Felsen spaltet euren Rachen, &c.
Here Wolfgang has striven to express the somewhat whining pathos of the
text both by the voice and the instruments, and the result is a bravura
song, handled with great skill. There can be no doubt that this song
made a great effect at the time, though its want of good taste shocks
us now. The succeeding soprano air, on the other hand, which closes with
the warning--
[See Page Image]
{GRAB-MUSIK, 1767.}
(57)
[See Page Image]
expresses a soft, not unpleasing sentimental mood, which is still
more toned down in the concluding duet. Yet even here we have fanciful
passages--accepted at the time as legitimate both in music and poetry,
as corresponding to a complex state of feeling.
For a later performance, probably before 1775, Mozart added a final
chorus, introduced by a short recitative, in unjson throughout, thus
bringing the whole piece simply and melodiously to a conclusion. A
little song (146 K.): "Kom-met her, ihr frechen Sünder, seht den Heyland
aller Welt," not in any way remarkable, belonging probably to the
beginning of 1770, was also intended for a Lenten performance.
Not long after Wolfgang's return from Paris, he paid a visit to the
Monastery of Seeon, where he was on friendly terms with the monks.
During dinner the abbot expressed his regret that no offertory had been
composed for the festival of St. Benedict. Wolfgang took advantage of
the first pause
{STUDY IN SALZBURG.}
(58)
to leave the dining-hall, and leaning on the ledge of the window
opposite the door, he wrote his offertory "Scande coeli limina" (34
K.). It begins with a pleasing soprano solo, a gentle flowing melody
accompanied by the violins; then comes a lively chorus with drums
and trumpets, somewhat cramped in style and pedantic in the imitative
arrangement of its parts.
Among the monks was a certain Herr v. Haasy, called Father Johannes,
who was very fond of Wolfgang. The boy sprang towards him as soon as
he entered the monastery, climbed on his neck and stroked his cheeks,
singing the while:--
[See Page Image]
Public-domain text, read in full here on John Shaqi.
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