I attended a student performance of the Magic Flute a few months ago. It was done on a very modest basis with piano accompaniment and minimal scenery: some of the performers got through more by enthusiasm than technique. But the greatness of the work had no difficulty in shining through. I suspect that in many ways the original performances in Vienna were just as rough and ready.
Where is that greatness?
Mozart has been one of the bedrocks of my musical existence and whatever else has changed in my musical tastes over my life the centrality of the Mozart operas has never been in doubt. I remember going to couple of performances of Figaro early on but the crucial experience was playing 2nd bassoon in the local college production of Cosí fan tutte. Learning the piece from the inside was a fantastic experience for a youngster finding his way into opera and it led to explore all of the Da Ponte operas.
I don't have such strong early memories of the Magic Flute but I suspect that my initial reaction was to find less in it than in Cosí. That brings me to heart of my question about where the greatness is to be found.
In any of the Da Ponte opera the question is absurd. Every time you turn a page you can only look in wonder at Mozart's ingenuity, inventiveness and inspiration. Turning the pages of the Magic Flute seems to be to create a quite different impression - indeed sometime the reaction is "there's nothing there".
Take the act one duet Bei Männern, welche Liebe fühlen. There is really almost nothing there at all. The harmony is utterly straightforward - indeed had I submitted this as a student composition exercise as pastiche Mozart I might have been criticised for a lack of harmonic variety. And I suspect that the melody line would have been regarded as being repetitious, too reliant on triadic outlines and lacking in any rhythmic interest. Indeed at a purely technical level there is absolutely nothing in this duet which would be beyond the capability of an averagely competent student to produce.
And yet of course it is music of the highest genius which in its very simplicity touches the heart in a way which few other pieces ever can. There in, of course, lies the magic. Somehow out of the very simplest ingredients Mozart has created something which is both sublime and completely human.
If I look at the sextet in Figaro I can marvel at the end result while at the same time at least have a glimpse of how Mozart did it. With the Magic Flute however I marvel at the end result but still find it almost impossible to work out how he did it!
Where is that greatness?
Mozart has been one of the bedrocks of my musical existence and whatever else has changed in my musical tastes over my life the centrality of the Mozart operas has never been in doubt. I remember going to couple of performances of Figaro early on but the crucial experience was playing 2nd bassoon in the local college production of Cosí fan tutte. Learning the piece from the inside was a fantastic experience for a youngster finding his way into opera and it led to explore all of the Da Ponte operas.
I don't have such strong early memories of the Magic Flute but I suspect that my initial reaction was to find less in it than in Cosí. That brings me to heart of my question about where the greatness is to be found.
In any of the Da Ponte opera the question is absurd. Every time you turn a page you can only look in wonder at Mozart's ingenuity, inventiveness and inspiration. Turning the pages of the Magic Flute seems to be to create a quite different impression - indeed sometime the reaction is "there's nothing there".
Take the act one duet Bei Männern, welche Liebe fühlen. There is really almost nothing there at all. The harmony is utterly straightforward - indeed had I submitted this as a student composition exercise as pastiche Mozart I might have been criticised for a lack of harmonic variety. And I suspect that the melody line would have been regarded as being repetitious, too reliant on triadic outlines and lacking in any rhythmic interest. Indeed at a purely technical level there is absolutely nothing in this duet which would be beyond the capability of an averagely competent student to produce.
And yet of course it is music of the highest genius which in its very simplicity touches the heart in a way which few other pieces ever can. There in, of course, lies the magic. Somehow out of the very simplest ingredients Mozart has created something which is both sublime and completely human.
If I look at the sextet in Figaro I can marvel at the end result while at the same time at least have a glimpse of how Mozart did it. With the Magic Flute however I marvel at the end result but still find it almost impossible to work out how he did it!
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| Autograph manuscript of the duet Bei Männern |
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