Evan Walker

							                              Evan Walker
                             Mozart’s Worlds
                  National Endowment for the Humanities

           A Survey of Mozart’s Compositions for Solo Voice
I. Introduction
        Solo singing is the focus of the Vocal Music program at my school, Carver Center
for Arts and Technology, a Baltimore County magnet arts high school. Therefore, this
study focused upon the composer’s compositions which use the solo voice: choral solos,
art songs, Masonic songs, and opera arias. This project presented pieces from each of
these groups.
        Music is a performing art. This endeavor took the form of a series of
performances for my students and for the community. The recital was performed from
memory on September 13, 14, and December 6, 8 at Carver Center, and on December 12
at Fairhaven Community. The choral performances were on November 18 and 19 in
Washington, D.C.
        My Summer Institute studies informed these performances, programs enclosed.

II. Choral solos
        A significant component of Mozart’s writing for solo voice may be found in the
solos in his choral works. This project included performing the tenor solos in Mozart’s
Vesperae solennes de Confessore and Great C Minor Mass with the Friday Morning
Music Club Chorale and Orchestra.

Vesperae solennes de Confessore, Solemn vespers of the Confessors
        Text: The Latin Biblical text of the six movements is drawn from the Psalms and
the Magnificat. Some of the texts are superimposed in the contrapuntal passages.
        Music: Like most of Mozart’s extended choral works, Vesperae solennes de
Confessore includes a solo quartet: soprano, alto, tenor, and bass. This solo quartet has
short phrases in the first three movements. The fourth movement is totally choral. This is
balanced by the fifth movement, “Laudate Dominum” which is a soprano aria with choral
support. As is often the case, the soprano soloist is treated as the first among equals. The
full quartet returns in the concluding “Magnificat” movement.

Missa C Moll, C Minor Mass (The Great)
        Text: This piece holds a special place in Mozart’s life. It was written as a gift of
love for Constanze and in thanksgiving for their child. This makes the soprano soloist’s
aria “Et incarnatus est,” with woodwind accompaniment for the Angel Gabriel and the
Holy Spirit, particularly poignant. The Mass remains a fragment because the Greek and
Latin Mass text was not completely set. The “Credo” stops at “Et incarnatus” and the
work lacks an “Agnus Dei.”
        Music: In the Great C Minor Mass the first soprano soloist, Constanze herself at
the premier, is head and shoulders above the other three singers. She is at least the equal
of the chorus with her two arias “Laudamus te” and ”Et incarnatus est.” In addition, she
has frequent ensemble singing including the expected “Benedictus.”

III. Lieder
        The Lied is the setting of a poem in German for solo voice and piano. While
Schubert’s great Lieder were decades in the future, Mozart’s small contribution to this
embryonic form is significant. His piano parts are independent, only rarely do they
double the voice line. Instead the piano is often an equal partner dramatically
commenting upon the text.
        These three Lieder may be sung by all voices. Sopranos and mezzos frequently
sing them in their original, high keys, presented here. The songs are also published in
lower keys.

An Chloe, To Chloe
        Text: Chloe is a name long associated with romantic, erotic love. It is an alternate
for the Greek goddess Demeter, mother-earth goddess who nourishes youth. The first
phrase uses the familiar, du form of address.
        Music: The turns in the melody of the introduction and postlude indicate the
playful character of the song. It is in Eb Major, a key often associated with love and
devotion. Fermatas frequently mark the conclusions of sections.
        Notice the breaks in the middle of some words, “berausch-ten Blick,” and “dü-stre
Wol-ke.” Mozart shares this characteristic with Richard Rodgers. Note also the
characteristic use of a deceptive cadence the first time “neben dir” is heard.

Wenn die Lieb aus deinen blauen,              When love pours out from your blue,
hellen, offnen Augen sieht,                   bright, open eyes,
und vor Lust hinein zu schauen,               and with the pleasure of my heart looking
mir’s im Herzen klopft und glüht;             into them, my heart pounds and glows.

Und ich halte dich und küsse                  And I hold you and kiss
deine Rosenwangen warm.                       your warm, rosy cheeks.
Liebes Mädchen, und ich schliesse             Dear girl, and I enfold you
zitternd dich in meinen Arm!                  tremblingly in my arms!


Mädchen und ich drücke dich an                My girl, I press you tightly
meinen Busen fest,                            to my bosom,
der im letzten Augenblicke                    which will, only at the last moment,
sterbend, nur dich von sich lässt;            give you up in death;

Den berauschten Blick umschattet              My intoxicated eyes are shaded
eine düstre Wolke mir,                        by a dark cloud,
und ich sitze dann ermattet,                  and I then sit, exhausted,
aber selig neben dir.                         but blissful, next to you.
Das Veilchen, The Violet
        Text: The poet is Johann Wolfgang von Goethe (1749-1832), one of the greatest
writers of the German language. He is most famous as the author of Faust. Goethe’s text
moves back and forth between the narrator and words spoken by the violet itself. A violet
is an early spring flower that is a symbol of faithfulness.
        In dramatic theory, weak self-deprecators are pitted against powerful imposters.
“Das Veilchen” is a miniature drama which plays out this conflict as the fragile flower
hopes for love from the forceful girl. Unlike comic operas in which the powerful fall and
the weak are victorious, in this song, the violet is crushed. It is happy to have been
crushed, but it is crushed all the same.
        Music: There is a song in the piano after the maiden sings. Sudden tempo changes
create dramatic effects in this outwardly simple song. Again Mozart breaks some of the
words with rests in the middle, “leich-tem Schritt” and “mun-term Sinn.”

Ein Veilchen auf der Wiese stand,              A violet stood in the field,
gebückt in sich und unbekannt:                 shy and nameless:
es war ein herzig’s Veilchen.                  It was a delightful violet.

Da kam ein’ junge Schäferin                    A young shepherdess came
mit leichtem Schritt und munterm Sinn          with light tread and a cheerful mind,
daher, die Wiese her und sang.                 walking in the meadow and singing.

Ach! denkt das Veilchen,                       “Ah,” the violet thinks,
wär ich nur die schönste Blume der Natur       “If I only were the loveliest blossom in ach,
nur ein kleines Weilchen,                      nature, Ah, just for a little while,

bis mich das Liebchen abgepflückt und          Until my dearest has plucked me and
an dem Busen matt gedrückt,                    pressed me tightly to her chest,
ach nur ein Viertelstünchen lang.              ah, only for a quarter of an hour!”

Ach! Aber ach! das Mädchen kam                 Ah, but alas! The young girl came and
und nicht in Acht das Veilchen nahm,           and didn’t even notice the violet,
ertrat das arme Veilchen.                      she stepped on the poor violet.
Es sank und starb un freut sich noch:          It sank and died and yet was joyful:
Und sterb’ ich denn, so sterb’ ich doch        “Even if I am dying, I am still dying because
durch sie, zu ihren Füssen doch.               of her, at her feet.”

Das arme Veilchen!                             The poor violet!
Es war ein herzig’s Veilchen.                  It was a delightful violet.

Abendempfindung an Laura, Evening feelings for Laura
        Text: This meditation on death is particularly poignant given Mozart’s death at
35. It was written in 1787, when the composer was only 31. The reference to death as the
falling of a stage curtain is noteworthy given Mozart’s life as a man of the theatre and his
strong belief in the afterlife. The west wind is traditionally a source of blessing and pearls
are often a symbol for purity or wisdom. The violet appears again as a symbol of
faithfulness.
        Music: The steady, andante tempo depicts calm and confidence in the face of
death. The tonality is F major, a key frequently associated with peace. Examples range
from Beethoven’s Pastoral Symphony to the Beatles’ “Hey Jude.” The song’s upper
range is the lowest on the program, never going above high F. Again words are broken in
the middle: “wie West-wind leise,” “stil-le Ah-nung zu,” “ein Thrän-chen mir.”

Abend ist’s, die Sonne ist verschwunden     It is evening, the sun has disappeared
und der Mond strahlt Silberglanz;           And the moon beams with a silvery glow;
so entflieh’n des Lebensschönste Stunden,   Thus life’s fairest hours slip away,
flieh’n vorüber wie im Tanz.                Hurry by as if in a dance.

Bald entflieht des Lebens bunte Scene,      Soon life’s varied scene slips away,
und der Vorhang rollt herab;                And the curtain rolls down;
aus ist unser Spiel,                        Our play is over,
des Freundes Thräne fliesset schon          Our friends’ tears already flow
auf unser Grab,                             onto our grave.

Bald veilleicht mir weht wie Westwind leise Soon perhaps— a quiet premonition
eine stille Ahnung zu                       Soft as a westerly breeze wafts toward me,
schliess’ ich dieses Lebens Pilgerreise,    I will end the pilgrimage of this life
fliege in das Land der Ruh’.                And fly to the land of peace.

Werdt’ ihr dann an meinem Grabe weinen,     When you weep then by my grave,
trauernd meine Asche sehn,                  And sadly look at my ashes,
dann, O Freunde, will ich euch erscheinen   Then, friends, I will appear to you
und will himmelaud euch weh’n.              And will send you heavenly breezes.

Schenk’ auch du in Thränchen mir, und       Spare me a tear as well, and
pflücke mir ein Veilchen auf mein Grab,     Pick a violet for my grave,
und mit deinem seelenvollen Blicke          And with your soulful gaze
sieh’ dann saft auf mich herab,             Look down at me gently.

Weih’ mir ein Thräne, und ach!              Dedicate a tear to me and oh, do not
schäme dich nur nicht, sie mir zu weih’n    Be ashamed to dedicate it to me;
o sie wird in meinem Diademe                Oh, then in my crown
dann die schönste Perle sein.               It will be the most beautiful pearl.

IV. Masonic music
       The Freemasons are a fraternal organization in which Mozart was very active.
They promote Enlightenment moral and religious ideals. These two songs could not be
more different in their verbal and musical complexity. However, they share the
Freemason commitment to progress towards spiritual growth.
       Both songs begin with direct address in the plural familiar, “you friends.” Both
were written for use during Freemason meetings. “Gesellenreise” appears to have been a
hymn to be sung by the assembly. The solo Cantata would have been an anthem or piece
of special music to which the assembly listened.
        Since the Freemasons were an exclusively male organization, these songs would
not have originally been sung by female voices. Today, “Gesellenreise” could be sung by
any medium high voice. The Cantata, with quite a few prolonged high As and an operatic
tessitura, would appear to be for high voices only. Today it is performed by sopranos as
well as the tenors for whom it was originally intended.

(Lied zur) Gesellenreise, (Song for a) Journeyman’s travels
        Text: A journeyman is the traditional second step in the progression to full
membership in a trade. The steps were apprentice, journeyman, then master.
        Music: The accompanying instrument in this solo song was originally the organ.
The association of the organ with religious services is older than Christianity. The
melody features ascending chromatic movement depicting the candidate’s upward
progress. Furthermore, rhythms progress to shorter and shorter values imitating the same
advancement. The tonality of Bb Major is often associated with hope and longing for a
better world.

Die ihr einem neuen Grade                    You, friends, who are now approaching
der Erkenntnis nun euch naht                 a new stage of wisdom,
wandert fest auf eurem Pfade                 Walk securely on your pathway,
wisst, es ist der Weisheit Pfad.             Know that it is the way of wisdom.

Nur der unverdrossne Mann                    Only a person who is steadfast
mag dem Quell des Lichts sich nahn           may progress toward the source of light.

Cantate: Die ihr des unermesslichen Weltalls Schőpfer ehrt
You who honor the Creator of the measureless universe
        Text: The words to this Masonic Cantata are an Enlightenment Creed. Beliefs in
an all-loving God, love of oneself and others and the primacy of order and balance are
stressed. After a brief introduction, God speaks in the first person.
        Music: The ten-bar introduction paints with a big brush, indicating that the piece
will deal with all people, of all time periods. The introduction’s descending melodic
contour suggests God coming down from heaven. The opening recitative calls the
listeners to attention. Then, in five different sections marked by contrasting meters,
tempos, and keys, God outlines Mozart’s Enlightenment philosophy in broad strokes.
        This tenor cantata is similar in form to a concert aria; it is an extended, solo,
multi-sectional work not written for the stage. Unlike this Cantate, Mozart’s eleven
concert arias for tenor were written in Italian. The tonality is primarily C major,
frequently associated with purity and innocence. The Rolling Stones’ “You can’t always
get what you want,” used in several commercials, was in C major. Again one sees broken
words: “das Men-schen, das Bru-der-blut,” “die Men-schen.”

Die ihr des unermesslichen Weltalls          You who honor the Creator of the
Schöpfer ehrt,                               measureless universe,
Jehovah nennt ihn, oder Gott                 who call him Jehovah or God,
Nennt Fu ihn, oder Brama                   who call him Fu or Brahma,
Hört Worte aus der Posaune                 Hear words from the trumpet
Des Allherrscheres!                        of the universal ruler.

Laut tönt durch Erden, Monden, Sonnen      Its eternal tone sounds loudly through
Ihr ew’ger Schall.                         planets, moons, and suns.
Hört Menschen, sie auch ihr!               Mankind, you too, hear it.
Liebt mich in meinen Werken,               Love Me in My works!
Liebt Ordnung, Ebenmass und Einklang,      Love order, regularity and harmony!
Liebt euch, euch selbst und eure Brüder,   Love yourselves and love your brothers.

Körpferkraft und Schönheit                 Let physical strength and beauty
Sei eure Zierd,                            be your adornment,
Verstandeshelle euer Adel!                 clarity of understanding your nobility!
Reicht euch der ew’gen                     Stretch out the hand of eternal
Freundschaft Bruderhand,                   brotherly friendship to one another
Die nur ein Wahn, nie Wahrheit,            which a lie, never the truth,
Euch so lang entzog,                       has deprived you of for so long!

Zerbrechet diese Wahnes Bande,           Smash the bonds of this lie.
Zerreisset dieses Vorurteheiles Schleier Rip the veil of this prejudice to shreds.
Enthüllt euch vom Gewand, das Mencshheit Free yourselves from the garment that has
In Sektirerie verkleidet!                disguised people in the form
                                         of different religions.
In Kolter schmiedet um das Eisen         Turn the iron that has spilled the blood of
Das Menschen, das Brüder blut            men, of brothers, into plowshares.
Bisher bergoss!
Zersprenget Felsen mit dem schwarzen     Blow apart stones with the black gunpowder
Staube, der mordend Blei                 that has shot a bullet
In’s Bruderherz oft schnellte!           into the heart of a brother.

Wähnt nicht dass wahres Unglück sei        Do not believe that true evil
Auf meiner Erde!                           occurs on my earth.
Belehrung ist es nur, die wohl tut         It is only a lesson, which does you good
Wenn sie euch zu bessern Thaten spornt,    when it encourages you to do better things.
Die Menschen, ihr in Unglück wandelt       However, people turn it into evil
Wenn thöricht blind Ihr rückwärts          when they blindly push back
in den Stachel schlagt der vorwärts        against the prod that is meant
euch antreiben sollte.                     to make you go forward.

Seid weise nur, seid kraftvoll,           Simply be wise, strong,
Und seid Brüder!                          And be brothers.
Dann ruht auf euch mein ganzes Wohlgefallen Then my entire goodness will be with you,
Dann netzen Freudenzähren nur die Wangen then only joyful tears will dampen your
dann warden eure Klagen Jubeltöne         cheeks, then you cries will be cries of joy,
dann schaffet ihr zu Edens Thälern Wüsten then deserts will be turned into the garden of
dann lachet alles euch in der Natur       Eden, then everything in nature will smile at
                                          you and

dann, dann, dann                              then
ist’s erreicht des Lebe’s wahres Glück        then life’s true joy will be reached.

V. Opera
        A very great proportion of Mozart’s income came from opera. Two of these arias
are from a particular type of opera in German called a Singspiel, literally a sung play. A
Singspiel has no recitatives; it has spoken dialogue like a Broadway show. “Un aura
amorosa” is from an opera buffa, a comic opera in Italian with recitatives instead of
spoken dialogue
        Opera arias are not transposed like art songs. Traditionally they are sung in the
original keys. Likewise, they are performed for the gender for which they were intended.
The following tenor arias are from three different operas.

Dies Bildnis ist bezaubernd schön, This likeness is enchantingly beautiful
Die Zauberflöte, TheMagic Flute
        Text: Magic Flute deals Masonic ideals and rites. The text was written by
Emanuel Schikaneder, a Masonic “brother” of Mozart’s, who performed the leading
baritone role, Papageno, on opening night. The Three Ladies from the court of the Queen
of the Night have just given Tamino, the tenor, a portrait of Pamina, the Queen’s
daughter. He is inspired by the portrait to rescue Pamina.
        Music: The opening chords are a motive that runs throughout the opera depicting
knocking at the door of Enlightenment. The ascending leap followed by a descending
scale, which opens the aria, was also present in the concluding sections of “Die ihr des
unermesslichen Weltalls.” The aria is again in Eb, a key often used for love and
adoration.

Dies Bildnis ist bezaubernd schön,   This likeness is more enchantingly attractive,
wie noch kein Auge je gesehn.        than anyone has ever seen.
Ich fühl es, wie dies Götterbild     I feel it, how this godlike portrait
mein Herz mit neuer Regung füllt.    fills my heart with new feelings.

Dies Etwas kann ich zwar nicht nennen; I cannot actually identify this phenomenon
doch fühl ich’s hier wie Feuer brennen, but I feel it here, aflame like fire.
Soll die Empfindung Liebe sein? Ja      Could this feeling be love? Yes.
Die Libe ist’s allein.                  It is love alone.

O wenn ich sie nur finden könnte!        Oh, if I could only locate her,
O wenn sie doch schon vor mir stände!    if only she stood now here in front of me!
Ich würde..                              I would….
warm und rein—was würde ich?             affectionate and pure—what would I do?

Ich würde sie voll Entzücken,            I would, full of delight,
an diesen heißen Busen drücken,               press her to my burning heart
und ewig ware sie dann mein.                  and she would forever be mine.

Un aura amorosa, A loving breath
Così fan tutte, Thus do all women

        Text: The libretto to Così fan tutte was written by Lorenzo da Ponte, who also
wrote the libretti to Don Giovanni and Le nozze di Figaro. The worldy-wise tone of the
story may reflect the mood in Vienna at the time of its composition, 1790. By that point,
the optimism of the mid 1780s had given way to the pessimism of the final days of the
rule of the then unpopular Joseph II.
        Music: The aria’s very brief introduction, simply a broken chord, indicates that
this song will function on a small, intimate level. This chord may depict the loving breath
mentioned in the opening phrase. The tonality is A major, which frequently depicts hope
to see a separated love. Peter, Paul and Mary’s “Leaving on a Jet Plane” was in A.

Un aura amorosa del nostro tesoro             A loving breath from our beloved
Un dolce ristoro al cor porgera…              will grant sweet relief to the heart…

Al cor che nudrito da speme d’amore           to the heart which, fed by the hope of love,
D’un esca migliore bisogno non ha.            has no need for better nourishment.

Frisch zum Kampfe, Straight to the struggle
Die Entführung aus dem Serail, The Abduction from the Harem
        Text: This comic character, Pedrillo, is not exalted or heroic. He is the
straightforward and simple-minded servant of the romantic lead, Belmonte. In this aria,
Pedrillo resolves to face the coming battle to rescue the captured girls as bravely as
possible.
        Music: This aria is characterized by sudden stops and starts and dynamic shifts.
A wide range of vocal colors is expected in singing character tenor roles. This aria is in
the key of D Major, which frequently depicts a call to war or triumph. Handel’s
“Hallelujah Chorus” is in D.

Frisch zum Kampfe! Frisch zum Streite! Straight to the struggle! Directly to the brawl!
Nur ein Feiger Tropf versagt,         Only a cowardly rascal loses heart.

Sollt ich zittern? Sollt ich zagen?      Must I tremble? Should I hesitate?
Nicht mein Lebe muthig wagen?            Not risk my life courageously?
Nein. Ach nein es sei gewagt!            No. Let it be risked.

VI. Conclusion
        The NEH Institute “Mozart’s Worlds” was a dream come true. It has been a
delight to spend months singing Mozart’s compositions for the solo voice and sharing
them with my students and the community. This Institute profoundly deepened my
appreciation for music, history, architecture, philosophy, art, and culture of the
Enlightenment.