The Serapion Brethren Volume I Part 7

"_Ferdinand_. 'This is just as it used to be in the golden old days when we were together. As you talk in that inspired sort of way of your Art, you raise me up to the level of ideas which otherwise I never should have dreamt of; and, I a.s.sure you, at this moment I consider that I really know a good deal about music. In fact, I think no pa.s.sable line of poetry would occur to me without its appropriate clothing of music.'

"_Ludwig_. 'Is not this the true inspiration of the poet of opera? I maintain that he should "think" the music belonging to his lines just as much>as the composer does; and that the only thing which differentiates the one from the other is the distinct recognition of particular melodies, and of particular qualities and peculiarities of the Bounds of instruments which are co-operating and involved in the effects; in fact, the easy, habitual command over the "Inner Kingdom"

of Music. But I have still to tell you my ideas about _Opera Buffa_.'

"_Ferdinand_. 'You will scarcely have a good word to say for that, particularly if it is in modern costume.'

"_Ludwig_. 'On the contrary, I consider that it is just when it is in the costume of the day that not only is it at its best, but that it is the only genuine form of _opera buffa_ in the sense in which the mobile, mercurial, excitable Italians have understood it and written it. In this case it is the Fantastic element which is _paramount_, proceeding partly from the quips of individual characters, partly from the _bizarre_ play of chance. The Fantastic element comes pop into our everyday lives, and turns everything topsy-turvy. One ought to have to say, "Yes; that really _is_ Brown (or Jones, or Robinson) in that snuff-coloured Sunday coat of his with the bra.s.s b.u.t.tons, which we all know so well. And what in the name of fortune 's the fellow going on like _that_ for?" Picture to yourself some respectable family--uncles, aunts, and so forth--and a little languis.h.i.+ng daughter; throw in two or three students, be-singing their cousin's eyes and playing the guitar under the windows. Let the tricksy sprite Puck pop suddenly into the middle of them! The result you may imagine. All the fat's in the fire; everything is at sixes and sevens; everybody goes darting in every direction, gesticulating and grimacing, skipping and posturing, as if a whole hive of bees were let loose in their bonnets. Some strange planet rules the ascendant; the nets of haphazard are set, and will catch the most respectable folk if their noses happen to be just the least bit longer than the average. I consider that the very essence of _opera buffa_ lies in this incursion of the Fanciful-Fantastic, the preposterous and absurd, into actual, everyday life, and the incongruities that result. And it is just the power of catching hold of this fanciful-fantastic element--which generally lies rather far off and out of the way--and bringing it, with vividness, into everyday life, which makes the acting of Italian buffo actors so inimitable.

They catch the indications given by the author, and their acting clothes the skeleton which he has sketched with flesh and colour.'

"_Ferdinand_. 'I think I follow you quite. What you mean is, that in the _opera buffa_ the Fantastic element takes the place of the Romantic (which, in general terms, you consider an essential principle of opera), and the art of the poet has to consist in this--that the characters must appear, not only with much finish, and standing out in _alto-relievo_, as well as being poetically true, but so clearly drawn as well from everyday life, and so full of individual character, that the spectator at once says, "Look there! that's my next-door neighbour, whom I say 'How are you?' to every day. And that's the student who goes to his lectures every morning, and sighs so tremendously as he pa.s.ses his cousin's window," etc., etc. And then all these people are to be subjected to the spell of some Puck, in such fas.h.i.+on that what they set to work to do under that influence, and all that happens to them, are to affect us as if we were there on the spot, sharing their experiences with them, under the influence of the same spell.'

"_Ludwig_. 'Exactly. And I scarcely need say that, according to my principle, music adapts itself well to _opera buffa_, and that in so adapting itself there results a certain special style which makes a special impression of its own on the hearer.'

"_Ferdinand_. 'Do you think music can express all the shades of the Comic?'

"_Ludwig_. 'I am quite sure it can; clever artists have proved it scores of times. For instance, music can express the most delicate and delightful Irony. That is the predominating element in Mozart's glorious "Cosi fan tutte."'

"_Ferdinand_. That, by the way, leads me to the remark that, according to your principle, the so-much disparaged text of that work is really highly suitable for an opera.'

"_Ludwig_. 'That is exactly what I was thinking of when I said, a little while ago, that for his cla.s.sic operas Mozart always chose really suitable texts, for "Le Nozze di Figaro" is more a Comedy in Music than a true Opera. The nefarious attempt to turn pathetic dramas into operas can never come to anything; our "Orphan Hospitals,"

"Oculists," and so forth, are sure to be soon forgotten. And what could have been more miserable and opposed to the true spirit of opera than all that series of _vaudeilles_ of Dittersdorf's? But on the other hand I call such works as "The Sunday-Child" and "The Sisters of Prague"

admirable. One might style them true German _opere buffe_.'

"_Ferdinand_. 'They have always amused me greatly, at all events, when decently given; and I have always thought of what Tieck makes his "poet" say to the public in his "Puss in Boots": "If you want to enjoy this thoroughly, you must divest yourself of whatever you may have attained in the shape of cultivation and learning, and become wholly as little children, so as to enjoy it as such."'

"_Ludwig_. 'Unfortunately those words, like many others of the kind, fell upon stony ground, and could take no root. But the _vox populi_, which is generally the _vox Dei_ in theatrical matters, has drowned the few isolated sighs and groans which super-delicate and sensitive people have given vent to over the sad untruthfulness and tastelessness of those works--"trifling," according to their ideas. And there are instances on record of some of those very people who, in the height of their calm, contemptuous, aristocratic impa.s.sibility and supercilious scorn of the whole thing, have been so carried away by the infection of the roars of laughter of the "baser" folk about them that they have burst out laughing in the most deplorable way themselves, declaring that they had no idea what they were laughing at.'

"_Ferdinand_. 'Wouldn't Tieck, if he had chosen, have written splendid opera plots, according to your definition of them?'

"_Ludwig_. 'No doubt, being a true romantic poet; and I remember I did once think of writing music to a plot of his. But though the subject was well adapted for music, the work was too diffuse and lengthy; not concentrated enough. It was called "The Monster of the Enchanted Forest," if I remember rightly.'

"_Ferdinand_. 'That reminds me of another difficulty which we meet with in writing for you composers: I mean the extraordinary brevity and conciseness which you insist upon. All our efforts to portray this or that situation or burst of pa.s.sion in properly descriptive language are so much wasted labour. You will have the whole affair comprised in a line or two; and even these few lines you twist about and turn upside-down just as you take it in your heads.'

"_Ludwig_. 'I think the writer of the words of an opera ought to be something like a scene painter, and paint his picture correctly as regards the drawing, but in broad, powerful lines; then the music will be what will make it appear in proper light and shade, and in correct perspective, so that it shall have a proper effect of life, and what seemed only meaningless dashes of colour prove to be forms instinct with meaning, standing out prominently in relief.'

"_Ferdinand_. 'So that what we have to do is to give you a sketch merely, not a finished poem?'

"_Ludwig_. 'No, no; that is not what I mean at all! It is scarcely necessary to say that the poet of opera must observe, as regards the arrangement, the disposition, of the whole, all the rules essential to dramatic composition; but what he has to take special care for is to so order his scenes that the subject-matter may unfold itself, clearly and intelligibly, to the _eyes_ of the spectator: who ought to be able to understand what is going on from what he sees taking place, almost without catching any of the words. No dramatic poem so absolutely demands this sort of distinctness as the opera-text, for not only is it more difficult to distinguish words when they are sung, (however distinctly,) than when they are spoken, but the music tends to carry the audience into distant regions, and it is necessary that the attention should be kept directed to the particular point wh.o.r.e the action is concentrated, _pro tempore_. Then as regards the words, the composer likes them best when they express the pa.s.sion, or situation, to which they refer, _vigorously_ and _concisely_. There is no occasion for flowery diction, and, above all, there should be no imagery, no similes.'

"_Ferdinand_. 'Then how about Metastasio, with his exuberance of similes?'

"_Ludwig_. 'Yes; he had the strange idea that the composer, particularly in arias, must always have his imagination stirred up by some poetical comparison. Hence his oft-repeated openings such as "Come una Tortorella," etc., or "Come Spume in Tempesta," etc.: and in fact, the cooing of doves and the roar of the sea have often made their appearance--in the accompaniment, at all events.'

"_Ferdinand_. 'But, while we avoid flowery language, are we to be allowed any sort of elaboration of interesting situations? For instance: the young hero sets off to the battle, and bids adieu to his aged father, the old king, whose country is trembling in the grasp of a victorious usurper. Or some terrible fate severs a youth from his beloved. Are neither of them to say anything but just "fare-thee-well"?'

"_Ludwig_. 'The hero may add a few words about his courage and the justice of his cause, and the lover may tell his sweetheart that life will be nothing but a long, painful dream without her. Still, the simple "fare-thee-well" will be amply sufficient for the Composer--(who draws his inspiration, not from the words, but from the business and the situations)--to represent the mental condition of the hero and the lover with powerful strokes and touches. To stick to the instance you have adduced; just think in what thousands of most affecting and heart-breaking ways the Italians have sung the little word "_addio_."

What thousands--ay, and thousands of thousands--of shades musical expression is capable of! And of course it is just that that is the marvellous mystery of the Tone-Art that, just where language comes to an end, _she_ is only beginning to disclose a perennial fountain of fresh forms of expression.'

"_Ferdinand_. 'Then what the opera-poet has to do is--to strive to attain the utmost simplicity, as far as the words are concerned; it will be enough to _suggest_ the situation, in clear and forcible language.'

"_Ludwig_. 'Exactly: because the composer has to draw his inspiration from the matter, the business and the situation--not from the words.

And not only is imagery to be avoided, but everything in the shape of a reflection is a bugbear to the composer.'

"_Ferdinand_. 'After what you have said, I can a.s.sure you it seems to be anything but an easy matter to write an opera text. Now, this indispensable simpleness of the language; I can't say that I quite see how to----'

"_Ludwig_. 'How to accomplish it! No! You are so fond of painting with words, and so accustomed to it. But though Metastasio (as I think) has exemplified in his librettos how opera texts ought _not_ to be written, there are quant.i.ties of Italian poems which are absolute models of words for music. For instance take the lines, known to the whole world, no doubt:

"Almen si non poss' io Seguir l'amato bene, Affetti del cor mio Seguite-lo per me!"

What can be simpler? Yet, in these few, unpretending words lies the suggestion, or indication, of love and sorrow which the composer comprehends, and can apply all the resources of musical expression to represent. The particular situation in which the words are to be sung will so stir his imagination that he will give the music the most individual character. And this is why you will often find that a poetical composer sets words that are wretched enough to admirable music. In such cases what inspired him was that the matter was genuinely suitable for opera; and as an instance I merely mention Mozart's "Zauberfloete."'

"Ferdinand was going to reply, when, outside the windows, down in the street, the drums were heard beating the _generale_. This seemed to wake him to the sense of present duty as with an electric shock. Ludwig shook him warmly by the hand.

"'Ah, Ferdinand,' he cried, 'what is to become of Art in these terrible times? Won't it die, like some delicate plant lifting its languid head towards the clouds beyond which the sun has disappeared? Ah! Where are the golden days when we were lads? All that is good is drowned and swept away by this torrent that whirls along, devastating the country.

We see bleeding corpses, appearing by glimpses, carried along in its dark billows; and in the horror which seizes us, we slip and lose our footing, we have nothing to hold on to; our cry of terror dies away in the darksome air--victims of inappeasable anger, we sink to earth, and there is no hope of salvation.' Ludwig paused, sunk in his thoughts.

"Ferdinand stood up, and put on his sword and helmet. He stood before Ludwig like the G.o.d of War armed for the fray. Ludwig looked up at him admiringly, and a glow came over Ferdinand's face, and he said, in a calm and rea.s.suring tone:

"'Ludwig, what has happened to you? Has the dungeon air which you have been breathing here so long debilitated you, so that you are too sick and faint to feel the warm reviving breath of spring which is blowing, sweet and gentle, up there among the clouds as they glow with the rose tints of dawn? The children of Nature were abbrutized and sunk in sluggish inaction, careless of all her most precious gifts, and treading them into the mire. Then their angry mother awoke the Genius of War, who had long been sleeping in gardens heavy with the breath of flowers--and War came, like some Giant of Adamant, amongst these spoilt children, who, at the sound of his awful voice, which makes the hills tremble, fled to their mother's arms for refuge, though they had forgotten her before. But with remembrance came grat.i.tude. Nothing but strength brings success. The divine element radiates out from contest and striving as life does from death. Yes, Ludwig, a time is upon us which is pregnant with fate, and (as in the awful profundity of the ancient Sagas, which come rolling over to us like the mysterious muttering of distant thunder) we can trace, once more, distinctly, the voice of that Power which rules for Ever more. Nay, marching visibly into our lives, it awakes in us a faith which enables us to read the riddle of our Being. The morning light is breaking, and inspired Singers are soaring up in the sweet fresh morning air, proclaiming the advent of the Divine, and celebrating it with hymns of praise. The golden gates are open, and art and knowledge, in one united ray, are kindling that flame of sacred effort which makes all humanity one universal Church. Therefore lift up your eyes, dear friend.

Courage--Confidence--Faith.'

"Ferdinand clasped Ludwig's hand; and in a few moments his charger was bearing him rapidly along with the troops moving on to the attack, the light and joy of battle on every brow."

The friends were much affected by this; for each of them remembered days when the clutch of a hostile destiny was at his throat and all comfort or enjoyment in life seemed to be a thing of the past for ever.

And then, after a time, the first rays of the beautiful Star of Hope began to pierce the clouds and rose higher and higher, reviving them, strengthening and invigorating them with newness of life. Then, in the gladsomeness of contest, everything stirred, and came into activity, shouting for joy. At last the grandest and most brilliant of victories rewarded their courage and constancy.

"Each of us," said Lothair, "has said, within himself, very much what the Serapiontic Ferdinand said; and well is it for us that the menacing storms which thundered over our heads refreshed us, instead of annihilating us, and braced us like a fine sulphur bath. In fact, it seems to me that it is only now, and here among you, that I begin to feel quite strong and well, and to trace a fresh impulse to begin, now that the storms are over, to bestir myself again in the paths of literature and science. I know that Theodore is doing so right strenuously; he is devoting himself, as of old, to his music, although he is not neglecting literature neither, so that I am expecting him to astonish us, one of these days, with an opera altogether his own, both music and words. All that he has said about the impossibility of the same person writing the words and the music of an opera may be plausible enough, but it doesn't convince me."

"I don't agree with you," said Cyprian, "but I don't see much use in continuing the discussion. It seems all the more a waste of time that if the thing were possible, which Theodore says it is not, he would be the first to set about doing it. It would be far better if he would open his piano and, as he has favoured us with so many interesting Stories, let us hear some of his Compositions."

"Cyprian," said Theodore, "is always accusing me of sticking too closely to established forms, and rejecting any poetry which cannot be fitted to some of them. This I do not admit, and I mean to prove what I say by producing some music of mine to words which require a setting differing from any of the hackneyed 'forms' in question. I mean the Night Hymn in Mueller the painter's 'Genofeva.' All the sweet sadness,--the pain, longing, and sense of the supernatural,--of a heart torn by hopeless love are in the words of this beautiful poem. Moreover, as the verses have a certain touching flavour of the Antique, I have thought it better that the composition should be without any instrumental accompaniment, but for voices alone, in the style of old Alessandro Scarlatti, or the more modern Benedetto Marcello. I have done all the music for it in my head, but only the beginning of it has been written down as yet. If you haven't quite forgotten all about singing, and, especially, if you still feel the benefit of our old practice at 'reading invisible music,' and can strike your notes correctly as of old, I should like that we sing what I have composed for thebe words."

"Ah yes!" said Ottmar, "I remember about the 'reading invisible music.'

You used to put your fingers on the notes of the chords without pressing them down, and each of us sang the notes of his part without previously hearing them on the instrument. People who didn't notice the process of indicating the notes couldn't imagine how we 'improvised'

part-music so cleverly; and for those who possess the talent of being easily astonished, it really is a good and interesting musical trick.

For my part, I still sing that mediocre, grumbling old baritone of mine, and have as little forgotten how to hit my note as Lothair, who can still, with his fine _ba.s.so_, lay firm foundations on which tenors like you and Cyprian can build skywards with security."

"For Cyprian's beautiful, delicate, tender tenor," said Theodore, "this thing of mine is exactly suitable. Therefore I shall give him the first tenor part, and take the second myself. Ottmar, who was always very accurate in striking his note, shall take the first ba.s.s, and Lothair the second. Only, for Heaven's sake, don't thunder, but keep the whole thing soft and _sostenuto_, as the character of the composition requires."

Theodore struck two or three introductory chords on the piano, and then the voices began, with long, sustained notes, in the key of A flat major:

"Beauteous Lover's Star, That gleamest far and far, In pale blue vault of Heaven!

To thee, this night, our hearts make prayer; Oh! aid us in our fond despair!

To Love--to Love alone our souls are given."

The two Tenors now went on, in duet; key of F minor: