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He was born before Mozart died; he worshipped him, and absolutely refused to speak to Salieri because Salieri had been Mozart's enemy; and it is easy to see, when once we rid ourselves of the idea that he was a rudimentary music-dramatist, that in his music he adhered as closely to Mozartean simplicity as his very different genius would permit.
The Mozartean method did not permit Gounod to depict these metamorphoses and blendings of feeling.
The opening bars are, of course, ultramodern: they would never have been written had not Wagner written something like them first; but the combination of poignancy and lightness and poise with which the same phrase is delivered and expanded as the theme for the allegro is quite Mozartean, and the same may be said of the semiquaver passage following it.
Covered with confusion, he implores pardon of the Countess, which is readily given. The two are reconciled, and Figaro and Susanna are united. The whole opera is such a combination of playfulness and grace that it is a somewhat ungracious task to refer to particular numbers. In these regards it is the most Mozartean of all the composer's operas.
The second line in its turn quickly split into those who, not content with the form, sought to alter it, and those who, quite content with it, went gaily on, turning out opera after opera, dealing with modern subjects in the old-fashioned way. Of these last Gounod must be reckoned the chief; and he began, not where Mozart left off, but with the Mozartean method of the "Don Giovanni" period.
No more Mozartean music is in existence, save Mozart's own, than that first act of "Lohengrin," where Wagner, by dint of being Weberish, came nearer to Mozart than ever Weber came; for Weber never wrote anything which, regarded as absolute music, apart from its emotional significance, or the picture it suggests to the inner eye, is so purely beautiful as, for instance, the bit of chorus sung after Lohengrin concludes his little arrangement with Elsa.
During the first act the drama proceeded with charming, almost Mozartean, smoothness; and I was surprised to find that the smoother it went the more irresistibly the music reminded me of Weber, until I remembered that "Lohengrin" is Wagner's most Weberish opera, and that in his youth Wagner heard Weber sung, not as he is sung now that is, like an early Wagner music-drama but as Weber intended it to be sung, like a later Mozart opera.
The figures seem to move, as in the Kinetoscope, or its forerunner the Wheel of Life: the Mozartean opera, when most dramatic, is a musical Wheel of Life. Gounod possessed neither Mozart's tact nor his fiery energy.
For what should have been innocence and effortless movement and godlike joy, Mozartean coordination and harmony, was full of terrible cries, and convulsive, rending motions, and shrouding sorrow. And Nietzsche had dreamt of music of another sort. He had dreamt of a music that should be a bridge to the Superman, the man whose every motion would be carefree.
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