"Act II. The religion is now established. The Arabs are guarding the Prophet's tent while he speaks with God (chorus in A minor). Mahomet appears (a prayer in F). What a majestic and noble strain is this that forms the bass of the voices, in which I have perhaps enlarged the borders of melody. It was needful to express the wonderful energy of this great human movement which created an architecture, a music, a poetry of its own, a costume and manners. As you listen, you are walking under the arcades of the Generalife, the carved vaults of the Alhambra. The runs and trills depict that delicate mauresque decoration, and the gallant and valorous religion which was destined to wage war against the gallant and valorous chivalry of Christendom.
A few brass instruments awake in the orchestra, announcing the Prophet's first triumph (in a broken /cadenza/). The Arabs adore the Prophet (E flat major), and the Khaled, Amru, and Ali arrive (/tempo di marcia/). The armies of the faithful have taken many towns and subjugated the three Arabias. Such a grand recitative!--Mahomet rewards his generals by presenting them with maidens.
"And here," said Gambara, sadly, "there is one of those wretched ballets, which interrupt the thread of the finest musical tragedies!
But Mahomet elevates it once more by his great prophetic scene, which poor Monsieur Voltaire begins with these words:
"Arabia's time at last has come!
"He is interrupted by a chorus of triumphant Arabs (twelve-eight time, /accelerando/). The tribes arrive in crowds; the horns and brass reappear in the orchestra. General rejoicings ensue, all the voices joining in by degrees, and Mahomet announces polygamy. In the midst of all this triumph, the woman who has been of such faithful service to Mahomet sings a magnificent air (in B major). 'And I,' says she, 'am Ino longer loved?' 'We must part. Thou art but a woman, and I am a Prophet; I may still have slaves but no equal.' Just listen to this duet (G sharp minor). What anguish! The woman understands the greatness her hands have built up; she loves Mahomet well enough to sacrifice herself to his glory; she worships him as a god, without criticising him,--without murmuring. Poor woman! His first dupe and his first victim!
"What a subject for the /finale/ (in B major) is her grief, brought out in such sombre hues against the acclamations of the chorus, and mingling with Mahomet's tones as he throws his wife aside as a tool of no further use, still showing her that he can never forget her! What fireworks of triumph! what a rush of glad and rippling song go up from the two young voices (first and second soprano) of Ayesha and Hafsa, supported by Ali and his wife, by Omar and Abubekir! Weep!--rejoice!--Triumph and tears! Such is life."
Marianna could not control her tears, and Andrea was so deeply moved that his eyes were moist. The Neapolitan cook was startled by the magnetic influence of the ideas expressed by Gambara's convulsive accents.
The composer looked round, saw the group, and smiled.
"At last you understand me!" said he.
No conqueror, led in pomp to the Capitol under the purple beams of glory, as the crown was placed on his head amid the acclamations of a nation, ever wore such an expression. The composer's face was radiant, like that of a holy martyr. No one dispelled the error. A terrible smile parted Marianna's lips. The Count was appalled by the guilelessness of this mania.
"Act III," said the enchanted musician, reseating himself at the piano. "(/Andantino, solo/.) Mahomet in his seraglio, surrounded by women, but not happy. Quartette of Houris (A major). What pompous harmony, what trills as of ecstatic nightingales! Modulation (into Fsharp minor). The theme is stated (on the dominant E and repeated in Fmajor). Here every delight is grouped and expressed to give effect to the contrast of the gloomy /finale/ of the first act. After the dancing, Mahomet rises and sings a grand /bravura/ air (in F minor), repelling the perfect and devoted love of his first wife, but confessing himself conquered by polygamy. Never has a musician had so fine a subject! The orchestra and the chorus of female voices express the joys of the Houris, while Mahomet reverts to the melancholy strain of the opening. Where is Beethoven," cried Gambara, "to appreciate this prodigious reaction of my opera on itself? How completely it all rests on the bass.
"It is thus that Beethoven composed his E minor symphony. But his heroic work is purely instrumental, whereas here, my heroic phrase is worked out on a ***tette of the finest human voices, and a chorus of the faithful on guard at the door of the sacred dwelling. I have every resource of melody and harmony at my command, an orchestra and voices.
Listen to the utterance of all these phases of human life, rich and poor;--battle, triumph, and exhaustion!
"Ali arrives, the Koran prevails in every province (duet in D minor).
