Читать книгу The Life of Mozart - Otto Jahn - Страница 14

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THE commonly received opinion 1 that the oratorio originated in the devotional exercises held in the oratories of monasteries, and thrown into the form of a musical drama by Filippo Neri (1515–1595), is without foundation. All that can confidently be asserted is that he caused laudi spirituali, a kind of motett, 2 to be sung by way of recreation, and that he organised carnival performances ("rappresentazioni") which withdrew the mind from worldly follies; 3 whether, and in what degree, music had to do with these we do not know. 4

The "Rappresentazione dell' Anima e del Corpo," by Emilio de' Cavalieri, who sought to reproduce the old tragedy on the same principles as Peri in the opera, was arranged for representation on a stage ("palco"), with scenery, costumes, and dances, and contained recitatives and choruses. 5 One performance took place, according to the preface to the score, in February, 1599, in the oratorium of the church of S. Maria, in Vallicella, 6 and this Della Valle remembered having attended when a boy. 7 Henceforward sacred dialogues and dramas set to music were frequent in Rome and elsewhere, and were given not only before the congregation dell' oratorio, 8 but in churches, monasteries, and palaces. The history of the development of these rappresentazione or azione sacra, also called oratorio, 9 has not yet been traced in detail. 10

In time the performances were confined to Lent, when no opera was given, and although action and costume gradually disappeared from the churches, 11 and the whole assumed more and more the form of a concert, yet the dramatic element, or at least the dialogue, always remained.

The connection with the service of the church was so far maintained that a mass and an address from a boy preceded the oratorio, and a sermon was delivered between its two parts. 12

The growth of the azione sacra kept pace with that of the opera seria.

Apostolo Zeno defined the form of the oratorio by giving it unity of action, time and place, and strict dramatic treatment, and Metastasio carried on and completed the work just as he had done in the opera. Its division was into two, not three parts, otherwise the arrangement corresponded altogether with that of the opera. The characters enter speaking; recitative is employed for the dialogue, and the airs serve to express the higher emotions; concerted songs occur but seldom, but the choruses are frequent, and more often form a part of the action than in the opera.

The subject-matter is borrowed from the Bible, generally the Old Testament, or from some old legend; but both persons and plot must of necessity be devised, so as to represent the story in a succession of dialogues. An effort is made to preserve the biblical diction in the poetry, but the animated rhetorical style of Italian poetry decidedly gets the upper hand. Moral and religious reflections are the almost invariable themes of the songs and choruses, which have rarely any individual character. In this respect, as well as in the dearth of dramatic action, the azione sacra comes nearer to the so-called azione teatrale than to the genuine opera seria.

The legend of Judith is treated as follows by Metastasio, in his oratorio "La Betulia Liberata," which has often been composed. 13 The dramatis persona ("interlocutori") are:—[See Page Image]

Ozia reproaches the desponding inhabitants of Bethulia for their cowardice, and declares his resolution not to give up the city to the enemy. Amital and Cabri oppose him, describing the sufferings of the people from famine and sickness. In vain he reminds them how the Lord has helped their fathers, they demand admission to Holofernes, and it is with difficulty that he obtains a delay of five days, and calls upon God for help, with the chorus. Then Judith enters; horrified at the decision, she upbraids them for their cowardice which dares to doubt God's mercy and set a limit to His power: "il primo è vile, temerario il secondo." Her song (5) may serve as a standard for the style of this poetry:

Del pari infeconda

D' un flume è la sponda,

Se torbido eccede,

Se manca d' amor.

Si acqaista baldanza

Per troppo speranza,

Si perde la fede

Per troppo rumor.

She exhorts the trembling people to trust and patience, and informs them that she has formed a great resolve, which as yet she can communicate to no one; while she prepares herself, all are to unite in prayer; the former chorus is repeated. Carmi brings Achior as a prisoner, who relates that, having told Holofemes of the courage of the Israelites and the wonderful power of their God, who renders them invincible as long as they trust in Him, he has been sent into the city to share its destruction. Judith approaching, is left alone with Ozia, who is surprised to see her richly adorned; she demands egress from the town with her maid, and departs, the chorus (in the distance) expressing astonishment at her enterprise.

In the second part Ozia seeks to convince the heathen Achior that there is but one God. Before his arguments have been quite successful Amital enters and describes the death-stillness, expressive of the extreme of need and despair, which hangs over the city. Shrieks and tumult interrupt him; Judith returns, and relates how she has slain Holofernes; she holds the decapitated head before the incredulous Achior, who swoons for fear. After Judith's song, he comes to himself and declares his conversion to the faith of the God of Abraham. Carmi enters, and relates that at Judith's bidding they had raised a war-cry; the Assyrians, discovering the death of Holofernes, were seized with terror and fled precipitately.

A song of thanksgiving to God, in which Judith leads the chorus, forms the conclusion.

The composers treated the oratorio in the same way as the opera seria, 14 only that the want of dramatic variety favoured the adoption of the concert style of music. In its form there was no important difference; we find the same treatment of the recitatives, secco and obbligato, of the songs and of all important parts, including the choruses; only that the bass voice is made use of in solo singing. We might expect to find the musical conceptions inspired by earnestness and reverence; and this was so far the case that the oratorio excluded all that was trifling, voluptuous, or that related to the passion of love. But a religious tone was entirely wanting, and the operatic style was only modified, not essentially altered. Every song in an oratorio would have been quite in place at a corresponding point in an opera seria, and many operatic songs might have been transferred to an oratorio with perfect propriety. The bravura of the vocalists was considered as appropriate in the churches as on the stage, only that a certain amount of moderation was becoming.

During Lent, when the opera was closed, the public looked for entertainment to the oratorios, and flattered themselves that they were at the same time fulfilling a religious duty, because the performance took place in a church.

Mozart's music to "Betulia Liberata" (118 K.) is quite on this level. There are unfortunately no indications of time or place on the original score, which exists in two volumes of 382 pages and fifteen numbers; the handwriting and composition place it undoubtedly between 1770 and 1773. As we know that Mozart received a commission for an oratorio at Padua in March, 1771, it may safely be conjectured that this was the "Betulia Liberata," and that it was performed in Padua in 1772. 15

The three movements of the overture in D minor are quiet and more concentrated than usual; the arrangement of the parts is more independent, with attempts at imitative treatment. Besides oboes and bassoons, there are four horns (in D and F), and trumpets (in D), used frequently and in the same manner as at present.

A secco recitative follows the overture; the music never rises above the dialogue, with its long, sermonising speeches and rhetorical bombastic reflections. There are only two accompanied recitatives: the first occurs when Judith upbraids the people; short and skilfully modulated instrumental phrases interrupt the animated declamation, and the whole is lively and expressive. Later on Judith delivers the long narrative of her adventure with Holofemes (II) in an accompanied recitative. The stringed instruments strike the chord in a high pitch, with which Judith's alto voice strongly contrasts. There are but few agitated passages; but, indeed, even in stirring moments the music never reaches anything like characterisation. The prayer of Judith at the most critical point of the piece is not conspicuous either for tunefulness or varied accompaniment.

The solo parts are distributed among all the four voices: for Amital, Cabri and Carmi are soprani, Judith alto, Ozia tenor, and Achior bass; they are never united in an ensemble, and there is not one duet.

Judith has three airs, besides a solo with chorus. The first (5) approaches as near as possible to a bravura song. The words are expressed with grace and animation. The passages are neither predominant nor tedious, which is doubtless due in part to the singer for whom the part was composed, for the second song (7), powerful and dignified as it is, is also without passages; it begins with the favourite long-sustained note. The chief movement of the last song (11)—a long adagio with a carefully composed accompaniment—is finely descriptive of Judith's mood, but there is no appeal to the feelings by beautiful melody. The whole part is not bravura in the strictest sense; the deeper alto notes are only occasionally employed.

That this moderation of style was not inseparable from the character of oratorio music, may be seen from the parts of Amital and Ozia. The second song for Amital (10) and the first for Ozia (1) are regular serious bravura songs, with passages, long-sustained notes, and florid accompaniments. Amital's last song (13) is solemn and earnest, to suit the words, but still keeps the performer well in view; Ozia's second song is soft and graceful, and the first which reminds us of Mozart's later style.

The bass part of Achior is less carefully written, and not nearly so bravura in style. The first song (6) is more noisy than vigorous, both in voice and accompaniment. This boisterous treatment of the bass voice was then common, and it was on that account excluded from the opera seria. 16 In this place it accords with the dread apparition of Holofernes which is described. The second song of Achior, after his conversion (12), is very simple and insignificant; the accompaniment is partly imitative.

The two airs of Cabri (2) and Carmi (14) are, as usual with secondary parts, simple, and not without expression, but in no way original.

The traditional aria form is adhered to in almost all the songs. The second part, distinct from the first in composition if not in time and measure, is short and superficially treated; generally only the last part of the first movement is repeated. The latter is broadly conceived, with long ritomelli; the invariable cadenza is brought in in the usual way. The accompaniment resembles that of operatic songs, but is more carefully worked out. Original passages for the second violins—sometimes, too, for the violas—occur, here and there, as well as attempts at imitation; and the wind instruments are occasionally employed independently. All these attempts show decided talent, but they are few and far between, and the orchestra has not the stamp of independent vigour.

The choruses, although occupying more space in the composition, do not materially differ from those of the opera. The concluding chorus of the first part (8) is like a study for a recitative, turned into a chorus by means of the accompaniment, which consists of two alternate strongly marked subjects. The elaboration is not contrapuntal, but harmonic, and a simple but rich modulation gives significance to the movement. The voices give the full harmony, and a moderate amount of agitation in the melody and rhythm appears when the declamation demands it. The favourable pitch, the interesting modulation, the characteristic accompaniments, and the dignified seriousness which runs through the whole, all combine to make this chorus effective and excellent of its kind.

The two other choruses are prayers connected with solos. The first (4) is very simple. Ozia sings a melodious, beautifully conceived cantilene, full of feeling, which is accompanied by the violins pizzicato, and the chorus ends with a repetition of the two last lines. The second verse, with a change of composition, preserves the same character; after which the first is repeated, and leads with effective climax to a full close.

The last chorus is more grandly conceived. Judith answers the thanksgiving of the chorus in two strophes descriptive of the victory, and then the chorus falls in again; this is repeated three times, and a moral reflection follows as a closing chorus. Mozart has chosen an ancient church melody for the refrain of the chorus:—[See Page Image]

The melody is four-part, the partially varied harmony dignified and powerful, and interesting in its simplicity; the voices are well treated and animated. At the fourth repetition Mozart has assigned the Cantus firmus, somewhat altered in the second part, to the tenor voice:—[See Page Image]

Thence he passes to the closing chorus. The solo part of Judith, simple, dignified, and earnest, resembles a regular song; but the declamatory is more prominent than the melodious element. Although somewhat overpowered by the chorus, the character of Judith is here most significantly expressed. Whenever Mozart allows himself free play, he exhibits originality, truth, and earnestness.

The closing chorus is lively and brilliant, but kept in moderation, and its character is not without strength and dignity.

That this conception of the oratorio was not peculiar to Mozart, but was the then commonly received one, is plain from a comparison of this with other contemporary oratorios—with those, for instance, by Hasse, which are reckoned among his most important works. Whoever should form, on the strength of the eulogies pronounced by Hiller on the oratorio "Sant-Elena al Calvario," 17 a conception of this and similar pieces founded on our present ideas of sacred music, would find himself much deceived. Here, as in all Hasse's oratorios, the art of the vocalist is the determining element, and the expression of emotion coincides in essentials with that of the opera. The differences in Mozart's oratorio are unimportant, and are founded on variations in the taste of the time and of the composer.

Hiller speaks with great admiration of the pilgrims' chorus, to which Hasse has set the chorale "O Lamb of God" in such a way "that its whole attraction consists in the alternation of the voices and of the various instruments among whom the melody is divided; the bass and violin are in unison throughout, and give animation to the whole, with a simplicity that is worth more than ten fugues, and which betrays more insight into the true beauty of song than the most artistic counterpoint." It almost seems as if Hiller wished to point at J. S. Bach, and remembering some of the marvellous creations of Bach—for instance, the first chorus in the St. Matthew "Passion Music"—the contrast between different artistic tendencies and personalities can hardly be better exemplified than by comparing him and Hasse. Hasse has succeeded in bringing the chorale into accordance with the Italian style of his oratorio, but he loses thereby the proper significance and effect of the chorale. The way in which Mozart has introduced the Catholic church melodies unaltered is, from this point of view, grander and more striking. And Hasse was looked upon in Mozart's day as a representative of the good old times in the traditions of which he had been educated.