Apollo et Hyacinthus, K. 38

Now some would consider this Mozart's first true opera. Where they would say Die Schuldigkeit des ersten Gebots was a sacred work. Semantics. I'm not concerned.  So anyway. Apollo et Hyacinthus plots itself on some Greek Mythology.  Now, I've read that they changed it up a bit in Mozart's day to fit the time's ethics. (As if promoting foreign gods was more scriptural.) I'm not sure how much of this debate the 11-year-old Mozart dabbled in. 

Again, the music is very impressive for such a young man.  I mean, an opera? How many adults can do that? I do remember reading somewhere, that some in the past criticized Mozart's opera. They said he was too young to do 'em. Maybe.  But, in this opera, I think he is beginning to claw into the some good emotional stuff.  Natus cadit atque Deus is the first example a fitting great emotional theme. The death of a child requires a sad song. But, it still has a nice shade of hope. Even at 11, Mozart sipped from the cup of death. Did he draw from his experience to come up with the music from this song? In addition, I know I have heard the music before. Did I hear from another opera? Have I just heard it on the radio? I don't know, it is so familiar. Maybe it is one of those jackpot rhythms he reused. 

I little extra. I watched a youtube clip with some kids playing many of the parts. They had great voices. Did children play the parts when Mozart first had it performed? Was Mozart actually conducting it? Would he have seen the kids as peers, or underlings? 

Piano Concerto No. 1, K. 37

A practice run for what some could call Mozart the father of. The Piano Concerto. I was trying to figure out which instrument her would have first used. Piano or Harpsichord. I listened to this piece in each.  But, I’m not sure if you can really call this Mozart’s first piano concerto. It seems to be a work of others turned concerto, with a helping hand of his father. Yet, Concerto’s 1-4 must have given him a taste.  And, they are very nice. But, I noticed there seems to be a lack of banter between the orchestra and the Piano.  They agree too much to itch my concerto sensibilities. I guess I like conflict.

First hoof off the trailer, I liked the opening.  The allegro suggests a fun adventure is about to begin. Like a group getting ready for a trail ride into mountains on a warm cool day. The keys are the ramrod and the orchestra is the riders. The piano solo progresses in a manner that gives me the feeling, I am moving higher and higher into the mountains.  The Andante Movement, while slow, is not sorrowful, but content. It is the music from the top of the mountain. The sun is out. And, I just sit back, breathe the cool air, let my skin absorb the warm sun, and enjoy the view.  Toward the end, there is a hint of darkness, but I think the darkness is just a quick realization I can’t stay up there forever.  With a one last sigh, it is time to leave.  The third movement shouts, this trip was a miracle. I see things differently now, and I am better because of it.

Die Schuldigkeit des ersten Gebots (The Obligation of the First and Foremost Command) K. 35

Every discipline has its Mount Everest, White Whale, Super Bowl, magic fairy dust ice cream sprinkles, or whichever idiom you choose to use.  It is the accomplishment where one passes from good (or even great) to master.  From what I have seemed to read, for a musician to master an opera was the greatest feat of a composer. To tame the beast, that is opera.  An 11 year old dare try. Or was pushed to try.  Die Schuldigkeit des ersten Gebots. Young Mozart’s try in the ring. I would have liked to watch the whole thing, but I couldn’t find it anywhere.  I was able to listen to  all the music and snippets of the opera, and was surprised to hear a voice very similar to his later operas. I have no Idea how such a young person could write such beautiful music.

The music was beautiful, but it lacked what I think to be the emotional complexity of the libretto. From what I gathered (kind of an uneducated guess using Google translate and other tools), the story seems to be an internal struggle of one coming to fully accept the Christian faith.  The voices of faith compete with the blathers of worldliness.  The subject matter is rife with good emotional material that young Mozart doesn’t fully exploit.  He seems primarily concerned with making lovely music.  

As I continue to watch, I am curious to see where in his operatic history he progresses in his emotional connection with a work’s themes. What was the one opera that thrust Mozart into a master? An Opera Game changer.  Zaide is the earliest opera I have absorbed, where he has clearly grasps emotional complexities.

But, even with this work, there is some deep stuff there. In his own life, which voice won out? It seemed worldliness had a tight grasp on him. As he struggled, how did such Christian themes affect him? Were his sacred works, simply a means to make money, thus feeding worldliness? Were they tightly held virtues, he didn’t believe he was breaking? Or, did they reflect values he wanted to adhere to, but couldn’t get himself to act out?

Zaide Cantor K. 344

Brothers, Brother, be now merry

Find your couage, swallow your gripes

The Earth is cursed, we’re all doomed

Everyone, too, is wrought with strife

Let us sing

Let us laugh

You can’t make it any different

This world, this pain, doesn’t matter

No one, no where is free of pest.

(My own attempt and translation.)

 

A jovial opening with austere lyrics for a melancholy opera.  I wonder if Mozart's kin, friends, acquaintances, and wannabe therapizers, were saying similar things as written in this song. 'Hey, Wolfgang buck up. Life is miserable for everyone.' As I have said in my Zaide post, life was rough at this point in Mozart's life. He could have seen himself as a slave in his own right. But, why such happy lyric to begin the opera. Much of Mozart music seems to be an attempt to mask or cure misery. Was that what going on here? Did he write the jovial musical opening, as a means to convince himself? An 'fake it until you make it' kind of thing. Or, is it simply an ironic device? "Oh. You want me to be happy? Ok. I'll just do that then."  Or both?