Exoticism in 18Th Century Opera: Appreciation Versus Appropriation

Exoticism in 18th Century Opera: Appreciation versus Appropriation

Maggie Pazur Western Carolina University Faculty Mentor: Christina Reitz Western Carolina University

ABSTRACT Tales of Turkish harems, imprisoned women, and Western heroes were widely popular during the height of Western Europe’s fascination with the Ottoman empire. The idea of these “seraglio stories” is a popular trope in the discussion of musical orientalism. “Exoticism in 18th Century Opera: Appreciation versus Appropriation” expands upon previous research to fully explore the concept of appropriation in regards to the Western interpretation of Turkish culture. Focusing on a study of Wolfgang Amadeus Mozart’s (1756-1791) Die Entführung aus dem Serail (The Abduction from the Seraglio). This research analyzes the implications of the Western musical exploration of Turkish culture. Despite attempting to emulate Turkish traditions, Mozart’s music is ultimately inauthentic and diminutive. Additionally, the portrayal of Turkish characters as one-dimensional barbarians exposes Western culture’s true view of the Ottoman empire. My research fnds that the Western portrayal of Turkish culture is more appropriative than appreciative due to the dichotomy between the Western world’s appreciative attitude towards their artistic traditions and their negative depiction of the Turkish people themselves.

rtistic fascination with Turkish culture trade relations. The Treaty of Passarowitz Awas not a novel idea by opera com- in 1718 introduced Austrians to the market posers in the 18th century. Plays featuring of Turkish goods and opened the gates for Turkish themes and characters date back to new products to fow into Europe (Balkis when Europeans frst experienced Turkish 188). The infux of Ottoman goods infu- culture during the Crusades and consequently enced European trends and masquerade balls, brought aspects of Turkish culture back home. Turkish coffeehouses, and Alla Turca music The image of the Ottoman changed after the styles came into vogue (O’Connell 181). European victory in the Ottoman’s Siege Additionally, Turkish military bands, called of Vienna in 1683 (O’Connell 181). The Janissary bands, were often sent to European Ottoman’s failed expansion into Europe and courts as part of diplomatic exchanges lead- later retreat symbolized a shift in European ing to European imitation of their musical views towards their culture. The Ottoman styles (“The Alla Turca Style in the Late Empire’s expansion no longer threatened Eighteenth Century” 48). However, these European culture and the shift in power al- trends represented a shallow interpretation lowed Europeans to idealize their culture of Turkish culture. Europeans focused their rather than fear it. view of Turkish people and their culture as This shift in power also led to new alli- that of an “other” versus their own cultures. ances between European countries and the Turkish “otherness” was often portrayed Ottoman Empire which further led to new through the popular genre of operatic

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“seraglio stories.” These stories had remark- won’t rest until I see you killed” and later de- ably similar plots despite being composed in scribes the many ways he wishes it to happen different languages and European cultures. with, “First you’ll be beheaded, then you’ll They often featured Western women being be hanged, then impaled on red hot spikes, abducted by Turkish pirates and held hostage then burned, then manacled and drowned; in seraglios, or harems. The Western wom- Finally fayed alive” (Bretzner). This stead- an’s lover, desperate to retrieve his love from fast determination to torture is a joke for the the sensuous embraces of the seraglio’s mas- audience but also reduces Osmin’s character ter, launches a failed rescue attempt. Despite to one defning trait, his barbaric personality. catching the feeing Europeans, the seraglio’s Due to his comic nature, Osmin is not per- master displays an act of great magnanimity ceived as a real threat by either the Western and releases the Westerners and it’s Happily male heroes or the audience. As one of two Ever After for the Western heroes and hero- main Turkish characters in the drama, Osmin ines. This plot is seen in the little-known serves as a generalization of Turkish men. French opera La Corsaire composed by Effectively, his words and actions diminish Adolphe Adam, Gluck’s La Rencontre im- Western respect for the Turkish people by prévue, Mozart’s Die Entführung aus dem portraying them, through Osmin, as immoral Serail, and many others of varying notoriety and barbaric. (Stilwell 51-52). The musical aspect to Osmin’s character This research focuses on a case study provides further support for this generaliza- of Wolfgang Amadeus Mozart’s (1756- tion. Osmin’s frst aria in Act I, referenced 1791) Die Entführung aus dem Serail (The before as showing his fxation on barbaric tor- Abduction from the Seraglio) and the causes ture practices, is musically set to highlight his and effects of exoticism presented in the quick temper and harsh personality. The aria work that are common in the “seraglio story” is written with short notes and phrases which genre. It includes a discussion of the methods creates an angry mood that complements the in which the work portrays the differences be- violent lyrics. Additionally, the allegro assai tween Western and Eastern characters includ- is an unexpected ending to the aria that sub- ing two common Turkish tropes (the barbaric verts traditional expectations by presenting a Turk and the noble savage), the implied com- new meter and remote key. Mozart explained parison of Western women and their Eastern in a letter to his father: counterparts, as well as the differences in the There comes the allegro assai which is in a portrayal of Western and Eastern men. This totally different metre and in a different key; research will also discuss the causes and ef- this is bound to be very effective. For just as a fects of the inauthentic Western portrayal person in such a towering rage oversteps all the of Turkish musical traditions. Overall, this bounds of order, moderation and propriety and research attempts to highlight the differ- completely forgets himself, so that the music ence between genuine appreciation and the must also forget itself (Head 2). gross appropriation of an “other” culture by The nontraditional musical choices can be Western Europeans. equated to Osmin’s non-Western mannerisms. In Mozart’s opera, the character Osmin Osmin’s temper sends him into a state of provides an example of the stark separation barbaric rage that starkly contrasts the noble, between European and Turkish culture that is Western heroes. His aria features repetitive prevalent in this genre. Osmin is the guard of phrases and underdeveloped harmonies Pasha Selim’s harem and estate and is por- which portray him as less sophisticated trayed as a barbaric individual with a harsh or cultured than his Western counterparts. temper. However, he is written as a comic vil- While these choices, such as a remote key lain, trivializing his anger and ferocity (Kaiser and contrasting meter, may not come across 127-130). In his Act I aria, Osmin sings, “I as overly unsettling to the modern listener,

30 Maggie Pazur the musical traits of his aria mimic his angry Furthermore, his graciousness is muddied descent as far as the limits of 18th century by his repeated threats to Constanze and the music would allow. Mozart reminded his rest of the Western company. In his frst intro- father, in the same letter referenced earlier, duction, he is shown with Constanze, inquir- “music, even in the most terrible situations, ing as to why she is still upset and assuring must never offend the ear” (Head 2). her that her honest answer will not upset him. Nevertheless, Osmin’s music contrasts with Her answer, in aria form, explains her affec- that of the Western men through clipped tion for Belmonte and how she wishes to stay phrases, brash dynamics, and foreign true to him (Rushton 68-69). Pasha Selim, modulations that culminate in a caricature of in turn, responds angrily reminding her that the “barbaric Turk” (Balkiş 191). she is under his control and he could exert Pasha Selim offers a different trope of force upon her if he so wished (Bretzner). Turkish characters, the noble savage. He is This change in emotion and control empha- the master of the seraglio, a setting that is sizes Pasha Selim’s role as the “noble sav- simultaneously extravagant and immoral, age.” While initially portrayed as kind and and holds power over the three Westerners gentle to Constanze, a woman he technically imprisoned there. He desperately seeks has in his control, his temper fares and he Constanze’s love and often retaliates with reverts to the “savage Turk” commonly por- empty threats when she refuses. It is implied trayed in the genre. This loss of control fur- by Pedrillo that he converted to Islam from ther diminishes the Western view of Turkish Christianity in a conversation with Belmonte rulers by portraying them as unsophisticated about Pasha Selim’s morals. The original li- or unstable. When taken as a whole, Pasha bretto suggests as such but neither the second Selim’s actions towards the European char- librettist nor Mozart confrm nor deny this acters creates a deceiving view of Turkish suggestion (Kaiser 93-94). Regardless, there people. Initially he seems to be a fair ruler is no doubt that Pasha Selim is frst and fore- (as fair as a harem owner can be) but his un- most an antagonist in the drama. He holds derlying motivations and irrational behavior the Western company hostage and repeat- undermine this interpretation. edly threatens them. However, he earns the The interactions within Pasha Selim’s se- “noble” aspect of the noble savage when he raglio also exemplify European views of frees the Westerners after their failed escape Turkish culture. While the drama lacks any attempt. This action may seem contradictory non-European women speaking roles, ac- to the negative effects of exoticism but impli- tions and statements from European women cations of his actions prove otherwise. create comparisons and generalizations to- As mentioned before, Pasha Selim is a wards Turkish women. Blonde’s character “renegade,” a European converted to Islam serves both as the spunky, lively sidekick to and living as an integrated part of Turkish Constanze as well as a comparison to the gen- culture (Mozart’s Operas 94). Pedrillo eralized Turkish woman (Kaiser 39). Act II tells Belmonte that Pasha Selim’s former features a scene between Osmin and Blonde, Christianity still grants him “suffcient deli- who was given to the guard as a slave by cacy not to force any of his women” (Kaiser Pasha Selim. Blonde fends off Osmin’s ad- 160). This places Pasha Selim’s gracious be- vances and informs him that European girls havior towards members of his harem on his are “quite different” (Bretzner). While she European background rather than his current offers no one specifc to base the compari- Turkish setting. This attribution then under- son on, the implication is that she is “quite mines the positive portrayal of Turkish cul- different” than the girls Osmin is used to, ture by insinuating that his admirable morals meaning the Turkish women of the seraglio. are exclusive to Western tradition and should She describes English women as “good” and not be taken as a refection of Turkish culture. “free” and scoffs at the idea of giving into

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Osmin’s sexual advances, indicating that she coloring him as unintelligent or completely is above the expectations of Turkish women controlled by base emotions. This is further (Bretzner). Her actions towards Osmin in enforced by Osmin and Pedrillo’s Act this scene subvert the expected master/ser- II, Scene 8 interaction in which Pedrillo vant relationship. Her words taunt him and convinces Osmin to go against his religion and she undermines his power by reminding him drink alcohol with him. Pedrillo convinces of her connection to Pasha Selim through Osmin to join him by trivializing the rules of Constanze (Bretzner). Additionally, her his religion, saying “he [Muhammad] has got phrases mock his coarseness and barbarism better things to do than to worry about your through mimicry of his low bass notes (Head bottle of wine” (Bretzner). Pedrillo is initially 91-93). Blonde’s actions and their musical able to overtake the brute force of Osmin by setting pushes Osmin below her in terms of lacing the wine with a sleeping draught, once social status, which was already below that again proving that European refnement and of European men. This further demotes and intelligence can overtake even the scariest of belittles Turkish women to an even lower Turkish men. standing without even being portrayed in the It is important to note the causes and ef- drama. Blonde’s role functions to assign a fects of Pedrillo’s role as comic relief. As one-dimensional generalized character to the mentioned in the analysis of Osmin’s char- idea of the “Turkish woman,” a role that is acter, the source of his humor is his barbaric simply defned as being less than European behavior in regards to the Europeans, spe- women. cifcally Pedrillo. His threats are exaggerated Similar conclusions can be drawn from and unsupported by his actions. In short, he the interactions between Osmin and Pedrillo. is the butt of his own joke. Osmin is also the Pedrillo is Belmonte’s servant being held source of Pedrillo’s humor. Pedrillo draws captive by Pasha Selim who is despised by out Osmin’s savage behavior by taunting him Pasha Selim’s guard, Osmin (Kaiser 148). such as in their frst scene together. Pedrillo Pedrillo’s character mirrors that of Osmin, repeatedly implores Osmin to explain his both serving as comic relief and a sidekick hatred until Osmin lashes out musically in to their respective countrymen. They are also his harsh aria. Essentially, Pedrillo is not in- related through their amorous connection dependently comedic but instead his comic to Blonde (with Pedrillo winning out over character traits rely on the reactions he en- Osmin, further enforcing European domi- tices from Osmin creating a dynamic not un- nance). Their similarities create an easy com- like an animal trainer and his circus lion. parison as Osmin functions as Pedrillo’s foil The last aspect of orientalism in The throughout the production. Their frst interac- Abduction from the Seraglio to consider is tion in Act I, Scene 3 sets up their individual the musical interpretation of Turkish culture. characters as well as their relationship with Mozart is often regarded as a master of mu- Belmonte teasing Osmin and Osmin react- sic, a title he earned from his virtuosic and ing with violent intentions. The spoken scene seemingly endless musical contributions. ends humorously with Osmin not being able However, his Alla Turca music included in to logically defend his hatred of Pedrillo, re- the singspiel show that he failed to portray an sponding simply with “Because I can’t stand accurate depiction of Turkish music. you” (Bretzner). This sets the tone for the rest Mozart captures Turkish music in the Alla of the singspiel as Pedrillo consistently has Turca style, a style that is not necessarily the upper hand. representative of Turkish culture. It is This introductory scene also highlights based off the janissary band music that a recurring theme between the characters. the Turkish military used during wartime Osmin is repeatedly outsmarted by Pedrillo (Balkis 189-190). This style of music was which adds to his barbaric portrayal by introduced to the Europeans during their

32 Maggie Pazur wars with the Ottoman Empire. Paul Rycaut, whole. Alla Turca music was often written a British diplomat and authority on the in key signatures with few fats or sharps, Ottoman Empire, wrote about the janissary keys that were considered at the time to be bands at the Siege of Vienna in 1683, “On “simple keys” (Locke 120). Related to this the 26th, the Turks designing to make a idea of “simple” music, the phrase structure furious Assault, caused all their warlike and form of Alla Turca music was often short Musick, such as Flutes, Cymbals, and brass and simple. Independent phrases added onto Trumpets, which gave a shrill Sound, to play each other to build larger, simple form struc- with their highest Notes, to encourage their tures (Locke 121). Another style trait found Soldiers to make the Onset” (Meyer 485). in Alla Turca operas and singspiel, is patter While Europeans had frst been introduced singing and skewed structures. Patter sing- to Eastern instruments and music during the ing, a rhythmic and syllabic form of expres- Crusades, interest and knowledge in this type sion, is commonly seen in comedic settings of music did not become popular until after and perpetuates the idea of a simple-minded, the failed expansion of the Ottoman Empire rambling Turk. The structures of these arias at Vienna (Meyer 485). Despite the infux of are often also purposefully altered from their Turkish goods, Eastern music continued to be traditional forms to sound confused or un- portrayed only through modifed Janissary- fnished (Locke 121). This contributes to the style music. aforementioned negative portrayal of Turkish Instead of offering a genuine Turkish mu- characters when compared to the polished, sic experience, Mozart, as well as other com- traditional style arias written for European posers of the time, reduces Janissary bands characters. to a few defning traits and applies them uni- One example of these Alla Turca musical versally to every situation. The most com- style traits found in The Abduction from the mon trait to be associated with Janissary Seraglio is during the Janissary Chorus in the music is the extensive use of percussion. At fnal scene. The strings introduce the repeated the beginning of exoticism’s popularity, the third interval early which is later imitated by only percussion employed in Western music the vocalists in unison. The rhythm of the was the kettledrum so the percussion sounds main motive is very short and repetitive, heavily featured were exciting for these audi- relating to the “simple” approach to writing ences. Cymbals, triangles, and tambourines Alla Turca music. Of course, percussion were extensively used in this Alla Turca style is heavily featured in the chorus. The most music which were close approximations to commonly expected percussion instruments the Turkish instruments traditionally used (cymbals, percussion, and triangle) are all (Meyer 485-486). Keyboard percussion in- present, adding a specifc color to the texture. struments were often altered to include ad- The cymbals and bass drum emphasize the ditional parts that mimicked other Janissary rhythmic pattern of the chorus members with style instruments (Locke 120). Another com- hits on the emphasized beats of the vocal line. mon musical trope of Turkish music was the This close relationship between different use of repeated thirds. This was traditionally parts also relates to the simple, unison style associated with Turkish music and often em- trait often associated with Alla Turca music. ployed to give the piece a defning aspect of The triangle adds an omnipresent color as it orientalism (Head 383). Further characteris- is struck on every beat of the closing chorus. tics include simple meters, unison parts, and While these traits are not always found in uncomplicated harmonies (O’Connell 183). every instance of Alla Turca music, the Some characteristics of Alla Turca music combination of them in this situation gives derive less from the musical examples set the piece a defnitive Turkish sound to the by Janissary bands and more from European European listener. interpretations of the Turkish culture as a With such a specifc collection of musical

33 Explorations |Humanities traits attributed to the 18th century Alla can be seen in a letter written by Mozart Turca style, a return to the discussion of regarding Osmin’s savage nature. He writes, appropriation versus appreciation is called “music, even in the most terrible situations, for. Mozart was exceedingly focused on must never offend the ear” (“The Alla Turca crafting music that pleased the European Style in the Late Eighteenth Century” 48). listener while still incorporating Eastern This implication, that Turkish music in its elements to give it the fair that the public was traditional form is offensive to Western ears, looking for (Head 14). This modifcation of illustrates the Western appropriative view of Eastern musical traditions to suit a European Turkish music rather than a truly appreciative standard of beauty was the frst element of view. appropriation of Turkish culture. Further, These changes made to the traditional Turkish music was almost exclusively Turkish music style in reverence to the represented through Janissary-style music Western ear resulted in a style of music unre- in European settings (O’Connell 183). This lated to what it was originally inspired from. military-style music was applied universally While the style of Alla Turca music written to all Turkish settings in drama despite them in the 18th century would be recognizable to often having no relation to the military. Europeans as “Turkish,” Aleksandr Ulibichev, Pasha Selim was not a military fgure in a music enthusiast after Mozart’s time, ar- The Abduction from the Seraglio yet he is gued, “The Persians and the Turks would introduced and praised through the Janissary not recognize themselves in these Choruses style of music. This shows the apathetic of Janissaries” (Locke 114). Mozart himself approach of Western artists towards the wrote that he included Alla Turca style traits subtleties of other cultures. in Die Entführung because his Western audi- Contrarily, consideration must be given to ence would expect to hear them included in the composer’s ability to conform Turkish an opera set in Turkey (Locke 121). While music styles to Western musical notation. the original source material was based in Is it fair to decry a piece of Western art Turkish culture, Alla Turca music took on music for cultural appropriation when the its appropriative position when composers frame in which they composed was not based their alterations of the style on what able to accurately capture Turkish music would conform to Western beauty standards. styles? Perhaps the largest obstacle that True appreciation of these cultures would Mozart and other composers who wrote in portray Turkish characters with multi-dimen- the Alla Turca style faced was the physical sional personalities and motivations. Music difference between the instruments that styles would vary and be representative of comprised traditional Janissary bands and the correct style of music traditionally played the Western instruments that made up the in that setting. The portrayal of other cultures European ensembles. Additionally, the would be educational instead of the slapstick original intent of Janissary military music sideshow approach used in the many “abduc- was not to be performed in a concert setting. tion” style seraglio stories. Johann Adam Hiller, an observer of Western- Mozart, Gluck, Rameau, and other interpreted Janissary performance in 1739, composers were all complicit in perpetuating reported that the performance lacked the negative stereotypes of Turkish culture irregularity and roughness of the true Turkish through European art music in the Alla Turca sound (“The Alla Turca Style in the Late style popular in the 18th century. This genre Eighteenth Century” 48). The limitations of art and exoticism reduced an entire culture that composers encountered were not always to only a few defning traits for the sensory as unavoidable. Composers self-imposed enjoyment of Europeans. While these a distinction between Western music and composers are praised and immortalized for that of true Janissary music. This limitation their work, it is important for music scholars to

34 Maggie Pazur listen critically and understand the problems of other non-Western cultures, have the same they present within their context. Musicians subtleties of Western art music expressed are tasked with representing different cultures through their unique traditions and deserve to through their compositions and performances be represented in their true forms rather than and it is crucial to understanding the line be remembered through the appropriative between appreciation and appropriation. True compositions of Western composers. Turkish music styles, as well as music styles

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