injustice to consider this sound-painting as his first object; it is in reality but a subordinate, although a very effective and useful element of the whole musical conception.

Belmont's two other songs--one in the second act, before the meeting with Constanze (15),[49] and the other at the beginning of the third act, before the {CONSTANZE.

} (235) abduction (17)[50]--are much quieter in tone, and are characterised by manly composure combined with warm sensibility.

These qualities are visible also in the musical construction of the broad and expressive cantilene, which allows free scope for the display of a full tenor voice in its best position.

The structure of the melodies diverges in a remarkable degree from that which predominates in Mozart's Italian operas, and approaches nearer to that employed in his instrumental music.

And yet the national character of the melodies is not so pronounced in the "Entführung" as in the "Zauber-flöte," nor are the songs in their whole design so completely absolved from Italian forms.

The part of Constanze, so far as musical characterisation is concerned, is not nearly so well thought out as that of Belmont.

"I have been obliged," writes Mozart to his father (September 26, 1781), "to sacrifice Constanze's song (6) in some degree to the voluble organ of Mdlle.

Cavalieri.

But I have sought to express 'Trennung war mein banges Loos und nun schwimmt mein Aug' in Thranen' as far as is compatible with an Italian bravura song."

[51] We shall readily allow that he has been so far successful; and that, apart from the inserted bravura passages, the song is not only fine from a musical point of view, but appropriate to the situation.

But in the great bravura song of the second act everything has been sacrificed to Mdlle.

Cavalieri's voluble organ, and, as Gluck would have said, it _smells of music_,[52] It is, as we have seen, inserted without reference to the plot, and this may have led to the further consequence of treating it altogether as an extraneous piece.

As regards length and difficulty, it is one of the greatest of bravura songs, and is accompanied by four obbligato instruments--flute, oboe, violin, and {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (236) violoncello.

[53] Considered as a concert piece it is of importance by reason of the plan, artistic in design and execution, which permits the treatment of the five obbligato parts as integral divisions of the whole, while making due provision for sound effects and musical interest.

The song is still often sung, although the glitter surrounding mere execution has passed away.

But it does not belong to the "Entführung."

Together with the brilliant execution there is a certain heroic tone in the song which is quite out of keeping with the opera and with the character of Constanze in it.

The true Con-stanze, as Mozart imagined her, is found in the second air (10), which expresses with much truth and intensity the ardent longing of the maiden sorrowing for her lover.

Firmness and assurance are manly attributes, but a dreamy resigned absorption in the contemplation of vanished happiness is proper to a woman, and to this maidenly sentiment Mozart has given beautiful expression.

This feminine tone gives the song a certain resemblance to that of Ilia in "Idomeneo" (Vol. II.

, p. 151); but the latter is, as the situation requires, drawn in darker lines, and takes more hold on the mind.

Here as elsewhere the same point is noticeable, viz.

, that when Mozart works outward from the heart of an individual situation, the separate elements of the musical construction are more striking, and the form is freer and more lifelike than it would otherwise be.

[54] The instrumentation also is peculiarly effective, especially by the employment of the wind instruments, which shed a gentle glow over the whole.

Mozart, against his custom, {OSMIN.

} (237) makes use of the basset-horn instead of the clarinet in this song.

In the part of Belmont, too, the instrumentation is modified to some extent.

The second song (4) is very delicate and tender in its instrumentation, the wind instruments being treated as solos, although not concertante; in the others there is a very pithy forcible tone, which in the last (16) becomes almost brilliant.

The duet (20), owing to the singularity of the situation, differs materially in character from an ordinary love duet.

Within sight of death each of the lovers has the painful consciousness of having led the other to destruction; and their mutual endeavour to console one another with the certainty of their love, which death may consummate but cannot destroy, raises them to the height of enthusiastic inspiration.

This sentiment is excellently well expressed in the first calm movement with fervour and clearness, and a perceptible blending of painful emotion and loving consolation; the second movement does not quite reach the same high level.

Not only do some of the passages, and the very tedious conclusion, make concessions to passing effect, but the expression does not rise to the ecstatic strain which is implied in the situation.

[55] The noble forms of the two lovers stand in the sharpest contrast to that of Osmin, which is altogether Mozart's creation, and certainly one of the most original characters of dramatic music.

The very way in which he is introduced is masterly.

After Belmont has sung his cavatina, which breathes the noblest love and constancy, Osmin comes out of the house to gather figs; he sings a song for his pastime; it is a love song, but one suggested by painful jealousy.

The minor key of Osmin's song gives it a wild, desolate expression, in strong contrast to the cheerful candour of the cavatina; many popular songs have this expression, and Osmin's song is successfully imitated from the popular style.

The phrasing is clumsy in spite of the marked rhythm, but the effect is quite startling when Osmin in a complacent hum {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (238) repeats the last words an octave lower, and then at once breaks out into a wild "Trallalera!"

The uncouth fellow lolls and stretches so completely at his ease that there cannot be a moment's doubt of how unamiable he will prove to be if any one should venture to cross his path.

[56] This is soon put to the proof.

He refuses with assumed indifference to answer Belmont's repeated inquiries, and on the latter interrupting him (involuntarily, as it were, with the melody of his own song, which has so irritated Belmont), the unabashed rudeness of Osmin breaks out in speech.

It is as interesting as instructive to note how in this duet the simplest and easiest means of musical representation are used to produce a continuous climax and the most lively characterisation.

While it is still in full train Pedrillo enters, and Osmin turns upon him with a fresh outbreak of rage in the song which Mozart had spoken of to his father (3).

Again changing his tactics, he endeavours to repress his opponent with all the weight of his dignity and cleverness.

Gravity and importance, expressed by the rhythm, the pompous intervals, the syncopated accompaniment, alternate with impatience and haste, when the singer becomes irritated.

Very characteristic is the demeanour of Osmin as he complacently nurses the thought: "I have my wits about me!"

("Ich hab' auch Ver-stand!"

).

He works himself gradually up into a rage, and the threats which he pours forth in a breath fall like blows on the head of the hapless Pedrillo.

The effect is produced by the accentuation given to the rapid flow of words; the first fourth of every bar is forcibly given by the orchestra, and the second is taken up by the voice in fifths, and then in octaves.

At last he comes to a triumphant close, and one thinks it is all over.

But he has only stopped to take breath, and at once resuming his furious course, he ends by completely overpowering his opponent.

Mozart writes to his father on the conclusion of this song (September 26, 1781): "The 'Drum beim Barte des Propheten' is in the same time, but the notes are more rapid, and as his anger grows one imagines the climax must be close at hand; the allegro assai {OSMIN--TURKISH MUSIC.

} (239) follows in quite a different time and key, and has an excellent effect.

A man in such violent rage oversteps all bounds of moderation, and loses all command over himself, and so must the music.

But since," he continues, expressing in simple words that wherein lies the charm of all true art, "since the passions, violent or not, must never be carried to the point of producing disgust, and the music, however thrilling, must never fail to satisfy the ear, consequently must always remain music, I have not chosen a distant key to follow the F (the key of the song) but an allied one; not the nearest key of all, D minor, but the farther one of A minor."

In point of fact, the effect of the minor key is extraordinary, both here and in other places where it is only cursorily touched.

It adds to the frenzied wildness of the character in which lust and cruelty are blended, and it is emphasised by the strongly marked though monotonous rhythm.

And how wonderfully all these characteristics are enhanced by the instrumentation!

"Osmin's rage," writes Mozart, "acquires a comic element by the introduction of the Turkish music."

The effect is enhanced by the simplicity which has hitherto characterised the instrumentation.

The oboes (with bassoons and horns) predominate until, in the last verse: "Sonderlich beim Monden-scheine," a flute insinuates itself with very good effect.

There are many characteristic touches in spite of the scanty means at disposal, as for instance, the mocking entry of the oboe at the words, "Ich hab' auch Verstand."

The Turkish music serves for far more than local colour and characterisation.

The expression of fanaticism is coloured as well as heightened by the shrill sound of the piccolo flute, the blows of the drum and cymbals, and the tingle of the triangles.

[57] The bewilderment produced by these {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (240) instruments, the breathless rapidity of the movement, and the monotony of the rhythm make one feel that giddiness must ensue if it goes on much longer.

But Mozart never makes us giddy, he makes use of the most forcible means for characterisation, but never to the point of becoming painful, and all with so much cheerfulness and humour that the total effect is decidedly pleasing.

We make acquaintance with Osmin's boorish character in many different situations; he is true to himself in them all.

The second great song (19) contrasts in some measure with the first.

He is triumphant, he has his enemies in his power, and he is beside himself with joy; but he retains the same savage nature, and in the midst of all his rejoicing the main point for him is that he can now loll and stretch himself comfortably, which he proceeds to do to his heart's content on the long-sustained A and D, to which he easily carries his scale.

Especially characteristic is the middle movement of this song.

One seems to see a wild beast, now yawning and stretching, now crouching for a spring;

grim cruelty and lustful indolence are wonderfully characterised by the alternation of octaves and dissonant suspensions in the accompaniment, as well as by the triplet passages which are given by the orchestra in unison, as if there could be no harmony here; the expression of joy is mingled with unspeakable brutality, and comes to a climax in the shrill note of exultation at the close.

[58] But Osmin shows himself a true poltroon in the duet with Blondchen (9)--her snappish impudence completely gets the better of him, and although he endeavours to overawe her with the deepest notes of his deep bass voice, her persiflage drives her unwieldy antagonist quite out of the field.

The lament which he thereupon sings: "Ihr Englander, seid ihrnicht Thoren, ihr lasst euren Weibem den Willen!"

("You Englishmen, what fools you are, to leave your wives their freedom!"

) is in contrast to his love song, and completes the conception of it.

Here there is nothing of {OSMIN.

} (241) the barbarous nature which showed itself in lust and jealousy, but only the pitiful whining of a slavish soul which trembles before a resolute woman's will.

The characterisation of the last movement--when Osmin gives up all appearance of superiority and yields upon every point--is charming, and produced by the simplest musical means.

He displays another side of his character in the duet (14) in which Pedrillo induces him to drink.

[59] His senses are soon overcome, and he endeavours to outvie Pedrillo.

It is of advantage to the situation that the personality of the singers required that even here Osmin must be considered the chief person; one only needs to hear the arrogance with which he delivers the principal subject in order to feel sure on whom the wine will take strongest effect,[60] and even when the rapidly concluded entente cordiale is expressed in unison, Osmin's low-pitched octaves keep the upper hand.

But here, too, Mozart keeps within bounds, and never goes beyond a joke; Osmin's drunken sleep is excluded from his representation.

Osmin's character is least strongly characterised in the terzet (7), of which Mozart writes to his father as follows (September 26, 1781):-- Now for the terzet which concludes the first act.

Pedrillo has represented his master as an architect, which affords him an opportunity of meeting his Constanze in the garden.

The Pasha has taken him into his service; and Osmin, as overseer, and knowing nothing of this, is insolent to him as a stranger, being himself an unmannerly churl and the arch-enemy of all strangers, and refuses to allow him to enter the garden.

The first movement is short, and as the words allowed of it I {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (242) have kept the three voices fairly well together; but then begins the major _pianissimo_, which must go very fast, and the conclusion will draw many tears, which is just what the conclusion of a first act should do; the more tears the better--but the shorter the better, so that the audience may not forget the applause.

We see from this that Mozart thought more in this instance of a vivid expression of the situation than of minute characterisation, and all the three characters are alike in their urging and scolding.

The advisability, therefore, of keeping the three voices "fairly well" together, their imitative arrangement keeping up the impression of great excitement, is indicated by the situation, although, owing to the necessity for stricter attention to form, the individual characterisation is thereby limited.

Osmin's last appearance in the finale is very amusing.

While all the other characters are expressing their gratitude, in the favourite form of a round, Osmin tries in vain to keep in the same track; but the round sticks in his throat, and his angry spite will have vent; the hunting-song of the first act with the obbligato janizaries' music rushes once more past our ears.

Although some elements borrowed from the conventional forms of the Italian bass buffo are discernible in the part of Osmin, yet Mozart has made use of them in such an entirely original manner that they are closely interwoven in his own creation.

It is, however, the consistency of the individual characterisation which distinguishes the part of Osmin and raises it far above the ordinary buffo parts, causing it to afford a striking instance of Mozart's eminent talent for dramatic construction.

The part requires a performer such as Fischer, of whom Reichardt writes: "He is an excellent bass singer; his voice has the depth of a violoncello, and the height of an ordinary tenor; its compass is--[See Page Image] so that his deep notes are never harsh, nor his high ones shrill; his voice flows with ease and certainty, and is full of charm.

In praise of his style I need only say that he is a {FISCHER.

} (243) worthy pupil of the great tenor Raaff, who was, and still is considered, the best tenor in all Europe.

Fischer has a more flexible organ than perhaps any other bass singer, and his acting is as good in serious drama as in comic."

Such materials as this are calculated to bring forth good effects.

Among them may be noted the original sense of climax which Mozart produces by repeating a passage an octave lower; this is done in the Lied and in both of Osmin's airs at the words "Ich hab' auch Verstand" (3), and "Denn nun hab ich vor euch Ruh!"

(19).

The same effect occurs in the beautiful song "Non sö d'onde viene," composed also for Fischer; an expressive and sustained passage is repeated an octave lower, and the effect is very beautiful.

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 {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (244) 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 {PEDRILLO--QUARTET.

} (245) 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 {DIE ENTFÜHRUNG AUS DEM SERAIL.

} (246) 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, {QUARTET.

} (247) 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.

{DIE ENTFÜHRUNG AUS DEM SERAIL.

} (248) 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.