Expiate your sins, Egyptians, expiate the crimes of your maddened Court! With what amazing skill has this great painter made use of all the gloomy tones of music, of all that is saddest on the musical palette! What creepy darkness! what a mist! Is not your very spirit in mourning? Are you not convinced of the reality of the blackness that lies over the land? Do you not feel that Nature is wrapped in the deepest shades? There are no palm-trees, no Egyptian palaces, no landscape. And what a healing to your soul will the deeply religious strain be of the heaven-sent Healer who will stay this cruel plague!
How skilfully is everything wrought up to end in that glorious invocation of Moses to God.
"By a learned elaboration, which Capraja could explain to you, this appeal to heaven is accompanied by brass instruments only; it is that which gives it such a solemn, religious cast. And not merely is the artifice fine in its place; note how fertile in resource is genius.
Rossini has derived fresh beauty from the difficulty he himself created. He has the strings in reserve to express daylight when it succeeds to the darkness, and thus produces one of the greatest effects ever achieved in music.
"Till this inimitable genius showed the way never was such a result obtained with mere /recitative/. We have not, so far, had an air or a duet. The poet has relied on the strength of the idea, on the vividness of his imagery, and the realism of the declamatory passages.
This scene of despair, this darkness that may be felt, these cries of anguish,--the whole musical picture is as fine as your great Poussin's /Deluge/."
Moses waved his staff, and it was light.
"Here, monsieur, does not the music vie with the sun, whose splendor it has borrowed, with nature, whose phenomena it expresses in every detail?" the Duchess went on, in an undertone. "Art here reaches its climax; no musician can get beyond this. Do not you hear Egypt waking up after its long torpor? Joy comes in with the day. In what composition, ancient or modern, will you find so grand a passage? The greatest gladness in contrast to the deepest woe! What exclamations!
What gleeful notes! The oppressed spirit breathes again. What delirium in the /tremolo/ of the orchestra! What a noble /tutti/! This is the rejoicing of a delivered nation. Are you not thrilled with joy?"
The physician, startled by the contrast, was, in fact, clapping his hands, carried away by admiration for one of the finest compositions of modern music.
"/Brava la Doni!/" said Vendramin, who had heard the Duchess.
"Now the introduction is ended," said she. "You have gone through a great sensation," she added, turning to the Frenchman. "Your heart is beating; in the depths of your imagination you have a splendid sunrise, flooding with light a whole country that before was cold and dark. Now, would you know the means by which the musician has worked, so as to admire him to-morrow for the secrets of his craft after enjoying the results to-night? What do you suppose produces this effect of daylight--so sudden, so complicated, and so complete? It consists of a ****** chord of C, constantly reiterated, varied only by the chord of 4-6. This reveals the magic of his touch. To show you the glory of light he has worked by the same means that he used to represent darkness and sorrow.
"This dawn in imagery is, in fact, absolutely the same as the natural dawn; for light is one and the same thing everywhere, always alike in itself, the effects varying only with the objects it falls on. Is it not so? Well, the musician has taken for the fundamental basis of his music, for its sole /motif/, a ****** chord in C. The sun first sheds its light on the mountain-tops and then in the valleys. In the same way the chord is first heard on the treble string of the violins with boreal mildness; it spreads through the orchestra, it awakes the instruments one by one, and flows among them. Just as light glides from one thing to the next, giving them color, the music moves on, calling out each rill of harmony till all flow together in the /tutti/.
"The violins, silent until now, give the signal with their tender /tremolo/, softly /agitato/ like the first rays of morning. That light, cheerful movement, which caresses the soul, is cleverly supported by chords in the bass, and by a vague /fanfare/ on the trumpets, restricted to their lowest notes, so as to give a vivid idea of the last cool shadows that linger in the valleys while the first warm rays touch the heights. Then all the wind is gradually added to strengthen the general harmony. The voices come in with sighs of delight and surprise. At last the brass breaks out, the trumpets sound. Light, the source of all harmony, inundates all nature; every musical resource is produced with a turbulence, a splendor, to compare with that of the Eastern sun. Even the ********, with its reiterated C, reminds us by its shrill accent and playful rhythm of the song of early birds.
"Thus the same key, freshly treated by the master's hand, expresses the joy of all nature, while it soothes the grief it uttered before.
"There is the hall-mark of the great genius: Unity. It is the same but different. In one and the same phrase we find a thousand various feelings of woe, the misery of a nation. In one and the same chord we have all the various incidents of awakening nature, every expression of the nation's joy. These two tremendous passages are soldered into one by the prayer to an ever-living God, author of all things, of that woe and that gladness alike. Now is not that introduction by itself a grand poem?"
"It is, indeed," said the Frenchman.
