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diff --git a/old/43411-h/43411-h.htm b/old/43411-h/43411-h.htm deleted file mode 100644 index cb93bc9..0000000 --- a/old/43411-h/43411-h.htm +++ /dev/null @@ -1,23533 +0,0 @@ -<?xml version="1.0" encoding="iso-8859-1"?> - -<!DOCTYPE html - PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > - -<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> - <head> - <title> - Life of Mozart, by Otto Jahn - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css" xml:space="preserve"> - - body { margin:7%; background:#faebd0; text-align:justify} - P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } - H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } - hr { width: 50%; text-align: center;} - .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } - blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} - .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} - .toc { margin-left: 10%; margin-bottom: .75em;} - .toc2 { margin-left: 20%;} - div.fig { display:block; margin:0 auto; text-align:center; } - div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } - .figleft {float: left; margin-left: 0%; margin-right: 1%;} - .figright {float: right; margin-right: 0%; margin-left: 1%;} - .pagenum {display:inline; font-size: 100%; font-style:normal; - margin: 0; padding: 0; position: absolute; right: 1%; - text-align: right;} - .side { float: left; font-size: 75%; width: 25%; padding-left: 0.8em; - border-left: dashed thin; text-align: left; - text-indent: 0; font-weight: bold; font-style: italic; - font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} - pre { font-family: Times New Roman; font-size: 100%; margin-left: 10%;} - -</style> - </head> - <body> - - -<pre> - - - - -The Project Gutenberg EBook of Life Of Mozart, Vol. 1 (of 3), by Otto Jahn - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Life Of Mozart, Vol. 1 (of 3) - -Author: Otto Jahn - -Commentator: George Grove - -Translator: Pauline D. Townsend - - -Release Date: August 7, 2013 [EBook #43411] - -Last Updated: January 18, 2018 - - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK LIFE OF MOZART, VOL. 1 (OF 3) *** - - - - -Produced by David Widger - - - - - -</pre> - - <div style="height: 8em;"> - <br /><br /><br /><br /><br /><br /><br /><br /> - </div> - <h1> - LIFE OF MOZART - </h1> - <h2> - By Otto Jahn - </h2> - <p> - <br /> - </p> - -<div class="fig" style="width:80%;"> -<img src="images/titlepage.jpg" alt="titlepage" width="100%" /><br /></div> - - <h3> - Translated From The German By Pauline D. Townsend. <br /> <br /> With A - Preface By George Grove, Esq., D.C.L. - </h3> - <p> - <br /> - </p> - <h4> - In Three Volumes. Vol. I. <br /> <br /> London: <br /> <br /> 1882. - </h4> - <p> - <br /><br /> - </p> - <hr /> - <p> - <br /><br /> - </p> -<p> - <br /> - </p> - <table summary="" style="margin-right: auto; margin-left: auto" cellpadding="4" border="3"> - <tbody> - <tr> - <td> - <a - href="http://www.gutenberg.org/files/43412/43412-h/43412-h.htm">Volume - II.</a> - </td> - <td> - <a - href="http://www.gutenberg.org/files/43413/43413-h/43413-h.htm">Volume - III.</a> - </td> - </tr> - </tbody> - </table> - <p> - <br /> - </p> - -<div class="fig" style="width:80%;"> -<img src="images/cover.jpg" alt="WAMozart5yrs" width="100%" /><br /></div> - - <p> - <b>CONTENTS</b> - </p> - <p class="toc"> - <a href="#link2H_INTR"> INTRODUCTION. </a> - </p> - <p class="toc"> - <a href="#link2H_INTR2"> INTRODUCTION TO THE SECOND EDITION. </a> - </p> - <p class="toc"> - <a href="#link2H_4_0003"> TRANSLATOR'S NOTE. </a> - </p> - <p> - <br /> - </p> - <p class="toc"> - <a href="#link2H_4_0004"> <b>LIFE OF MOZART.</b> </a> - </p> - <p class="toc"> - <a href="#chap_1"> CHAPTER I. — CHILDHOOD </a> - </p> - <p class="toc"> - <a href="#chap_2"> CHAPTER II. — EARLY JOURNEYS </a> - </p> - <p class="toc"> - <a href="#chap_3"> CHAPTER III. — STUDIES IN SALZBURG </a> - </p> - <p class="toc"> - <a href="#chap_4"> CHAPTER IV. — THE FIRST OPERA IN VIENNA </a> - </p> - <p class="toc"> - <a href="#chap_5"> CHAPTER V. — THE ITALIAN TOUR </a> - </p> - <p class="toc"> - <a href="#chap_6"> CHAPTER VI. — WORKS IN GERMANY </a> - </p> - <p class="toc"> - <a href="#chap_7"> CHAPTER VII. — OPERA SERIA. </a> - </p> - <p class="toc"> - <a href="#chap_8"> CHAPTER VIII. — MOZART'S EARLY OPERAS. </a> - </p> - <p class="toc"> - <a href="#chap_9"> CHAPTER IX. — ORATORIO. </a> - </p> - <p class="toc"> - <a href="#chap_10"> CHAPTER X. — OPERA BUFFA. </a> - </p> - <p class="toc"> - <a href="#chap_11"> CHAPTER XI. — MOZART'S "RE PASTORE." </a> - </p> - <p class="toc"> - <a href="#chap_12"> CHAPTER XII. — SONGS. </a> - </p> - <p class="toc"> - <a href="#chap_13"> CHAPTER XIII. — CHURCH MUSIC. </a> - </p> - <p class="toc"> - <a href="#chap_14"> CHAPTER XIV. — INSTRUMENTAL MUSIC. </a> - </p> - <p class="toc"> - <a href="#chap_15"> CHAPTER XV. — EARLY MANHOOD. </a> - </p> - <p class="toc"> - <a href="#chap_16"> CHAPTER XVI. — MUNICH AND AUGSBURG. </a> - </p> - <p class="toc"> - <a href="#chap_17"> CHAPTER XVII. — MANNHEIM </a> - </p> - <p> - <br /> - </p> - <p class="toc"> - <a href="#footnotes"> FOOTNOTES </a> - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <br /><br /> - </p> - <h3> - VOLUME I. - </h3> - <p> - <span class="side">PREFACE TO THE ENGLISH EDITION.</span> <span - class="pagenum"><a href="pgimages/b002.png">[p2]</a></span> - </p> - <p> - I HAVE been asked to say a few words by way of welcome to the translation - of Jahn's Life of Mozart, and I do so with pleasure. The book has been - long familiar to me, and I regard its appearance in an English dress as an - event in our musical history. It will be a great boon to students and - lovers of music, and it shows how much the study of music has advanced - among us when so large and serious a work is sufficiently appreciated to - repay the heavy expense attendant on its translation and publication. The - book itself is what the Germans call an "epoch-making work." The old - biographies of musicians, such as Forkel's Life of Bach (1802) and Dies's - of Haydn (1810), are pleasant gossipy accounts of the outward life of the - composers; but they concern themselves mainly with the exterior both of - the man and his productions, and there is a sort of tacit understanding - throughout that if the reader is a professional musician he will know all - about the music, if he is an amateur it is altogether out of his reach. - Characteristic traits and anecdotes there are in plenty, but as to how the - music was made or came into being, what connection existed between it and - the circumstances or surroundings of the composer, what relation it had to - that of his predecessors or contemporaries, how far the art was advanced - by the labours of this particular composer or player—all that is - outside the province of the book. Schindler's Life of Beethoven (Münster, - 1840—a much smaller book than it afterwards became) was hardly more - <span class="side">PREFACE.</span> <span class="pagenum"><a - href="pgimages/b003.png">[p3]</a></span> than this, and in addition is so - deformed by want of method and by faults of style as to be very uninviting - to the reader. A step in the right direction was taken in Moscheles' - English translation (or rather adaptation) of Schindler (1841). Moscheles' - residence in London had shown him that there was even then a public - outside the professional musician to whom such works would be interesting, - and he accordingly took pains, by inserting musical examples and other - means, to make his edition attractive to this class. But the inherent - defects of the original work prevented more than a moderate success. - </p> - <p> - The first real attempt at a biography of a composer that should interest - all classes was the work of an Englishman. Edward Holmes was not only a - musician, but a cultivated man with a good literary style, and his Life of - Mozart, including his Correspondence (1845), was very nearly all that such - a book should be. It was derived from original sources, it was full and - yet condensed, it blended admirably the portrait of the man with the - portrait of the musician, it contained for that time a considerable amount - of musical illustrations, and lists of the works; and in addition to this - it was written in a style attractive to the amateur, and even to the - ordinary reader. It was largely read, and has long since been out of - print.* More than this, it extorted praise from a German writer, and that - a German should praise any English work on a musical subject is indeed an - event. The terms of warm commendation in which Jahn mentions it in his - introduction are in striking contrast to - </p> -<pre xml:space="preserve"> - * A new edition, with notes by Ebenezer Prout, B.A., was - published in 1878 by Novello, Ewer & Co. -</pre> - <p> - <span class="side">PREFACE.</span> <span class="pagenum"><a - href="pgimages/b004.png">[p4]</a></span> - </p> - <p> - those which he employs over some other German works. He calls it an - "interesting and readable biography," "a trustworthy and, as far as was - then possible, exhaustive account... the most trustworthy and serviceable - that could be produced by skilful use of the materials generally - accessible" (pp. ix., x.). In fact, it has been said with truth that whole - pages may be found in which the two works are so closely alike that the - one might be thought to be a translation of the other, the probability - being that both Holmes and Jahn were borrowing from the same sources. - </p> - <p> - Jahn himself enjoyed even higher advantages for his task than Holmes had - done. He was not only a thorough practical musician, a careful and - sympathetic critic, and a learned musical bibliographer, but he was a - skilled <i>littérateur</i>; an adept in philology and archaeology and in - the history of art and literature; the author of many original works on - these subjects, and of innumerable editions of the classics, ancient and - modern; and imbued with the true spirit of patient investigation and - accurate research. His position, and the esteem in which he was held - throughout Germany, gave him command of all the materials necessary for - his work, even of the most private kind. How he entered on his task, with - what true modesty and determination he pursued it, from its first - suggestion, during the funeral of Mendelssohn in 1847, down to its - completion in 1855,* may be seen from his own interesting and - characteristic introduction (pp. i.-xxiv), as well as the pains which he - took to revise his work for the second edition,** twelve years later, - </p> -<pre xml:space="preserve"> - * W. A. Mozart, von Otto Jahn (Leipzig, 1856-59). 4 vols., - 8vo. - - ** Zwcite durchaos umgearbeitete Auflage (Leipzig, 1867). 2 - vols., royal 8vo. -</pre> - <p> - <span class="side">PREFACE.</span> <span class="pagenum"><a - href="pgimages/b005.png">[p5]</a></span> - </p> - <p> - and utilise the additional information acquired in the interval (pp. - xxv.-xxviii.). - </p> - <p> - The book which is the result of this combination of toil, intelligence, - ability, knowledge, and affectionate devotion, could only have been - successful by the addition to these qualities of a remarkable amount of - literary tact and skill. The plan of the work is one which few English - authors could by any possibility adopt. It is immense; at first sight its - plan is bewildering. The book is not a Life of Mozart so much as an - Encyclopaedia of musical art and biography. It opens with a minute account - of Mozart's father, and of his method and his works, amounting to sixteen - pages. Not only have we the narrative of the life of Mozart himself from - his cradle to his grave in the smallest particulars, with a detailed - examination of each work-in the case of the operas, both text and music, - amounting in single operas to forty, fifty, and even ninety pages—but - we have the history of the rise and progress of each branch of music that - Mozart touched—and he touched them all—up to the date of his - life. Witness the long notices of the Opera, the Oratorio, and Church - music, and the chapter on Instrumental music in Vol. I.; the account of - the French Opera, and of Lully, Rameau, Gluck, and Piccinni, in Vol. II. - We have also full accounts of the social and musical condition of the - various cities visited by Mozart, such as Paris, Mannheim, Salzburg, - Munich, and Vienna; and biographical notices, longer or shorter, of every - person with whom Mozart came into contact, or whom his biographer has - occasion to mention. - </p> - <p> - Such a work may well be called an Encyclopaedia; and to have steered - through this ocean of material as Jahn has <span class="side">PREFACE.</span> - <span class="pagenum"><a href="pgimages/b006.png">[p6]</a></span> done, - never losing the thread of the narrative, and maintaining the interest in - the hero throughout, implies no ordinary tact and skill; for the book is - remarkably readable, and there are few pages which are not enlivened by - some anecdote or lifelike touch. Nor is it less remarkable for accuracy - than for the other qualities already mentioned. The writer has used it - constantly for many years, and has never yet discovered a mistake of any - moment. Perhaps it would have been better if the secondary treatises of - which we have spoken had been relegated to Appendixes; but this is - directly opposed to the German method, and we must accept the work as we - have it. There are indeed already nineteen Appendixes to the original - work, as follows i. Family documents. 2. Marianne Mozart. 3. Testimonials, - eulogistic poems, articles, &c. 4. Dedications. 5. Mozart's letters on - his journeys. 6. Text of his church music. 7. Arrangements and adaptations - of ditto. 8. His cousins. 9. Mozart as a comic poet. 10. Mozart and - Vogler. 11. A letter of Leopold Mozart's. 12. Mozart's letters on the - death of his mother. 13. The choruses for "King Thamos." 14. The text of - "Idomeneo." 15. Alterations in that opera. 16. Mozart's letters to his - wife. 17. The Requiem. 18. Mozart's residences in Vienna. 19. Portraits. - Of these it has been considered necessary to retain only Nos. 2, 7, and - 19, which form Appendixes 1, 2, and 3 of the present edition. Another has - been added: namely, a classified list of the whole of his works, according - to the complete edition now in course of publication, with the references - to the invaluable Catalogue of Köchel. With these exceptions the English - translation is exactly in accordance with the German original. - </p> - <p> - <span class="side">PREFACE.</span> <span class="pagenum"><a - href="pgimages/b007.png">[p7]</a></span> - </p> - <p> - A word of special praise is due to Miss Townsend, the translator, who has - performed her laborious task with great accuracy and intelligence, and has - established an additional claim on the gratitude of the student by her - exhaustive Index, in which the original work is very deficient. - </p> - <p> - The new branch of musical literature, founded by Holmes and Jahn, already - shows some considerable monuments. Passing by the voluminous and accurate - thematic catalogues of Mozart by the Ritter von Köchel (1862), of Weber by - Jahns (1871), and of Beethoven and Schubert by Nottebohm (1868 and 1874), - works which properly belong to a separate department of the subject—we - already possess the Life of Handel by Chrysander (vol. i., 1858; II., - 1860; III., 1867), that of Beethoven by A. W. Thayer (vol. i., 1866; II., - 1872; III., 1879), that of Haydn by C. F. Pohl (vol. i., 1875; II., 1882)—all - three still in progress—and that of Bach by Spitta (vol. i., 1873; - II., 1880). But these laborious and conscientious works, while they rival - and even surpass Jahn in their wide range and the manner in which they - embalm every minute particular relating to the subject, are far behind him - in lucidity, and in the ease with which he handles his vast materials. In - these respects, as might be expected from his literary position, Otto Jahn - stands hitherto quite alone. - </p> - <p> - GEORGE GROVE. - </p> - <p> - February 23, 1882. <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_INTR" id="link2H_INTR"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - INTRODUCTION. - </h2> - <p> - <span class="side">INTRODUCTION.</span> <span class="pagenum"><a - href="pgimages/i001.png">[i]</a></span> - </p> - <p> - To Professor Gustav Hartenstein. - </p> - <p> - MY DEAR FRIEND,—I have little doubt that the afternoon of November - 7, 1847, is as fresh in your memory as in my own. We had assembled in the - Johan-niskirche to accompany the remains of Mendelssohn on their last sad - journey, and by chance (for I had not been long in Leipzig, and my - acquaintance with you was slight) we walked side by side in the long line - of mourners. From grief at the early loss of a master, whose cultivation, - self-discipline, and endeavours after the good and the beautiful had - exercised a truly beneficial influence over the art of our age, our grave - talk turned to the more particular consideration of music in itself, and - to the great masters of the past! This led us to the interchange of many - ideas, and to a conviction of our unanimity of principle and sentiment on - most subjects. Thus, for instance, we coincided in our experience that at - a certain period of our mental development Mozart's music had seemed cold - and unintelligible to our restless spirits, ever soaring into the unknown, - and incapable of appreciating a master whose passions in their workings - are not laid bare to view, but who offers us perfect beauty victorious - over turbulence and impurity. Turning to him again in later years, we are - amazed alike at the wondrous wealth of his art, and at our former - insensibility to it. For my own part, I confided to you how, after severe - illness, which had debarred me from music for many years, it was Mozart - who first gave me courage and interest to turn to it again. We agreed, - also, that minds which are able to receive and appreciate art for its own - sake, must yield themselves captive to Mozart, but without sacrificing - their freedom to recognise all that is grand and beautiful elsewhere. - </p> - <p> - <span class="side">LIFE OF MOZART.</span> <span class="pagenum"><a - href="pgimages/i002.png">[ii]</a></span> - </p> - <p> - This conversation was the beginning of a more constant intercourse, - leading to a friendship founded on such close agreement of principle in - all matters of importance as to render it indissoluble: I have ever since, - in joy or sorrow, been assured of your hearty sympathy and support. - </p> - <p> - I should be perfectly justified in offering you this book as a testimony - of my love and gratitude, even if its contents concerned you less. But - music has ever played so important a part in our intercourse, whether I - sat beside you at the piano, or stood behind your chair, or we wandered - into talk; so great a share in the book belongs to you, who have ever - urged me forward with the work, sometimes (I may acknowledge it now) even - unmercifully, that I can offer it in its completed form to none with more - pleasure and confidence than to yourself. - </p> - <p> - And now you must give me leave to lay before you much that is on my mind - concerning it. Let me imagine that I have come as of old to you and your - wife for comfort and encouragement, and prepare for a long talk. - </p> - <p> - You are aware, my dear friend, how this biography originated, and how it - has gradually increased to an extent which has alarmed even myself. - Occupied at first only with the biography of Beethoven, I soon saw that it - would be impossible to do full justice to his great and original creations - without a clear survey of the life and works of Mozart, the pioneer of the - musical future, as whose natural heir Beethoven attained his pre-eminent - position in the history of music. The exposition would have been too - comprehensive for an introduction, and I determined to arrange the - ill-digested and unreadable mass of biographical material which Nissen had - collected into a readable treatise on the life of Mozart, to serve as a - foundation for the observations which I meant to deduce therefrom. With - this end in view, I gradually amassed so large a store of materials for - the story of his life and the appreciation of his works, that there rose - before me the duty of erecting a new structure upon a new foundation. But - before I proceed to specify the sources whence I have drawn my materials, - <span class="side">INTRODUCTION.</span> <span class="pagenum"><a - href="pgimages/i003.png">[iii]</a></span> allow me to glance over all the - biographies of Mozart hitherto published, so far as they are known to me. - </p> - <p> - Soon after Mozart's death there appeared a biographical article upon him - in Schlichtegrolls Nekrolog for 1791. This is precise and trustworthy so - far as it relates to the period of his childhood, and rests on the - testimony of his sister; but the notices of his later years are - superficial; and the judgment passed upon him as a man rests upon a - preconceived and unfavourable opinion which then prevailed in Vienna - partly on professional grounds, and which took such deep root that even at - the present day I know not if I shall succeed in establishing the truth. - It was not surprising that Mozart's widow, in order to stop the - circulation of such injurious representations, should buy up an impression - of this article which appeared under the title of Mozart's Life (Jos. - Georg Hubeck: Gratz, 1794). - </p> - <p> - A biography which appeared the same year in Sonnleithner's Vienna - Theater-Almanach (p. 94) is only an abridgment of the article in the - Nekrolog; and a French translation was made by Beyle, under the <i>noms de - plume</i> of Bombet and Stendhal, as "Lettres sur Haydn suivies d'une vie - de Mozart" (Paris, 1814). An English translation of the article appeared - in London, 1817, and a revised French version in Paris, 1817. - </p> - <p> - A "Life of the Imperial Kapellmeister Wolfgang Gottlieb Mozart, compiled - from original sources by Franz Niemet-schek" (Prague, 1798), is founded - partly on communications by the family, especially the widow, partly on - personal acquaintance with Mozart: I have made use of the second edition - of this work (1808). Unfortunately it does not enter into details so much - as might be wished, particularly in its later portions; but all that this - excellent, well-informed, and devoted friend records of Mozart is - trustworthy and accurate. - </p> - <p> - Something more was to be expected from Friedrich Rochlitz, who busied - himself for a considerable time in writing a biography of Mozart. He had - become acquainted with him during his stay in Leipzig in 1789, and moving - much in musical circles with Doles and Hiller, he was so charmed with the - genius and amiability of the master, <span class="side">LIFE OF MOZART.</span> - <span class="pagenum"><a href="pgimages/i004.png">[iv]</a></span> that he - even then carefully noted whatever appeared remarkable in their - interviews. - </p> - <p> - When he afterwards proposed to prepare a life of Mozart, both the widow - and the sister supplied him with anecdotes and traits of character, and - the widow further (as I gather from their letters) allowed him to make use - of Mozart's correspondence. - </p> - <p> - Some of the anecdotes and particulars supplied by the widow and sister or - resulting from his own observation were published in the "Allgemeine - Musikalische Zeitung" (A.M.Z., Vol. I., pp. 17,49,81,113,145,177,480; Vol. - II., pp. 450, 493, 590), and Rochlitz often alluded in later issues to his - acquaintance with Mozart; but there it remained, and I have failed to - discover why he abandoned his idea of a biography. When Nissen's biography - appeared he complained that he had not been called into counsel by Mosel, - and was of opinion that "the widow must have changed very much in her old - age, if she was not proved to have acted shabbily in this affair" (Vienna, - A.M.Z., 1848, p. 209). I set on foot investigations as to whether Rochlitz - had left behind any records or communications which, springing from now - exhausted sources, might be of service to me in my work. This led to a - discovery which, painful as it is to me to cast a slur on the memory of an - otherwise deserving man, I must yet, in the interests of truth, reveal; I - could not fail to observe that those particulars of Mozart's life which - Rochlitz gives as the result of his own observation or as narrated to him - by Mozart, are peculiar to himself in form and colouring, and that many of - the circumstances which he relates with absolute certainty are manifestly - untrue. I sought to account for these facts as slips of memory or the - result of that kind of self-deception which confounds a logical inference - with a fact springing from it. But my search led to the further discovery - of a parallel (also printed in the A.M.Z.) between Mozart and Raphael, - giving a detailed account of the circumstances of Mozart's marriage, and - with express reference to Mozart's own narrative of the affair which - Rochlitz was supposed to have written down the same night. Now for the - period which is here treated of, that <span class="side">INTRODUCTION.</span> - <span class="pagenum"><a href="pgimages/i005.png">[v]</a></span> is, - between 1780 and 1783, Mozart's entire correspondence is preserved, and - any error upon essential points is, as you will readily grant, impossible. - All the statements of Rochlitz as to time, place, persons, and events are - completely false. You will remember my consternation at this unwelcome - discovery; no poetical license could account for it; unpleasant as it is, - I consider it my duty to expose the affair, partly that it may teach - caution, and partly that tedious and vexatious discussion may be avoided, - should the narrative in question ever be printed. - </p> - <p> - These anecdotes from the A.M.Z., together with the information of - Schlichtegroll and Niemetschek have formed the chief material for the more - or less complete accounts of Mozart which afterwards appeared; what was - added consisted partly of anecdotes, generally badly authenticated and - often ill-turned, such as gain currency among artists, and partly of - phrases, or turns of speech which, as Zelter says, every one makes for - himself. I must not spare you the enumeration of some of the works of this - class. - </p> - <p> - Cramer's "Anecdotes sur Mozart" (Paris, 1801), is a mere translation of - the anecdotes; some of them, together with a general account, are also - given by J. B. A. Suard, - </p> - <p> - "Anecdotes sur Mozart," in his "Mélanges de Littérature", (Paris, 1804), - Vol. II., p. 337, as well as by Guattani, in the "Memorie Enciclopediche - Romane" (Rome, 1806) Vol. I., pp. 107, 134. A work of more pretension is - "Mozarts Geist. Seine kurze Biographie und äthetische Darstellung seiner - Werke. Ein Bildungsbuch für junge Tonkünstler" (Erfurt, 1803). Zelter - asked Goethe to tell him who was the author of this "short biography half - dedicated to Goethe," which was "neither short nor aesthetic, nor a good - likeness of the man," and was not a little surprised to learn that Goethe - knew nothing either of the work or its author ("Correspondence," Vol. I., - pp. 56, 67,65). It was, however, by J. E. F. Arnold, of Erfurt, whose - subsequent publication, "Mozart und Haydn. Versuch einer Parallele" - (Erfurt, 1810), was scarcely calculated to draw a more favourable - expression of opinion from Zelter. - </p> - <p> - Of no greater intrinsic value are Hormayr's statements: <span class="side">LIFE - OF MOZART.</span> <span class="pagenum"><a href="pgimages/i006.png">[vi]</a></span> - in the "Austrian Plutarch" (VII., 2, 15; Vienna, 1807), or Lichtenthal's - "Cenni biografici intorno al celebre Maestro Wolfgango Amadeo Mozart" - (Milan, 1816). I have not been able to procure the "Elogio' storico di - Mozart del Conte Schizzi" (Cremona, 1817). The articles in Gerber's - "Tonkünstlerlexicon" are carefully compiled, but not complete; and - "Mozarts Biographie," by J. A. Schlosser (Prague, 1828; third edition, - 1844), is a compilation altogether wanting in judgment. - </p> - <p> - An unsuspected wealth of fresh resources was brought to light by the - "Biographie W. A. Mozarts," by G. N. v. Nissen. Leipzig, 1828 (with an - appendix). In order to estimate this book justly, and to make a right use - of it, it is necessary to ascertain how and whence it proceeded, a task of - considerably more difficulty than merely mocking and railing at it. - </p> - <p> - Nissen, who came to Vienna, after Mozart's death, as a Danish diplomatist, - became acquainted with his widow, and interested himself in her - unprotected condition. He had a great turn for business matters, and was - fond of arranging papers, writing letters, and even copying, without - understanding what it was that he was occupied about. He therefore - willingly undertook to put Mozart's effects in order, to assist the widow - in all her business arrangements, and to carry on her correspondence. A - long series of letters which he wrote in her name show him to have been a - well-meaning, sensible man, somewhat over-circumstantial in his style of - writing. After his marriage with Mozart's widow he felt it his duty to - labour with the same conscientious care for his memory as he had formerly - done for his property, and he employed the leisure of his remaining years, - which were spent at Salzburg, in carrying out this design. - </p> - <p> - We ought to own ourselves deeply indebted to him, for without his care the - most important documents and traditions would have been hopelessly lost. - Mozart's sister was then living at Salzburg; her recollections, and those - of his wife, afforded an abundance of characteristic traits, and the - carefully preserved papers and family correspondence, were a rich mine of - authentic documents. - </p> - <p> - <span class="pagenum"><a href="pgimages/i007.png">[vii]</a></span> - </p> - <p> - Besides a number of separate deeds, letters, and memoranda, he had at his - disposal: Leopold Mozart's letters to Hagenauer during the journey to - Vienna (September, 1762, to January, 1763); during the great journey (from - June, 1763, to November, 1766); during the Vienna journey (September, - 1767, to December, 1768); letters both of the father and son to their - family during the Italian journey (December, 1769, to March, 1771; from - August 13, 1771, to December, 1771; from October, 1772, to March, 1773); - from Vienna (July, 1773, to September, 1773); from Munich (December, 1774, - to March, 1775); Wolfgang's and his mother's letters home, together with - the answers of Leopold and his daughter during the journey to Paris - (September, 1777, to January, 1779); Wolfgang's correspondence with his - father and sister during his journey to Munich and residence in Vienna. - Wolfgang's letters come down to 1784, his father's to 1781. - </p> - <p> - Nissen possessed both the industry and the goodwill to turn these - treasures to account; unhappily these qualities do not suffice for such an - undertaking. Not to mention that he has no idea of adaptation or of - description, he had neither taste nor cultivation in music, nor tact to - distinguish what was trivial from what was important; nor was he capable - of accurately conveying an idea. Having had at my service a portion of the - documents made use of by him, I have been able to check him, and to form - an idea of his mode of proceeding. He is never dishonest, never alters - with intent to deceive; but he deals with his documents in the most - summary manner possible. He seldom gives them entire, but only so much of - them as he considers of interest. Unfortunately he is no judge either of - what is musically important nor psychologically interesting, and thus his - selection is often singularly unhappy. He was influenced, too, by - consideration for distinguished living personages, and by the prejudices - of his wife, who naturally wished many family circumstances to remain - untouched; his sins, however, are always those of omission. But silence, - by obscuring the connection of events, and by concealing the motives of - actions, may be as prejudicial as actual <span class="side">LIFE OF - MOZART.</span> <span class="pagenum"><a href="pgimages/i008.png">[viii]</a></span> - misstatement to historical accuracy, and the sufferer by a too tender - consideration for the feelings of others is invariably the person whose - character it is attempted to depict. Fortunately, for the most important - years of Mozart's life from 1777 onwards, I have been able myself to make - use of the family correspondence; you will see what a different conception - I have thereby been enabled to form of this period. It is of less - importance, but nevertheless a drawback, that Nissen has thought good to - alter the details of style and expression in many of the letters. Neither - father nor son were in need of such emendations, both writing clearly and - shrewdly, and with an individuality all their own; but even were this not - the case, and Nissen the man (which he was not) to correct their defects, - such an effacement of individual character would remain altogether - inexcusable. - </p> - <p> - Had Nissen confined himself to the publication of the letters and - extracts, together with such information as he could gather from Mozart's - wife and sister, or from other credible witnesses, he would have done - posterity important service. But in attempting more than this he verified - the saying of Hesiod that "the whole is less than the part." Many - manuscripts, newspapers, journals, &c., treating of Mozart's - professional doings, had been preserved among the family archives; not - content with these, Nissen has taken incredible pains to collect whatever - else had been written concerning Mozart; he has then copied out all that - appeared to him important, and has arranged these extracts categorically - as seemed to him good, putting together, for instance, all that related to - one particular work; finally, he has huddled together these heterogeneous - fragments without design, connection, or explanation. If this confused and - ill-proportioned mass is to be made use of at all, it must be separated - into its component parts, and these must be restored to their proper place - and connection; it may fairly be taken for granted that where any idea or - judgment is expressed, Nissen is not speaking in his own person. He has, - however, simplified the task of restoring each fragment to its proper - position by a catalogue of the <span class="side">INTRODUCTION.</span> - <span class="pagenum"><a href="pgimages/i009.png">[ix]</a></span> writings - in which Mozart is mentioned; and although some documents made use of by - him have since disappeared, - </p> - <p> - I have been able in almost every case to discover his authorities. In most - cases these are of little value; but among much that is worthless, there - are here and there communications resting on family traditions, which - Nissen has tacitly appropriated with but slight alterations; it is - undoubtedly desirable to be able to appeal to the original in such cases, - but for the most part they speak for themselves, and are seldom of - importance. - </p> - <p> - The statements I have made were necessary for the proper use of Nissen's - work; but you must not, therefore, imagine that I am unjust towards him. - True the mass of printed matter is enough to drive one to absolute - despair; but when it is remembered that a large proportion of the - documents he embodies have since dissappeared, we must be grateful to the - man who has enabled us to take so comprehensive a glance into an artist's - life, and who has laboured with unselfish reverence for Mozart's memory, - while a succeeding generation did not think it worth while even to - preserve the documents which Nissen made use of. - </p> - <p> - It must not be lost sight of either, that Nissen did not see his work - through the press; he died on March 24, 1826, before it was put in hand, - and it is quite possible that he would have improved it in many ways upon - final revision. - </p> - <p> - It is significant that although all were agreed that Nissen's book was - unreadable without alteration and adaptation, no writer in Germany - undertook the task, and that it was left to foreigners to turn the - treasure to account. Fétis undertook - </p> - <p> - it in his "Biographie Universelle des Musiciens," IV., p. 432 (Brussels, - 1840), VI., p. 222 (2nd edit., Brussels, 1864), so far as it could be done - within the narrow limits of a general work of the kind. - </p> - <p> - But the obvious task of compiling an interesting and readable biography by - means of an orderly arrangement of the really interesting portions of - Nissen's materials was first undertaken by Edward Holmes, in his "Life of - Mozart, including his Correspondence" (London, 1845). - </p> - <p> - Holmes has arranged the essential portions of the <span class="side">LIFE - OF MOZART.</span> <span class="pagenum"><a href="pgimages/i010.png">[x]</a></span> - correspondence with intelligence and discrimination, and has connected - them by a narrative built upon previous notices; he has thus produced a - trustworthy and, as far as was possible, an exhaustive account of Mozart's - life. Holmes has, moreover, made use of André's published Catalogue of - Mozart's Works, and the indications there given of their date of - appearance. He undertook a journey through Germany to inspect the original - manuscripts in André's possession, and to collect stray oral traditions. - He took care to make himself acquainted with musical literature, and the - result is a work which must be considered as the most trustworthy and - serviceable biography that could be produced by a skilful employment of - the materials generally accessible. Holmes has not attempted to draw from - hitherto unknown sources; he neither carries his researches to any depth, - nor offers any original opinions or explanations. - </p> - <p> - The letters of both Mozarts, father and son, were edited by J. Goschler in - a spirit which is indicated clearly enough by the title of his book, - "Mozart; Vie d'un Artiste Chrétien au XVIII. siècle." Paris, 1857. - </p> - <p> - Alexander Ulibichefï proceeded from quite another point of view in his - work, "Nouvelle Biographie de Mozart, suivie d'un aperçu sur l'histoire - générale de la musique, et de l'analyse des principales ouvres de Mozart" - (Moscow, 1843), in three parts, which is generally known in Germany in the - translations of A. Schraishuon (Stuttgart, 1847), and of L. Gantte - (Stuttgart, 1859). The enthusiastic reverence of the author for Mozart - speaks from every page, and involved many years of study and many real - sacrifices; but this must not blind our judgment as to the intrinsic value - of his work. I do not fear your reproaching me in the words of the old - proverb about the kettle reproving the pot, if I express myself freely as - to what I consider the weak points of this book. Ulibicheffs main object - has been a critical and aesthetic analysis of Mozart's later works, on - which his fame mainly rests, and which bear the most perfect impress of - his genius. The author's observations, therefore, are confined to a - definite portion of Mozart's compositions—the best known, because - the greatest—and any idea of extending <span class="side">INTRODUCTION.</span> - <span class="pagenum"><a href="pgimages/i011.png">[xi]</a></span> them - does not seem to have occurred to him. Anything further in his works is - meant to serve only as a foundation for those observations. He does not - fail to perceive that the greatness of perfected genius can only be - apprehended by a knowledge of the gradual stages of its achievement, and - that, since Mozart takes his place in the history of music by something - more than mere chance, the whole process of musical development is - necessarily incorporated in his progress. - </p> - <p> - Ulibicheff is content to extract all that seems to point to his - conclusions from Nissen's account of Mozart's development. He makes up for - his reticence in this direction by expatiating freely on the general - history of the art. In fact, his review of the whole history of music - results only in the observation that since any exceptional phenomenon is - the sum and crown of all that has gone before, therefore the development - of modern music in every direction, from Guido of Arezzo, onwards, has its - <i>raison d'etre</i> in the production of Mozart, who is to be considered - as its perfect expression. - </p> - <p> - No one knows better than yourself, my friend, the false conclusions to - which this exaggeration of an idea, true and suggestive in itself, has - led. The partiality of enthusiasm and dilettantism join issue here. It - needs no great penetration to discover that Ulibicheffs epitome of the - history of music is not the result of impartial research, or of a - practical knowledge of even the more important works of past ages, but - that it is compiled from a few easily recognised works with the express - object of demonstrating that all that has gone before has its end and - consummation in Mozart. An author who can seriously maintain that the - great masters of counterpoint, Palestrina, Bach, and Handel were only - called into being in order that the Requiem might be produced, an author - who can only grasp and develop the idea of natural progress up to a - certain point and no further—that author has surely mastered neither - the idea of progress, nor the nature of the art, nor the work of the - master whom he seeks to honour. Such a partial and exclusive appreciation - of any artist may satisfy individual taste, for which it is proverbially - impossible to account; but scientific investigation, <span class="side">LIFE - OF MOZART.</span> <span class="pagenum"><a href="pgimages/i012.png">[xii]</a></span> - which can always be accounted for, seeing that it proceeds from a rational - basis, rejects it at once and altogether. You will, I know, agree with me - that the critic who, like Ulibicheff, depreciates Beethoven in order to - maintain Mozart on his pedestal, does not understand Mozart. The - distortion and exaggeration of such an idea leads further to the neglect - of those clues to a right understanding of Mozart's development which - exist in the circumstances of his life, in his youthful works, and in the - conditions of his age and surroundings. These had all direct effect upon - his genius, and, in so far as they are disregarded, our conception of the - man and the artist will be defective. - </p> - <p> - I am, of course, far from denying that Uübicheff has brought to the - performance of his task considerable power of delicate aesthetic analysis, - together with much spirit and ingenuity. But his analysis of particular - works does not start from artistic form, the specific basis of all works - of art; he never seeks to demonstrate how the universal laws of art, under - certain conditions, govern all concrete forms according to the - individuality of the artist (a difficult task in music, but still - essential to its true understanding); instead of this he contents himself - with giving us his own reflections on the various compositions he - analyses, and the feelings and ideas which they suggest to himself. Such - reflections are pleasant and entertaining when they proceed from a clever - and cultivated mind; but they are usually more characteristic of the - author than of his subject, and are mainly satisfactory to those who fail - to grasp the substance of a work of art, and are fain to content - themselves with its shadow. - </p> - <p> - Uübicheff invariably displays both intellect and cultivation, but it is - the cultivation of a man of the world, not that of a musician, which has - no bias of enthusiasm or dilettantism; his remarks seldom reach the root - of the matter, and are often deceptive in their brilliancy, thus - accomplishing little for a better appreciation of his subject. - </p> - <p> - Do not be alarmed, my dear friend, at the invidious position in which I - place myself and my work by my want of reserve as to others. My cause is - that of knowledge, and I must have a clear understanding as to my powers, - <span class="side">INTRODUCTION.</span> <span class="pagenum"><a - href="pgimages/i013.png">[xiii]</a></span> and the means at my disposal, - for accomplishing the task before me; least of all would I appear to - deprecate censure on my own work by sparing it to that of others. You are - aware that music has, from my youth up, occupied a large share of my time - and thoughts, so much so, that my elders were in the habit of shaking - their heads and auguring ill for my philological studies. They may have - been right; I must at any rate acknowledge that music has ever been to me - quite as serious a study as philology, and that I have striven to acquire - such a thorough and scientific knowledge as should give me an insight into - its nature and mechanism. - </p> - <p> - I considered it therefore as a duty to myself to turn to account the - labour that had occupied a good share of my life, and I embraced with - eagerness the opportunity of dedicating my researches to the great - masters, to whom I owed so much. I believed myself justified in - considering that a representation of the life and works of a great master - offers so many sides, and makes so many demands, that only united forces - can prove themselves fully equal to the task. If, therefore, I was - obliged, perforce, to leave much that was essential to the musician by - profession, my greater practice in scientific method might advance the - undertaking in other and not less important directions. Consoled by these - reflections, I set to work. - </p> - <p> - The task I proposed to myself was a thorough investigation of the sources - available for a trustworthy and exhaustive account of Mozart's life, with - special reference to all that was calculated to affect his moral and - musical development in the general conditions of his time, and in the - local and personal circumstances which influenced him; and, in addition, a - history of his development as an artist, and a characterisation of his - artistic performances as comprehensive as a thorough study and - appreciation of his compositions could make it. No side of this task could - be treated altogether independently, both the researches and the remarks - resulting from them, touching now one, now the other; in the biography as - in the individual, the artist and the man are indissolubly united - </p> - <p> - I soon became painfully aware of the insufficiency of my <span class="side">LIFE - OF MOZART.</span> <span class="pagenum"><a href="pgimages/i014.png">[xiv]</a></span> - materials, and the scattered additions to Nissen's collection which came - in from time to time were but scanty gleanings; it was essential to reach - the original sources. My journey to Vienna in 1852 was undertaken, as you - know, chiefly with the object of collecting such traditions of Beethoven - as might remain there; I did not hope to find much which might lead to a - closer knowledge of Mozart. - </p> - <p> - Living testimony as to his life, person, or circumstances was almost - extinct, little of what I learnt was from impressions at first hand, and - it was generally necessary to guard against such communications as the - result of book knowledge distorted by verbal transmission. - </p> - <p> - Nevertheless, my visit was an instructive one even as concerned Mozart. - Widely different as was the Vienna of 1852 from the Vienna of 1780 to - 1790, yet much was gained by actual observation and impressions, which - could not be given by books, and which operates more in the colour and - tone of the whole representation that in any precise details. - </p> - <p> - Intercourse, also, with accomplished friends led to much which would - otherwise have remained untouched. - </p> - <p> - My valued friend Karajan in particular, with his musical knowledge and his - intimate acquaintance with Vienna, rendered my stay in that city as - instructive as it was agreeable. He had a good opportunity of experiencing - how much trouble one is capable of giving to a friend who is always ready - with explanations, and willing to enter on the driest search into matters - of detail, if he can thereby help forward another. At the Imperial Library - I found not only the different manuscripts of the Requiem which serve as - the surest testimony on the much debated question of its authorship, but - many other important manuscripts and rich material of all kinds, my access - to which I owe to the unfailing courtesy of the custodian, A. Schmid. - </p> - <p> - But the most important aid came from Aloys Fuchs. With extraordinary - perseverance he had collected every writing that in any way related to - Mozart, and with a disinterested liberality, rare among collectors, he - placed at my service all that he possessed and all that he knew. <span - class="side">INTRODUCTION.</span> <span class="pagenum"><a - href="pgimages/i015.png">[xv]</a></span> His chronological catalogue of - all Mozart's works, published and unpublished, was of the greatest service - to me, as well as the long list of documents, newspapers, journals, and - pamphlets, which he had either in the original or copies. - </p> - <p> - I sometimes regretted, however, that the collection was made more in the - spirit of a collector than in the interests of science; so that, for - example, he has scarcely ever noted the source of his extracts; but much - was brought to my notice which would scarcely otherwise have occurred to - me, much trouble was spared, and a number of Mozart's letters were made - known to me for the first time. I was unfortunately prevented from - thoroughly examining Fuchs's valuable collection of Mozart's compositions - in their different editions and copies; my time was short, and I hoped to - be able to avail myself of a future opportunity for doing so. This hope - was frustrated by the death of Aloys Fuchs a few months after I left - Vienna. It has been a painful feeling to me not to be able to express my - gratitude for so much friendly service by offering to him the book in - which I know he would have taken pleasure. - </p> - <p> - The greatest service which he rendered me, however, was the intelligence - that all that were preserved of Mozart's letters had been presented to the - Mozarteum in Salzburg by the Frau Baroni-Cavalcabo, to whom they were - bequeathed by Mozart's son Wolfgang. In November of the same year I - repaired, therefore, to Salzburg. I here found the only remains of that - complete correspondence which Nissen had edited, viz., the letters between - 1777 and 1784, just as he had made use of them; fortunately they embraced - the most important period of the biography. A cursory glance convinced me - that Nissen had been not only inexact and arbitrary in his selections in - matters of detail, but that he had altogether suppressed the most - important events affecting the proper understanding of the period. Here, - then was much to be done; but it was richly worth the trouble. Through the - kind assistance of the secretary of the Mozarteum, Dr. v. Hilleprandt, and - of the custodian, Jelinek, I was enabled to give my whole attention to the - work. I collated the letters printed by Nissen, like an <span class="side">LIFE - OF MOZART.</span> <span class="pagenum"><a href="pgimages/i016.png">[xvi]</a></span> - old schoolman, copying them entire or making voluminous extracts. One may - boast of one's industry, and I can offer an unimpeachable witness of mine - in old Theresa at the Golden Ox, who afterwards forgot my name, but - remembered me as the professor who sat in his room for more than three - weeks writing from morning to night. Fortunately, it was bad weather, or - it would have been too hard a trial, even for a professor, to sit in his - room all day at Salzburg. But the usually hateful task of transcription - was on this occasion a real enjoyment. I could fancy myself in intercourse - with the man himself as I lived his life again letter by letter. - </p> - <p> - I could realise the emotions of joy or sorrow which had prompted his - words, the impressions which they had made on the recipients, and even the - variations in the handwriting grew to have their own significance. It is - my most earnest wish that some breath of this feeling may have passed into - my own performance, but it would scarcely be possible to' reproduce the - inspiration which contact with the letters awoke in myself. - </p> - <p> - On the completion of this task, I made researches for any of Mozart's - compositions which might still remain in Salzburg; I failed, however, to - discover any. Although Mozart's sister, his widow, and her sister had - lived in Salzburg within the last ten years, it had occurred to no one to - make inquiries concerning their great countryman, or to preserve to - posterity the rich treasures of family tradition which encircled his whole - life; I found, when I inquired, that all was as completely forgotten, as - irrecoverably lost as his grave. Nor had anything further been preserved - in the way of family papers and documents. (After the death of Mozart's - eldest son Carl, all that he possessed of letters—written during the - journeys of 1762 to 1775—and other documents, were placed in the - Mozarteum.) - </p> - <p> - Treasure such as that correspondence I could scarcely expect to excavate - elsewhere; but through the kindness of friends and well-wishers many - letters have been placed at my disposal which have added to the interest, - more particularly of Mozart's later years. I have no doubt that many <span - class="side">INTRODUCTION.</span> <span class="pagenum"><a - href="pgimages/i017.png">[xvii]</a></span> documents are still hidden in - autograph collections and elsewhere; perchance my book may open the eyes - of the possessors to the true value of their treasures, and I shall - consider it as a rich reward of my labours if they aid in bringing to - light any such relics of Mozart. - </p> - <p> - Assistance of another kind, not less important than the foregoing, came - from André's collection. It is well known; that the Hofrath André - purchased from Mozart's widow the entire collection of Mozart's original - manuscripts, of printed and unprinted works, and this collection, with the - exception of a few pieces disposed of at an earlier date, was preserved in - Frankfort entire, in the possession of André's heirs, as denoted by a - "Thematic Catalogue of the original manuscripts by Mozart in the - possession of Hofrath André" (Offenbach, 1841). Leopold Mozart carefully - preserved all Wolfgang's youthful works, and at his death they came into - the son's possession: although not by any means so careless about his - compositions as he has been represented, he, nevertheless, lost or gave - away a considerable number. After his death, however, it was found that - his works previous to %his residence in Vienna had been preserved almost - entire, and by far the greater number of those of later years. André's - collection contains further the enumeration, in Mozart's own handwriting, - of his works from his earliest years in almost unbroken succession to his - death. The more important and greater number of his compositions previous - to 1780 are still unprinted, and many of the printed ones are so - carelessly edited that a comparison with the original is indispensable. - The importance of André's collection is manifest, and it is probable that - none of equal value, historical and artistic, exists for any other great - master, whatever be his art. (Unhappily, the apprehension that Germany - could conceive no worthier or more lasting way of honouring Mozart than by - the erection of statues and busts has been fulfilled, and Mozart's - manuscripts have already been in great measure dispersed.) - </p> - <p> - Convinced that a review of Mozart's musical development would be - impossible without an exhaustive knowledge of his youthful works, I - repaired to Frankfort in the summer <span class="side">LIFE OF MOZART.</span> - <span class="pagenum"><a href="pgimages/i018.png">[xviii]</a></span> of - 1853, in order to examine this remarkable collection. The brothers Carl - and Julius André granted me ready access to it, and kindly prepared me an - apartment in their house, where I had full liberty to study the MSS. and - make what notes and extracts I pleased; a task which occupied five weeks. - As it proceeded, I could not but feel that the most accurate notices could - not give the fresh impression of the actual work. Here again, the brothers - André came to my aid, displaying throughout a warmth of interest in my - work, and a liberality which I could not have ventured to expect; they - provided me, as my work progressed, with each particular manuscript on - which I was engaged, so that my remarks could be grounded on the actual - examination of every composition. Without the confidence and aid of these - gentlemen, my book could not have succeeded in attaining that wherein I - place its essential value. It is owing to their courtesy and kindness that - I may boast, not only of a perfect acquaintance with all Mozart's works, - with few and unimportant exceptions, but also of having enjoyed the - singular happiness and advantage of studying the greater number of them in - his own handwriting. - </p> - <p> - You will perceive, my dear friend, that all this led, of necessity, to - fresh disclosures, to a fuller and more accurate insight into that which - had hitherto been only partially known; and you will further take for - granted that I, as a "philolog," would not neglect such researches into - the literature of my subject as should bring together the scattered - materials available for my task. But you must keep in mind that musical - literature is not so accessible as philological; and that many expedients, - which lighten our labours in the latter path, are wholly wanting in the - former. I am, therefore, far from flattering myself that I have even - approached a complete study of the literature of my subject. I only aimed - at such a study so far as it concerned main principles; for to become - acquainted with, or even to quote, everything that has been thought, - dreamt, or raved concerning Mozart's music was as far from my intention as - from my desire. I was more than satisfied with what came in my way of this - kind in the course of my reading, and my <span class="side">INTRODUCTION.</span> - <span class="pagenum"><a href="pgimages/i019.png">[xix]</a></span> readers - will be more than satisfied with what I offer them of it by way of - example. - </p> - <p> - My first aim, then, was the verification and authentication of facts, and - their unbiassed statement, so far as this was of interest. The written or - authentic verbal traditions of Mozart and his family were here my chief - dependence, and, except where some special authority is adduced, Nissen's - correspondence forms the basis of my narrative. But since it was my wish - to bring together all that appeared of lasting interest, and to dispense - with Nissen's collection, for all readers who do not desire to search and - prove for themselves, I have, therefore, quoted verbally from the letters - wherever it was feasible, and have not hesitated to displace them where it - answered my purpose in the narrative. I have in every case indicated the - letters by their date, without mentioning whether they have been printed - by Nissen or not. (They may be readily referred to in the careful - collection of L. Nohl, "Mozarts Briefe": Salzburg, 1865.) - </p> - <p> - I must remark, by the way, that my version cannot be verified by Nissen, - since his is neither accurate nor entire; and in order to avoid any - misunderstanding, I may also mention, that besides the collections - referred to above, many single letters of Leopold and Wolfgang Mozart have - come to hand, to which I was able to make more exact reference. As a - matter of course, I have made use of originals whenever they were to be - had, and of Nissen's version only when they were wanting. From you, my - dear friend, I need only request confidence in my scrupulous honesty as to - these matters, and I have hope that my book may inspire the reader with a - belief in the accuracy of my rendering. It need scarcely be said that I - have not made the slightest alteration in the style and expressions of the - letters. I have only taken a few liberties with the orthography in order - not to distract the reader's attention unnecessarily from the - characterisation. I have accurately indicated any reference to authorities - other than the letters. - </p> - <p> - It has been my aim to represent, not only what immediately concerns - Mozart, but also the time in which he lived, his circumstances, and the - persons with whom he came in <span class="side">LIFE OF MOZART.</span> - <span class="pagenum"><a href="pgimages/i020.png">[xx]</a></span> contact, - so far as all these affected the development of his genius. And here again - I found the need of trustworthy information. Well informed as we may be on - the history of literature and culture during the latter half of the - eighteenth century, yet our information as to musical events and persons - is meagre and obscure, and we know least of those regions which are of the - greatest interest in the history of music. I doubt not that an historian, - occupied with the study of this age, would discover much that has escaped - me of interest, although I have heard even such complain of the poverty of - material. - </p> - <p> - I have striven with a certain amount of zeal to bring together all that - appeared to render my narrative more graphic and lifelike, and have not - refrained from adducing my authorities, partly for the sake of accuracy, - partly to point the way to those who find the subject of interest. I have - gone even further than this, and have added to the names of many persons, - principally musicians, of whom mention had to be made, a short notice of - their life and sometimes an epitome of their performances. It is probable - that the minority of my readers will already have such facts in their - minds, and they are essential to a clear perception of the whole work: I - have been anxious to spare them the trouble of continual reference to a - biographical dictionary. - </p> - <p> - I have confined myself to the accessible and, of its kind, excellent - Dictionary of Musicians by Gerber and Fétis, but my own investigations, - leading me into the detailed history of this time, have not seldom - supplied additional data for such notices; I remark this not to depreciate - the merit of those works, but that it may not be supposed that my - statements can always be verified by a reference to accessible - authorities. - </p> - <p> - You may perhaps smile at the zeal of the "philolog" betraying itself in - such minute particulars. Be it so. I hold to my craft, and occasionally - you will not find it amiss that I do so. - </p> - <p> - I may remark besides, not to you, but to those who hold in horror notes, - digressions, quotations, and references as the merciless weapons of - pedantry, that they need not for this <span class="side">INTRODUCTION.</span> - <span class="pagenum"><a href="pgimages/i021.png">[xxi]</a></span> reason - at once reject my book. I have striven so to write that the text is - complete in itself and requires no notes for its comprehension; and those - who do not desire the information they contain, may contentedly pass them - over. On the other hand, I hope that you will uphold my opinion that the - application of the scientific method even to these researches, cannot but - be to their advantage. This is perhaps most strikingly evident in the - chronological notification of each separate work. - </p> - <p> - We are well supplied with chronological information as to Mozart's - compositions. From 1784 onwards we possess his own carefully compiled - thematic catalogue which André has edited (Offenbach, 1805 and 1828). - </p> - <p> - On earlier compositions the data is generally correctly given with the - autograph signature, and the list of authentically dated works comprises - by far their greater number. But not quite all; the autograph is wanting - to many, and they are not all dated. It thus becomes necessary to resort - to classification resting on the external evidence of paper and - handwriting, and the internal evidence of style and technical treatment, - as well as on the testimony of witnesses. - </p> - <p> - Hofrath André compiled for his own use a chronological catalogue coming - down to the year 1784, of which I have made use. It contains many - suggestive remarks, and did me good service, although, of course, it could - not spare me my own investigations, by means of which I have, in most - cases, come to a solution of my difficulties. The catalogue which I have - compiled with considerable pains will, I hope, recommend itself by its - brevity, clearness, and trustworthiness. I was obliged to give up the idea - of noting what had been already printed, where, and how often; to do this - with completeness and exactitude would require an amount of time and study - which it was out of my power to bestow. - </p> - <p> - The treatment of historical facts, both in detail and as a whole, has its - own secure and beaten path. Its final object is truth, and my sole concern - has been to discover and set forth the truth. No consideration for others - has led me to conceal what was essential or important for the due - understanding of Mozart as a man and an artist; neither have I <span - class="side">LIFE OF MOZART.</span> <span class="pagenum"><a - href="pgimages/i022.png">[xxii]</a></span> been tempted to silence on - points which were to his disadvantage. Public opinion on his achievements - as a fully developed artist is firmly established, and is perhaps only - susceptible of modifications of detail and degree; but my work is the - first attempt that has been made towards a correct judgment of Mozart as a - student and as a man. It has been a pleasure to me to find that as I - proceeded, my admiration, esteem, and love for Mozart were constantly on - the increase; but not on any account would I have my representation of his - character considered in the light of an apology. It is my firm conviction - that injustice is done to great men by concealing or slurring over their - failings; we serve them best by seeking to make them understood just as - they were. - </p> - <p> - An attempt to lay Mozart's individuality before the reader seemed hardly - complete without some presentation of his outward appearance. You will - find, therefore, in this book, the charming picture of Mozart as a boy, - engraved from the portrait in oils, painted in Verona in 1770; also the - characteristic portrait from the family group in the Mo-zarteum at - Salzburg, which was painted in 1780, and an engraving of Tischbein's - portrait, painted at Mayence in 1790. I have thought it right, further, in - a work which is intended to transmit traditions, to preserve the - well-known profile of Posch's medallion, which served as a model for all - early portraits, more and more unlike in every copy, and yet always like. - Various fac-similes of Mozart's handwriting are also given, and I do not - fear that you will find out of place a portrait of his father, also taken - from the Salzburg family picture. - </p> - <p> - May I add one word on the musical criticism contained in my work? I am - quite aware that it must stand on its own merits, and I am only anxious to - express my full consciousness of the difficulty of my undertaking. That - the substance of a musical work cannot be verbally represented, and that - its effect on the hearer is incapable of being reproduced by description, - least of all by a climax of high-sounding adjectives, admits of no - dispute. Properly speaking, as Schumann once wished for the musical - critic, when a <span class="side">INTRODUCTION.</span> <span - class="pagenum"><a href="pgimages/i023.png">[xxiii]</a></span> composition - is discussed, there should be singers and instrumentalists ready at hand - to perform it. But this being scarcely feasible, we are driven to a verbal - attempt at reproducing the essence of the work. Such an attempt can only - succeed by starting from artistic form, and showing how its laws and - types, its technical conditions, its manifold application and development, - are all represented in the most individual modifications. A general idea - of the work, however, is all that can be arrived at by this means; the - immediate impressions made upon the mind by its performance cannot be - reproduced; neither can the attempt to express in words the artistic frame - of mind which finds its expression in the forms of the work be altogether - successful, and it is impossible to apprehend the degree in which the - artistic mood imbues the artistic form otherwise than by observation of - the work itself. - </p> - <p> - Descriptions of musical works, therefore, since music cannot, like - painting, borrow analogies from visible nature, must remain mere - approximations of the original; they become more definite in proportion as - they fall in with the reader's own experiences, and find in these - analogies and, as it were, precedents for the new ideas it is sought to - convey. The main difficulty consists in the fact' that among a large - circle of readers (which I know you wish for me) the degrees of musical - cultivation to which appeal may be made are necessarily very varied. It - would be impossible, on this account, to treat the subject in the purely - technical manner which would be the shortest and most convenient were - musicians only addressed; neither can every separate point be treated from - its very beginning, without a presupposition of some knowledge and - comprehension on the part of the reader. There only remains then, as it - seems to me, such a consideration of musical form from varied points of - view, and proceeding in varied directions, yet always with reference to - some particular case, as shall bring into play the reader's special - musical experiences and assist him to a true understanding of the subject. - If he should be struck with only one particular point and should feel it - become a reality for <span class="side">LIFE OF MOZART.</span> <span - class="pagenum"><a href="pgimages/i024.png">[xxiv]</a></span> him, he will - henceforward have a clue to the mastery of the rest. To this end I hope - that my historical survey of the development of musical forms, and my - general observations concerning the laws of the art, may tend. And here I - must remark that I have had no intention of providing the technical - musician with a theoretical analysis of separate works, but that my - characterisation has been limited by the position of its object in the - whole representation. I leave you to judge, my dear friend, how far, under - these difficult circumstances, I have succeeded in expressing myself - clearly and forcibly; I can only affirm with confidence that all that I - have said has been realised and experienced by myself. - </p> - <p> - The sympathy and assistance of my honoured friend Hauptmann has been a - source of great gratification to me during the publication of my book. I - do not desire to impose upon him any share of responsibility in it, by - thanking him for the care with which he has overlooked the author as well - as the compositor; but you will understand how I have been encouraged and - refreshed during my labours by continual proofs of his friendly sympathy, - and how sorely I miss my pleasant personal intercourse with him. - </p> - <p> - The hour is late, my dear friend, later than it was our wont to separate - after our musical revels, which, in the opinion of your amiable wife, - often lasted far too long. - </p> - <p> - Farewell, and accept my book with the same cordial sympathy and indulgence - which I have hitherto found so invaluable. - </p> - <p> - <b>OTTO JAHN</b>. - </p> - <p> - Bonn, November 30, 1855. - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_INTR2" id="link2H_INTR2"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - INTRODUCTION TO THE SECOND EDITION. - </h2> - <p> - MY DEAR FRIEND,—I can scarcely describe<span - class="pagenum"><a href="pgimages/i025.png">[xxv]</a></span> to you the depression of - spirits with which I laid aside my pen at the close of my foregoing letter - to you. When I looked at the thick volume before me, which had grown so - wonderfully under my hands, and reflected that several others were to - follow, I felt a misgiving amounting to certainty that my work was - ill-planned, badly executed, or altogether out of place. I should not have - believed any one who had prophesied the result that was actually to - follow. The gradual conviction that I had been mistaken, that the book was - a success beyond anything I had dared to expect, the many proofs I - received of acknowledgment and sympathy, were my best encouragement to - apply my whole energies to the completion of my arduous task. - </p> - <p> - When it became necessary to prepare a second edition, I rejoiced at the - prospect of revising the whole work in the light of my acquired - experience, and hoped that this labour of love would recompense me for all - my pains. In this expectation I was, however, deceived; the revision, - which I now lay before you, assumed the proportions of a heavy task, - requiring the exertions of all my powers for its accomplishment. - </p> - <p> - The gloom of the last few years cast its shadows even over my work, as - you, who seek and recognise the living author behind his words, will not - fail to discover; I trust that you will also find traces of the - conscientiousness with which I have striven to perform my appointed task. - </p> - <p> - You will agree with me in thinking that it would have been unadvisable to - subvert the whole design of the book in substance and form, and that I - must content myself with such improvements in matters of detail as would - bring me <span class="side">LIFE OF MOZART,</span> <span class="pagenum"><a - href="pgimages/i026.png">[xxvi]</a></span> somewhat nearer to the end I - had in view. It was, of course, my first endeavour to rectify such errors - and remove such blemishes as had been observed either by myself or others, - and I then proceeded to turn to account all the materials that had come to - hand for the completion or enrichment of my narrative. I had become the - fortunate possessor of copies of Mozart's complete correspondence, so far - as I know it to exist. If, as I trust was the case, the extracts already - before the public had been found useful and trustworthy, there could be no - doubt that the completed version would render my narrative more accurate - and lifelike. In addition, I had now Mozart's entire compositions, either - autograph or copied, so that I could confirm my account and my criticism - of each work by direct reference. - </p> - <p> - Besides these efficient materials for the confirmation of my main - authorities, I had received numerous separate communications, partly from - friends to whom I owe much gratitude, partly from publications of the last - ten years bearing upon my subject, some of which have been of great - service to me. - </p> - <p> - The most important aid, both to myself and to the readers of this edition, - has been afforded by Ludwig v. Köchel's "Chronologischthematisches - Verzeichniss sammtlicher Tonwerke W. A. Mozarts" (Leipzig, 1862). The - necessity for such a catalogue had so strongly impressed me that I had - resolved on compiling it myself, when I fortunately learned that Köchel - was at work upon it. I was speedily convinced that it was in far better - hands than mine, and it gave me genuine pleasure to afford it such - assistance as was in my power. Unexampled assiduity, sparing neither - sacrifice nor exertion, has produced a work which, from the completeness - of its research and the accuracy of its execution, may serve as a model. A - few addenda and corrections were indeed unavoidable: Kochel has himself - indicated some (Allg. Mus. Ztg., 1864, p. 493), and you will find two or - three trifling ones in my book. The fact that Köchel's catalogue contains - a complete chronological and biographical account of all Mozart's - compositions freed my book from all the notices and references found - necessary <span class="side">INTRODUCTION.</span> <span class="pagenum"><a - href="pgimages/i027.png">[xxvii]</a></span> in corroboration of my - statements. A reference to the number in Köchel's catalogue became, in - most cases, sufficient; and I was able also to omit notices of errors in - the published works which Köchel had remarked upon. These, as far as the - great operas are concerned, will soon be rendered still more superfluous - by the projected new edition of the scores from the autograph originals. - Köche's friendship, which I regard as the greatest gain of our common - labours, has aided and supported me throughout the preparation of this - edition. I will not attempt to enumerate all that he has communicated, - verified, and brought into agreement for me: he knows the amount of his - aid and of my gratitude. Sonnleithner, Karajan, Pohl, Jul. André, have - been equally obliging in satisfying my demands and inquiries. Special - thanks are due to them if my book attains that accuracy of detail, wherein - I place its chief value. I may claim to have made tolerably exhaustive use - of all that has been published concerning Mozart during the last ten - years, but you will scarcely expect me to enumerate all my corrections and - improvements. It has been my aim to retain all that had been proved good - in my work, while making such additions as served to place my subject more - clearly and fully before my readers. - </p> - <p> - If a perusal of my second edition should leave you with the impression - that the task of revision and correction has been an easy one, I shall, - whatever my convictions to the contrary, congratulate myself on having - approached the object which I have kept steadily in view. - </p> - <p> - Accept my book, then, in its new dress, with the old spirit of friendship, - and gladden the heart of its author once more by the sympathy he has never - yet found wanting. - </p> - <p> - <b>OTTO JAHN.</b> - </p> - <p> - Bonn, March 6, 1867. - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_4_0003" id="link2H_4_0003"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - TRANSLATOR'S NOTE. - </h2> - <p> - <span class="pagenum"><a href="pgimages/i028.png">[xxviii]</a></span> - </p> - <p> - CONSIDERABLE doubt has existed in the mind of the translator as to the - proper English equivalent for the word "clavier" throughout this work. - Clavier is a generic term in German, and is used to denote any keyed - instrument, whether harpsichord, clavichord, or pianoforte. Mozart's - compositions for the clavier are equally available for all these - instruments, and in his early years he performed indifferently on the - harpsichord or clavichord. His first introduction to the pianoforte was at - Augsburg, in 1777, and he did not become familiar with the instrument - until after his settlement in Vienna in 1781. It has been thought best, - therefore, to leave the word <i>clavier</i> untranslated up to this date, - after which it is translated <i>pianoforte</i>, whether it is applied to - Mozart's performances or to his compositions. - </p> - <p> - It has not been thought advisable to give in the English edition of the - work all the Appendixes which appear in the German. Many of them are of - interest only in the original, others have already been translated among - Mozart's correspondence. Those which seemed likely to interest the English - reader have been translated. The musical Appendixes have all been omitted - as bulky and unnecessary. - </p> - <p> - The only part of Herr Jahn's work against which the charge of - incompleteness can fairly be brought is the Index; an entirely new one has - therefore been made for the English edition, and will, it is hoped, be - found minute and accurate. - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="link2H_4_0004" id="link2H_4_0004"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h1> - LIFE OF MOZART. - </h1> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_1" id="chap_1"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER I. — CHILDHOOD - </h2> - <p> - <span class="pagenum"><a href="pgimages/p003.png">[3]</a></span> - </p> - <p> - WOLFGANG AMADE MOZART came of a family belonging originally to the artisan - class. We find his ancestors settled in Augsburg early in the seventeenth - century, and following their calling there without any great success.<a - href="#linknote-1001" name="linknoteref-1001" id="linknoteref-1001">1</a> - His grandfather, Johann Georg Mozart, a bookbinder, married, October 7, - 1708, Anna Maria Peterin, the widow of another bookbinder, Augustin - Banneger. <a href="#linknote-1002" name="linknoteref-1002" id="linknoteref-1002">2</a> - From this union sprang two daughters and three sons, viz.: Fr. - Joseph Ignaz, Franz Alois (who carried on his father's trade in his native - town), and Johann Georg Leopold Mozart, bom on November 14, 1719, the - father of the Mozart of our biography. -<a href="#linknote-1003" name="linknoteref-1003" id="linknoteref-1003">3</a> - Gifted with a keen intellect and - firm will he early formed the resolution of raising himself to a higher - position in the world than that hitherto occupied by his family; and in - his later years he could point with just elation to his own arduous - efforts, and the success which had crowned them, when he was urging his - son to the same steady perseverance. - </p> - <p> - When Wolfgang visited Augsburg in 1777, he gathered many particulars of - his father's youth which refreshed the recollections of Leopold himself. - We find him writing to his son (October 10, 1777) how, as a boy, he had - sung a cantata at the monastery of St. Ulrich, for the wedding of the - Hofrath Oefele, and how he had often climbed the broken steps to the organ - loft, to sing treble at the Feast <span class="side">CHILDHOOD.</span> - <span class="pagenum"><a href="pgimages/p004.png">[4]</a></span> of the - Holy Cross (November 29, 1777). He afterwards became an excellent - organist: a certain Herr von Freisinger, of Munich, told Wolfgang (October - 10, 1777) that he knew his father well, he had studied with him, and "had - the liveliest recollections of Wessobrunn where my father (this was news - to me) played the organ remarkably well. He said: 'It was wonderful, to - see his hands and feet going together, but exceedingly fine—yes, he - was an extraordinary man. My father thought very highly of him. And how he - used to jeer at the priests, when they wanted him to turn monk.'" This - last must have been of peculiar interest to Wolfgang, who knew his father - only as a devout and strict observer of the Catholic religion. But Leopold - remembered the days of his youth, and wrote to his wife (December 15, - 1777): "Let me ask, if Wolfgang has not of late neglected to go to - confession? God should ever be first in our thoughts! to Him alone must we - look for earthly happiness, and we should ever keep eternity in view; - young people, I know, are averse to hearing of these things; I was young - myself once; but God be thanked, I always came to myself after my youthful - follies, fled from all dangers to my soul, and kept steadily in view God, - and my honour, and the dangerous consequences of indulgence in sin." - </p> - <p> - Long-continued exertions and self-denial laid the foundation of Leopold - Mozart's character in a conscientious earnestness and devotion to duty in - great things as in small; they had the effect also of rendering his - judgment of others somewhat hard and uncompromising. This is observable in - his relations as an official, and as a teacher, and in his dealings on - matters of religion. He was a strict Catholic, and feared nothing so much - for his children as the influence which a prolonged stay in Protestant - countries might exert on their faith; he remarked with surprise that his - travelling companions, Baron Hopfgarten and Baron Bose, had often edified - him with their discourse, although they were Lutherans (Paris, April 1, - 1764). - </p> - <p> - When in London, he became acquainted with the excellent violoncellist - Siprutini, son of a Dutch Jew, who had broken loose from Judaism and "was - content to believe in <span class="side">L. MOZART'S CHARACTER.</span> - <span class="pagenum"><a href="pgimages/p005.png">[5]</a></span> one God, - to love Him first, and his neighbour as himself, and to live an honest - life"; L. Mozart gained an acknowledgment from him that of all the - Christian creeds the Catholic was the best, and was not without hope of - converting him altogether (September 13, 1764). - </p> - <p> - He fulfilled all the duties which the Church requires of her children with - conscientiousness and zeal; we find him ordering masses to be said, buying - relics, &c., whenever occasion offers. - </p> - <p> - The strictly orthodox, almost ascetic, rules of life which the reigning - archbishop, Sigismund, followed and enforced in his court and in all - Salzburg must have had the effect of deepening this side of L. Mozart's - character; while the greater freedom in church matters enjoyed under - Sigis-mund's successor, Hieronymus, was not without its influence, evinced - by his becoming late in life a freemason. There can be no doubt that L. - Mozart was a man of genuine piety, which stood firm amid strong - temptations and the most trying circumstances. It was in accordance with - his education and position in life that this piety found no better - justification and expression than those provided by his Church. His - performance of his duties to God and the Church was undertaken in the same - rigorous spirit which characterised him in all the relations of life. But - he was too sensible not to remonstrate with his daughter when she chose - rather to endanger her health than to be absent from mass (July 28, 1786). - He was entirely free from superstition, and when some one wrote to him of - a ghost-story he declared that "it must be only an hysterical illusion of - the maid-servant." Again, he had "invariably found that begging - sisterhoods were the signs of much moral degradation concealed under the - cloak of hypocrisy" (December 16, 1785). It would be a great mistake to - consider the elder Mozart as a narrow-minded bigot. United to a shrewd, - clear intellect, for the cultivation of which he made extraordinary - efforts, he possessed a decided turn for raillery and sarcasm. His painful - endeavours to work himself free of his petty surroundings, his habit of - looking beyond the narrow horizon which encircled him, encouraged in him a - cynical <span class="side">CHILDHOOD.</span> <span class="pagenum"><a - href="pgimages/p006.png">[6]</a></span> turn of mind. It grew to be a - settled conviction with him that selfishness is the only motive of human - action on which we can safely reckon, and which, therefore, we must strive - to turn to account: a belief in disinterested philanthropy or friendship - is a folly which seldom goes unpunished. Nor should we have any faith in - an innate love of truth. "Take it as an universal truth," he writes - (October 6, 1785), "all men tell lies, and add to the truth, or take away - from it, just as it suits their purpose. Especially must we believe - nothing which, if known, would add to the reputation of the speaker or - flatter his interlocutor, for that is sure to be false." This distrust of - mankind he sought to implant in his son, but with very little success. Nor - did his gloomy views of life stifle, even in himself, all emotion and - sentiment. His theory, as so often happens, went farther than his - practice. When Leopold Mozart analysed the conduct of men, his criticism - was sharp and cutting, but he was always ready with counsel and assistance - when they were needed. Notwithstanding his piety he expressed bitter - contempt for the priesthood and priestcraft: he had occasion to know both - intimately. He was never dazzled by the distinctions of birth and - position. He judged those nearest and dearest to him, not excepting his - beloved son, as severely as the rest of the world. It had the most - wholesome effect on the development of Mozart's character and genius that - his father, who loved him as only a father can love, who justly estimated - and admired his artistic genius, was never dazzled by it, never ignored - nor concealed his weaknesses, but warned and blamed him, and strove to - bring him up with a conscientious fidelity to duty. - </p> - <p> - Leopold Mozart was aware that the education of his son was the highest and - greatest task of his life; but this absorbing care did not narrow his - breadth of sympathy, nor lessen his consideration for others bound to him - by natural ties; he proved himself always a devoted friend as well as, for - one of his means, a liberal benefactor. - </p> - <p> - The exertions which it had cost him to attain to even a moderate position, - the unceasing thought which he was obliged to take for the supply of his - daily needs gave him <span class="side">L. MOZART'S EARLY LIFE.</span> - <span class="pagenum"><a href="pgimages/p007.png">[7]</a></span> a high - appreciation of the value of a secured worldly position, and as he became - gradually convinced that his son was not likely to attach the same - importance to this, he strove the more by his wisdom and experience to - help to secure it for him. This care for economical details has been - unjustly condemned. We may grant that a somewhat exaggerated anxiety - increased by the hypochondria of old age was the natural result of the - struggle with narrow circumstances which he had carried on all his life; - but this is far more than counterbalanced by the singular union of general - and of musical culture, of love and severity, of just judgment and earnest - devotion to duty, which Leopold Mozart developed in the education of his - son. Without them, Wolfgang would certainly not have been the man he - became by their help. - </p> - <p> - We have no detailed information of L. Mozart's youthful life. His - recollections of his position at Augsburg are bitter and sarcastic. Even - with his brothers and sisters, whom he accused of having turned the - weakness of their mother to his disadvantage, he had no close or intimate - connection, although they had never any scruples in applying for his - support. - </p> - <p> - "When I thought of your journey to Augsburg," he writes to Wolfgang - (October 18, 1777), "Wieland's 'Abderiten' always occurred to me. One - ought to have the opportunity of seeing in its naked reality that of which - one has formed an ideal conception." - </p> - <p> - After passing through school life in his native town, he went to Salzburg - to study jurisprudence. The monastery of St. Ulrich belonged to the - community of the Benedictines, which had founded and still partly - maintained the university of Salzburg;<a href="#linknote-1004" - name="linknoteref-1004" id="linknoteref-1004">4</a> this connection may - have given Leopold a reason for going thither. But as he did not obtain - employment, he was constrained to enter the service of Count Thurn, Canon - of Salzburg. From his youth up, he had cultivated his musical talent with - assiduity, and was a <span class="side">CHILDHOOD.</span> <span - class="pagenum"><a href="pgimages/p008.png">[8]</a></span> thoroughly - practical and well-informed musician. He had chiefly maintained himself in - early youth by his singing, and afterwards by giving lessons, and had - gained considerable reputation as a violinist, so much so that Archbishop - Leopold took him into his service in the year 1743. He afterwards became - court composer and leader of the orchestra, and in 1762 was appointed - Vice-Kapellmeister by Archbishop Sigismund. - </p> - <p> - The pay of the choir was scanty, though their duties were heavy. Leopold - Mozart submitted to these demands with his accustomed conscientiousness, - and Schubart points him out as the man whose exertions had placed music in - Salzburg on its then excellent footing.<a href="#linknote-1005" - name="linknoteref-1005" id="linknoteref-1005">5</a> His official position - necessitated his appearing as a composer; in this respect, too, he was - indefatigable, and won for himself an honourable reputation. - </p> - <p> - A list of his compositions compiled in 1757, no doubt by himself, gives an - idea of his industry as a composer.<a href="#linknote-1006" - name="linknoteref-1006" id="linknoteref-1006">6</a> We find a large - proportion of church music. A Mass in C major is in the library at Munich, - Julius André possesses a Mass in F major, the Credo of a "Missa brevis" in - F major lies before me; a "Missa brevis" in A major is preserved in the - cathedral of Salzburg, together with the Offertory, "Parasti in conspectu - meo," three Loretto Litanies (in G, F, and E flat major), and a Litany "De - venerabili" in D major, composed in 1762. This last, a carefully finished - work, was sent by L. Mozart in December, 1774, to Munich, together with a - grand Litany by his son. It is written for solos, chorus, and the usual - small church orchestra of the day, and shows throughout the learning of a - musician skilled in the use of traditional forms. The harmony is correct, - the disposition of the parts skilful, and the contrapuntal forms are - handled boldly; nor does the composer fail to introduce regular, - well-worked-out fugues in the proper places; "Cum Sancto Spiritu," and "Et - <span class="side">L. MOZART'S COMPOSITIONS.</span> <span class="pagenum"><a - href="pgimages/p009.png">[9]</a></span> vitam venturi sæculi" in the Mass, - "Pignus futuræ gloriæ" in the Litany. - </p> - <p> - But there is no originality or inventive power either in the compositions - as a whole, or in isolated passages. Leopold Mozart's sacred music gives - him a right to an honourable place among contemporary composers, but to no - higher rank. Schubart, who prefers his church music to his chamber music, - says justly, that his style was thorough, and showed great knowledge of - counterpoint, but that he was somewhat old-fashioned.<a - href="#linknote-1007" name="linknoteref-1007" id="linknoteref-1007">7</a> - When Wolfgang was busy composing church music with Van Swieten at Vienna, - he wrote to his father (March 29, 1783): "Some of your best church music - would be very useful to us; we like to study all masters, ancient and - modern, so please send us some as soon as possible." But to Wolfgang's - regret this request was refused, for his father was quite aware of the - change of taste in such music that had taken place since his day. - </p> - <p> - Nothing certain is known of twelve oratorios composed according to custom - for Lent,<a href="#linknote-1008" name="linknoteref-1008" - id="linknoteref-1008">8</a> nor of "a host of theatrical pieces, as well - as pantomimes."<a href="#linknote-1009" name="linknoteref-1009" - id="linknoteref-1009">9</a> - </p> - <p> - L. Mozart was an industrious instrumental composer. He enumerates upwards - of thirty serenades, "containing instrumental solos," and a long list of - symphonies, "some only quartets, others for all the usual instruments"; of - <span class="side">CHILDHOOD.</span> <span class="pagenum"><a - href="pgimages/p010.png">[10]</a></span> these, eighteen are thematically - catalogued,<a href="#linknote-10010" name="linknoteref-10010" - id="linknoteref-10010">10</a> and one in G major is by mistake attributed - to Wolfgang, and printed in score. Very curious are the "Occasional - Pieces" which are characteristic of the times, in their odd instrumental - effects, and somewhat heavy touches of fun. Among these are a pastoral - symphony with shepherds' horns and two obbligato flutes; a military piece - with trumpets, drums, kettle-drums, and fifes; a Turkish and a Chinese - piece; a pastoral, representing a rural wedding, and introducing lyres, - bagpipes, and dulcimers; during the march, after each huzza, there was a - pistol-shot, after the custom of rural weddings, and L. Mozart directed - that whoever could whistle well on his fingers, was to whistle during the - huzzas. - </p> - <p> - But the musical "Sledge Drive" seems to have gained most applause; a - pianoforte arrangement was afterwards printed, the effect being heightened - by the accompaniment of five differently toned harness-bells. The - following programme was printed by L. Mozart, for a performance of the - Collegium Musicum in Augsburg, December 29, 1755:— - </p> - <h3> - MUSICAL SLEDGE DRIVE. - </h3> - <p> - Introduced by a prelude, consisting of a pleasing andante and a splendid - allegro. - </p> - <p> - Then follows: - </p> - <p> - A prelude, with trumpets and drums. - </p> - <p> - After this: - </p> - <p> - The Sledge Drive, with the sledge-bells and all the other instruments. - </p> - <p> - After the Sledge Drive: - </p> - <p> - The horses are heard rattling their harness. - </p> - <p> - And then: - </p> - <p> - The trumpets and drums alternate agreeably with the oboes, French horns, - and bassoons, the first representing the cavalcade, the second the march. - </p> - <p> - After this: - </p> - <p> - The trumpets and drums have another prelude, and - </p> - <p> - The Sledge Drive begins again, but stops suddenly, for all the party - dismount, and enter the ball-room. - </p> - <p> - Then comes an adagio, representing the ladies trembling with cold. <span - class="side">L. MOZART'S COMPOSITIONS.</span> <span class="pagenum"><a - href="pgimages/p011.png">[11]</a></span> The ball is opened with a minuet - and trio. - </p> - <p> - The company endeavour to warm themselves by country-dances. - </p> - <p> - Then follows the departure, and, finally: - </p> - <p> - During a flourish of trumpets and drums, the whole party mount their - sledges and drive homewards. - </p> - <p> - In consequence of the performance of these occasional pieces in Augsburg, - L. Mozart received the following anonymous letter: - </p> - <p> - "Monsieur et très cher ami! - </p> - <p> - "May it please you to compose no more absurdities, such as Chinese and - Turkish music, sledge drives, and peasant weddings, for they reflect more - shame and contempt on you than honour, which is regretted by the - individual who herewith warns you and remains, - </p> - <p> - "Your sincere Friend. - </p> - <p> - "Datum in domo verae amicitice." - </p> - <p> - Leopold Mozart was not a little annoyed by this act of friendship, which - he was inclined to ascribe to the Kapellmeister Schmidt or to the organist - Seyffert. It need scarcely be said that this "programme-music" is innocent - either of originality or of instrumental colouring. Short characteristic - pieces, such as Couperin and Rameau wrote, were composed by L. Mozart, in - common with Eberlin, for a kind of organ with a horn stop, which had been - erected by Joh. Roch. Egedacher on the fortifications above the town. Once - a month, morning and evening, a piece was played on this instrument; in - February it was the Carnival, in September a hunting song, in December a - cradle song.<a href="#linknote-10011" name="linknoteref-10011" - id="linknoteref-10011">11</a> - </p> - <p> - Besides all this, L. Mozart wrote many concertos, particularly for the - flute, oboe, bassoon, French horn, or trumpet (one of these is in Munich), - innumerable trios (he offered a flautist, named Zinner, in Augsburg, - fourteen trios for flute, violin, and violoncello), and divertimenti for - various instruments,<a href="#linknote-10012" name="linknoteref-10012" - id="linknoteref-10012">12</a> marches, minuets, opera-dances, &c. - Three clavier <span class="side">CHILDHOOD.</span> <span class="pagenum"><a - href="pgimages/p012.png">[12]</a></span> sonatas are printed,<a - href="#linknote-10013" name="linknoteref-10013" id="linknoteref-10013">13</a> - of which Faiszt remarks that they might well be the work of Leopold's - great son, so strong is their similarity in form and spirit.<a - href="#linknote-10014" name="linknoteref-10014" id="linknoteref-10014">14</a> - is compositions were for the most part only in manuscript, as was almost - all the music of that day.<a href="#linknote-10015" - name="linknoteref-10015" id="linknoteref-10015">15</a> By way of practice - in engraving, he engraved three trio sonatas himself in 1740, and revived - the old accomplishment in 1778, when he engraved some variations for his - son. - </p> - <p> - In later years he composed little or nothing; his position in Salzburg was - so little to his mind that he did not feel himself called on to do more - than his duty required; besides, the education of his children engrossed - his whole time, and when his son had come forward as a composer, he would - on no account have entered into competition with him.<a - href="#linknote-10016" name="linknoteref-10016" id="linknoteref-10016">16</a> - L. Mozart was proud of the estimation in which his works were held abroad, - as the following extract from a letter to his friend Lotter shows: - </p> - <p> - November 24, 1755. - </p> - <p> - I may tell you in strict confidence that I have received a letter from a - distant place inviting me to become a member ——— don't - be alarmed—or—don't laugh —— a member of the - Corresponding Society of Musical Science.<a href="#linknote-10017" - name="linknoteref-10017" id="linknoteref-10017">17</a> Potz Plunder! say - I. But do not tell tales out of school, for it may be only talk. I never - dreamt of such a thing in my life; that I can honestly say. - </p> - <p> - But the elder Mozart acquired his chief reputation as a musician by the - publication in 1756 of his "Attempt towards a Fundamental Method for the - Violin."<a href="#linknote-10018" name="linknoteref-10018" - id="linknoteref-10018">18</a> This work was <span class="side">L. MOZART'S - VIOLIN METHOD.</span> <span class="pagenum"><a href="pgimages/p013.png">[13]</a></span> - spread abroad in numerous editions and translations, and was for many - years the only published instruction on the art of violin-playing; proof - enough that it rendered important service in its day, as far as technical - knowledge was concerned. What makes the book still interesting to us is - the earnest, intelligent spirit which speaks from it, and shows us the man - as he was. He sought to impart to his pupils a sound, practical musical - education; they were not only to practise their fingers, but were always - clearly to, understand <i>what</i> they had to execute and <i>why</i>: "It - is dispiriting to go on playing at random, without knowing what you are - about" (p. 245); a good violinist should even be practised in rhetoric and - poetry to be able to execute with intelligence (p. 107). He insists - strongly that the pupil should not advance until he is quite able for what - he has to learn: "In this consists the gravest error that either master or - pupil can fall into. The former often lack patience to wait for the right - time; or they let themselves be carried away by the pupil, who thinks he - has done wonders when he can scrape out a minuet or two. Often, too, the - parents or guardians of the beginner are anxious to hear him play some of - these imperfect tunes, and think, with satisfaction how well their money - has been spent on the lessons. How greatly they are mistaken!" (p.57, cf. - 121.) - </p> - <p> - The study is not to be made too easy or simple; the learner must exert - himself and work hard. Thus he writes at the beginning of the exercises - (p. 90): "These are the passages for practice. The more distasteful they - are, the better I shall be pleased; I have striven to make them so"; that - is, to guard against their being played from memory. - </p> - <p> - The same ability is displayed in his principles of taste. - </p> - <p> - He exacts above all a "straightforward, manly tone"; "nothing can be more - absurd than to seem afraid even to grasp the violin firmly; or just to - touch the strings with the bow (held perhaps with two fingers), and to - attempt such an artistic up-bow to the very nut of the violin that only a - note here and there is heard in a whisper, without any idea what it means, - it is all so like a dream" (p. 101). <span class="side">CHILDHOOD.</span> - <span class="pagenum"><a href="pgimages/p014.png">[14]</a></span> Simple, - natural expression is the highest aim of the violinist, so that the - instrument may imitate as far as possible the art of song (p. 50); "who - does not grant that to <i>sing</i> their music has been the aim of all - instrumentalists, because they have ever striven after nature?" (p. 107.)<a - href="#linknote-10019" name="linknoteref-10019" id="linknoteref-10019">19</a> - He is severe on performers who "tremble upon every long note, or cannot - play a couple of bars simply without introducing their senseless and - ridiculous tricks and fancies" (p. 50). They are blamed the more as they - are for the most part wanting in the necessary knowledge where to bring in - their ornamentation without involving errors in the composition (pp. 209, - 195). Other faults of the virtuoso are equally severely dealt with, such - as the <i>tremolo</i> of the player "who shakes away on every note as if - he had the ague" (p. 238), or the constant introduction of the so-called - "flageolet tones" (p. 107), or the alternate hurrying and dragging of the - "virtuoso of imagination." "Many," says he (p. 262), "who have no - conception of taste, disdain to keep uniform time in the accompaniment of - a concerted part, and strive to follow the principal part. That is - accompanying like a bungler, not like an artist. It is true that in - accompanying some Italian singers, who learn everything by heart and never - adhere to time or measure, one has often to pass over whole bars to save - them from open shame. But in accompanying a true artist, worthy of the - name, not a note must be delayed or anticipated, there must be neither - hurry nor dragging, so that every note may have proper expression, - otherwise the accompaniment would destroy the effect of the composition. A - clever accompanist should also be able to judge of the performer. He must - not spoil the <i>tempo rubato</i> of an experienced artist by waiting to - follow him. It is not easy to describe this 'stolen time.' A 'virtuoso of - imagination' often gives to a semiquaver in an adagio cantabile the time - of half a bar, before recovering <span class="side">L. MOZART'S VIOLIN - METHOD.</span> <span class="pagenum"><a href="pgimages/p015.png">[15]</a></span> - from his paroxysm of feeling; and he cares nothing at all for the time: he - plays in recitative." - </p> - <p> - Technical instruction and skill are to him only the means to a higher end. - The performer must be capable of expressing all the pathos of the piece - before him, so as to penetrate to the souls and stir the passions of the - audience (pp. 52, 253).<a href="#linknote-10020" name="linknoteref-10020" - id="linknoteref-10020">20</a> As the most important requisite to the - violinist for attaining this, he indicates the stroke of the bow (p. 122) - as "the medium by the judicious use of which we are able to communicate - the pathos of the music to the audience." "I consider," he adds "that a - composer attains his highest aim when he finds a suitable melody for every - sentiment, and knows how to give it its right expression." "Many a - second-rate composer," he says (p. 252), "is full of delight, and thinks - more than ever of himself when he hears his nonsensical music executed by - good artists, by whose artistic expression even such miserable trash is - made intelligible to the audience." - </p> - <p> - It is plain that he was a sworn enemy to smatterers and pretenders. - Thorough technical study and an intellect trained to clear and rational - thought he considered absolutely indispensable to a true artist. He - grants, indeed, that genius may atone for the want of learning, and that a - man highly gifted by nature may lack the opportunity of studying his art - scientifically. But this does not detract from the main proposition nor - make his demands less just. - </p> - <p> - The extracts given above illustrate the principles and the views with - which L. Mozart undertook the musical education of his son, and these - being united to a correct appreciation of the freedom and indulgence due - to great natural powers, it must be acknowledged that no genius could have - been trained under happier auspices.! - </p> - <p> - This work, so remarkable for the age, met with suitable recognition. - Marpurg, to whose judgment L. Mozart had <span class="side">CHILDHOOD.</span> - <span class="pagenum"><a href="pgimages/p016.png">[16]</a></span> - submitted it in his preface, speaks of it as follows: <a - href="#linknote-10021" name="linknoteref-10021" id="linknoteref-10021">21</a> - "The want of a work of this kind has been long felt, but hitherto in vain. - A thorough and skilled performer, a sensible and methodical teacher, a - learned musician, a man possessing all those qualities which singly - command our respect, are here to be found united in one individual—the - author. What Geminiani did for the English nation, Mozart has accomplished - for the German, and their works are worthy to live side by side in - universal approbation." - </p> - <p> - After this it is not surprising that the first of the critical letters on - music which were published under Marpurg's direction at Berlin in 1759 and - 1760 should be addressed to L. Mozart, with the declaration that the - society which proposed to address each letter to some person of - distinction, could not make a fitter commencement than with him. Schubart - says,<a href="#linknote-10022" name="linknoteref-10022" - id="linknoteref-10022">22</a> "He gained great reputation through his - 'Method,' which is written in good German, and with admirable judgment. - The examples are well chosen, and the system of fingering not in the least - pedantic; the author doubtless inclines to the school of Tartini, but he - permits greater freedom in the management of the bow." Zelter expresses - himself in the same spirit:<a href="#linknote-10023" - name="linknoteref-10023" id="linknoteref-10023">23</a> "His 'Violin - Method' is a work which will be of use as long as the violin is an - instrument. It is well written, too." - </p> - <p> - The praise of the author's style of writing is characteristic and well - deserved; it was then a far rarer distinction among artists than at - present. L. Mozart's style is sharp and clear; his sarcastic turn of mind - is so prominent that he apologises for it in the preface, although it is - not unusual in the musical literature of the time. Both in this book and - in his letters he proves himself a man who has not only acquired - cultivation by intercourse with the world and by travel, but who is well - acquainted with literature, has read with taste and discernment, and has - well-defined and judicious opinions <span class="side">L. MOZART'S - POSITION IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p017.png">[17]</a></span> both on aesthetic and moral - subjects. He addressed to the poet Gellert a letter so full of veneration - that Gellert replied in the warmest terms, as the following extract will - show:— - </p> - <p> - I should be insensible, indeed, if the extraordinary kindness with which - you honoured me had left me unmoved, and I should be the most ungrateful - of men if I could have received your letter without acknowledgment. I - accept your love and friendship, my dear sir, with the same frankness with - which they are offered. Do you, indeed, read my works and encourage your - friends to do the same? Such approbation, I can truly say, was more than I - could have dared to hope from such a quarter. Does my last poem, "Der - Christ," meet with your approval? I venture to answer myself in the - affirmative. To this I am encouraged by the subject of the poem, your own - noble spirit, as unwittingly you display it in your letters, and by my - consciousness of honest endeavour. - </p> - <p> - Baron von Bose presented "the little Orpheus of seven years old," when in - Paris, with Gellert's songs, recommending him to borrow their irresistible - harmonies, "so that the hardened atheist may read and mark them, may hear - them and fall down and worship God." Perhaps this gift gave occasion to - the letter. Wolfgang informs his sister at a later date, from Milan, of - the death of Gellert, which took place there. - </p> - <p> - With this amount of cultivation, and the pretensions consequent on it, it - is not surprising that Leopold Mozart felt himself isolated at Salzburg. - He had his duties to perform at court, and the more contemptible their - remuneration was, the more he and the other officials were made to feel - their dependent position. He was employed as a teacher in most of the - families of rank at Salzburg, for his instruction was justly considered as - the best that could be had; but this did not imply any degree of friendly - intimacy. He was too proud to ingratiate himself with them by flattery or - obsequiousness, although, as a man of the world, he knew how to moderate - his satirical humour, and was always affable and well-bred. He seems to - have had little intercourse with his colleagues. This was partly owing to - circumstances, but partly also to their want of musical proficiency or - mental cultivation, joined to their looser, less earnest mode of life. - <span class="side">CHILDHOOD.</span> <span class="pagenum"><a - href="pgimages/p018.png">[18]</a></span> The social relations of the - Mozart family were, however, cheerful and unconstrained; their intercourse - with their friends had more of innocent merriment than of intellectual - enjoyment. "The Salzburg mind," says Schubart,<a href="#linknote-10024" - name="linknoteref-10024" id="linknoteref-10024">24</a> "is tuned to low - comedy. Their popular songs are so drolly burlesque that one cannot listen - to them without dying of laughter. The clownish spirit<a - href="#linknote-10025" name="linknoteref-10025" id="linknoteref-10025">25</a> - shines through them all, though the melodies are often fine and - beautiful." This tendency would scarcely please so serious and critical a - man as L. Mozart, whose humour was caustic, but not broad, and who appears - to have entered with constraint into the ordinary tone of conversation. - </p> - <p> - On November 21, 1747, Leopold Mozart married Anna Maria Pertlin (or - Bertlin), daughter of the steward of the Convent of St. Gilgen. "To-day is - the anniversary of our wedding," wrote L. Mozart (November 21, 1772); "it - is, I believe, exactly twenty-five years since we were struck with the - good idea of getting married, or rather it had occurred to us many years - before. But good things take time." - </p> - <p> - They were reputed the handsomest pair of their time in Salzburg, and their - existing portraits do not contradict this. Frau Mozart was, as far as she - can be represented by letters and descriptions, a very good-tempered - woman, full of love for her family, but in no way distinguished; and the - often verified experience that great men owe their gifts and their culture - principally to their mothers was not proved to be true in the case of - Mozart. She submitted willingly to the superiority of her husband, and - left to his care and management with absolute confidence all that lay - outside the sphere of the actual housekeeping. The possession by <span - class="side">WOLFGANG'S MOTHER AND SISTER—HIS BIRTH.</span> <span - class="pagenum"><a href="pgimages/p019.png">[19]</a></span> each of those - qualities necessary for the happiness of the other lay at the root of the - heartfelt love and affection which bound them to each other and to their - children, and the latter were provided with the surest foundation for - their moral culture in the influence of a pure and harmonious family life. - They were deeply attached to their cheerful, happy-tempered mother; but - that she failed in authority was clear when she accompanied her son in his - ill-considered visit to Paris. In spite of her better judgment she was - unable either to control his impetuosity or to withstand his endearments. - </p> - <p> - Though far inferior to her husband in cultivation, she was not without - understanding, and had a turn for the humorous, which characterised her as - a native of Salzburg. In this respect Wolfgang was her true son. - </p> - <p> - Of seven children resulting from this union, only two survived: a - daughter, Maria Anna (called Marianne or Nannerl in the family), born July - 30, 1751, and a son Wolfgang, born January 27, 1756.<a - href="#linknote-10026" name="linknoteref-10026" id="linknoteref-10026">26</a> - His birth almost cost his mother her life, and her lingering recovery - occasioned much anxiety to her friends. - </p> - <p> - The daughter showed so decided a talent for music, that her father early - began to give, her lessons on the clavier. This made a great impression on - her brother, then but three years old; he perched himself at the clavier, - and amused himself by finding out thirds, which he struck with much - demonstration of delight; he also retained the more prominent passages in - the pieces which he heard. In his fourth year his father began, in play, - to teach him minuets and other pieces on the clavier; in a very short time - he could play them with perfect correctness and in exact time. The impulse - to produce something next awoke in him, and in his fifth year he composed - and played little pieces, <span class="side">CHILDHOOD.</span> <span - class="pagenum"><a href="pgimages/p020.png">[20]</a></span> which his - father then wrote down.<a href="#linknote-10027" name="linknoteref-10027" - id="linknoteref-10027">27</a> A music-book which was intended for - Marianne's exercises, and preserved by her as a precious relic, was in - 1864 presented by the Grand Duchess Helene to the Mozarteum in Salzburg.<a - href="#linknote-10028" name="linknoteref-10028" id="linknoteref-10028">28</a> - It contains minuets and other little pieces, and further on longer ones, - such as an air with twelve variations, and is partly filled with passages - by the composers Agrell, Fischer, Wagenseil, &c., of increasing - difficulty, for the purpose of instruction, in the handwriting of the - father and his musical friends. Wolfgang learned from this book. The - following note is appended by his father to the eighth minuet: - "Wolfgangerl learned this minuet in his fourth year." Similar remarks - occur repeatedly; e.g., "This minuet and trio were learned by Wolfgangerl - in half-an-hour, at half-past nine at night, on January 26, 1761, one day - before his fifth year." They are simple, easy pieces in two parts, but - requiring an independence of the hands, not possible without a degree of - musicial comprehension which is surprising in so young a - </p> - <p> - The first of Wolfgang's compositions have his father's superscription: "Di - Wolfgango Mozart, May 11, 1762, and July 16, 1762," little pieces modelled - on those he had practised, in which of course originality of invention - cannot be looked for; but the sense of simple melody and rounded form so - peculiar to Mozart are there already, without any trace of childish - nonsense. - </p> - <p> - The book went with them on their travels, and Mozart used the blank pages - to write down pieces, which afterwards appeared in the first published - sonatas (1763). - </p> - <p> - Most of the anecdotes of Mozart's childhood which testify to his wonderful - genius, are contained in a letter from <span class="side">SCHACHTNER.</span> - <span class="pagenum"><a href="pgimages/p021.png">[21]</a></span> - Schachtner, which is here given entire, as the direct testimony of a - contemporary. - </p> - <p> - Joh. André Schachtner (died 1795) had been court trumpeter at Salzburg - from 1754, for which post a higher degree of musical attainment was - necessary then than at the present day. He was not only a skilled - musician, but displayed considerable literary cultivation, which he had - obtained at the Jesuit school of Ingolstadt. The translation of a - religious drama, "The Conversion of St. Augustine" from the Latin of - Father Franz Neumayer, gained him the somewhat ambiguous praise of - Gottsched, who writes: "We may even say that he wrote good German, nay, - almost that he wrote good German poetry."<a href="#linknote-10029" - name="linknoteref-10029" id="linknoteref-10029">29</a> We shall find him - later acting as librettist to Mozart. - </p> - <p> - He was intimate in Mozart's home, and his warm attachment is proved by the - following interesting letter, written soon after Mozart's death to his - sister.<a href="#linknote-10030" name="linknoteref-10030" - id="linknoteref-10030">30</a> - </p> - <p> - Dear and honoured Madam,— - </p> - <p> - Your very welcome letter reached me, not at Salzburg, but at Hammerau, - where I was visiting my son, who is coadjutor in the office of - Oberwesamtmann there. - </p> - <p> - You may judge from my habitual desire to oblige every one, more especially - those of the Mozart family, how much distressed I was at the delay in - discharging your commission. To the point therefore! - </p> - <p> - Your first question is: "What were the favourite amusements of your late - lamented brother in his childhood, apart from his passion for his music?" - To this question no reply can be made, for as soon as he began to give - himself up to music, his mind was as good as dead to all other concerns,<a - href="#linknote-10031" name="linknoteref-10031" id="linknoteref-10031">31</a> - and even his childish games and toys had to be accompanied by music. When - we, that is, he and I, carried his toys from one room into another, the - one of us who went empty-handed had always to sing a march and play the - fiddle. But before he began to <span class="side">CHILDHOOD.</span> <span - class="pagenum"><a href="pgimages/p022.png">[22]</a></span> study music he - was so keenly alive to any childish fun that contained a spice of - mischief, that even his meals would be forgotten for it. He was so - excessively fond of me—I, as you know, being devoted to him—that - he used to ask me over and over again whether I loved him; and when in - joke I sometimes said "No," great tears would come into his eyes, so - tender and affectionate was his dear little heart. - </p> - <p> - Second question: "How did he behave to great people when they admired his - talent and proficiency in music?" In truth he betrayed very little pride - or veneration for rank,<a href="#linknote-10032" name="linknoteref-10032" - id="linknoteref-10032">32</a> for, though he could best have shown both by - playing before great people who understood little or nothing of music, he - would never play unless there were musical connoisseurs among his - audience, or unless he could be deceived into thinking that there were. - </p> - <p> - Third question: "What was his favourite study?" Answer: In this he - submitted to the guidance of others. It was much the same to him what he - had to learn; he only wanted to learn, and left the choice of a field for - his labours to his beloved father.<a href="#linknote-10033" - name="linknoteref-10033" id="linknoteref-10033">33</a> It appeared as if - he understood that he could not in all the world find a guide and - instructor like his ever memorable father. - </p> - <p> - Whatever he had to learn he applied himself so earnestly to, that he laid - aside everything else, even his music. For instance, when he was learning - arithmetic, tables, stools, walls, and even the floor were chalked over - with figures.<a href="#linknote-10034" name="linknoteref-10034" - id="linknoteref-10034">34</a> - </p> - <p> - Fourth question: "What particular qualities, maxims, rules of life, - singularities, good or evil propensities had he?" Answer: He was full of - fire; his inclinations were easily swayed: I believe that had he been - without the advantage of the good education which he received, he might - have become a profligate scoundrel—he was so ready to yield to every - attraction which offered. - </p> - <p> - Let me add some trustworthy and astonishing facts relating to his fourth - and fifth years, for the accuracy of which I can vouch. - </p> - <p> - Once I went with your father after the Thursday service to your house, - where we found Wolfgangerl, then four years old, busy with his pen. <span - class="side">SCHACHTNER'S LETTER.</span> <span class="pagenum"><a - href="pgimages/p023.png">[23]</a></span> Father: What are you doing? - </p> - <p> - Wolfg.: Writing a concerto for the clavier; it will soon be done. - </p> - <p> - Father: Let me see it. - </p> - <p> - Wolfg.: It is not finished yet. - </p> - <p> - Father: Never mind; let me see it. It must be something very fine. - </p> - <p> - Your father took it from him and showed me a daub of notes, for the most - part written over ink-blots. (The little fellow dipped his pen every time - down to the very bottom of the ink-bottle, so that as soon as it reached - the paper, down fell a blot; but that did not disturb him in the least, he - rubbed the palm of his hand over it, wiped it off, and went on with his - writing.) We laughed at first at this apparent nonsense, but then your - father began to note the theme, the notes, the composition; his - contemplation of the page became more earnest, and at last tears of wonder - and delight fell from his eyes. - </p> - <p> - "Look, Herr Schachtner," said he, "how correct and how orderly it is; only - it could never be of any use, for it is so extraordinarily difficult that - no one in the world could play it." - </p> - <p> - Then Wolfgangerl struck in: "That is why it is a concerto; it must be - practised till it is perfect; look! this is how it goes." - </p> - <p> - He began to play, but could only bring out enough to show us what he meant - by it. He had at that time a firm conviction that playing concertos and - working miracles were the same thing. - </p> - <p> - Once more, honoured madam! You will doubtless remember that I have a very - good violin which Wolfgangerl used in old times to call "Butter-fiddle," - on account of its soft, full tone. One day, soon after you came back from - Vienna (early in 1763), he played on it, and could not praise my violin - enough; a day or two after, I came to see him again, and found him amusing - himself with his own little violin. He said directly: "What is your - butter-fiddle about?" and went on playing according to his fancy; then he - thought a little and said: - </p> - <p> - "Herr Schachtner, your violin is half a quarter of a tone lower than mine, - that is, if it is tuned as it was, when I played on it last." - </p> - <p> - I laughed at this, but your father, who knew the wonderful ear and memory - of the child, begged me to fetch the violin, and see if he was right. I - did, and right he was, sure enough! - </p> - <p> - Some time before this, immediately after your return from Vienna, Wolfgang - having brought home with him a little violin which some one in Vienna had - given him, there came in one day our then excellent violinist the late - Herr Wentzl, who was a dabbler in composition. - </p> - <p> - He brought six trios with him, composed during the absence of your father, - whose opinion on them he came to ask. We played these trios, your father - taking the bass part, Wentzl playing first violin, and I second. - </p> - <p> - Wolfgangerl begged to be allowed to play second violin, but your father - reproved him for so silly a request, since he had never had any <span - class="side">CHILDHOOD.</span> <span class="pagenum"><a - href="pgimages/p024.png">[24]</a></span> instruction on the violin, and - your father thought he was not in the least able for it. - </p> - <p> - Wolfgang said, "One need not have learnt, in order to play second violin," - whereupon his father told him to go away at once, and not interrupt us any - longer. - </p> - <p> - Wolfgang began to cry bitterly, and slunk away with his little violin. I - interceded for him to be allowed to play with me, and at last his father - said: "Play with Herr Schachtner then, but not so as to be heard, or you - must go away at once." So it was settled, and Wolfgang played with me. I - soon remarked with astonishment that I was quite superfluous; I put my - violin quietly down, and looked at your father, down whose cheeks tears of - wonder and delight were running; and so he played all the six trios. When - we had finished, Wolfgang grew so bold from our applause that he declared - he could play first violin. We let him try for the sake of the joke, and - almost died of laughter to hear him play, with incorrect and uncertain - execution, certainly, but never sticking fast altogether. - </p> - <p> - In conclusion: Of the delicacy and refinement of his ear. - </p> - <p> - Until he was almost ten years old, he had an insurmountable horror of the - horn, when it was sounded alone, without other instruments; merely holding - a horn towards him terrified him as much as if it had been a loaded - pistol. His father wished to overcome this childish alarm, and ordered me - once, in spite of his entreaties, to blow towards him; but, O! that I had - not been induced to do it. Wolfgang no sooner heard the clanging sound - than he turned pale, and would have fallen into convulsions, had I not - instantly desisted. - </p> - <p> - This is, I think, all I can say in answer to your questions. Forgive my - scrawl, I am too much cast down to do better. - </p> - <p> - I am, honoured Madam, - </p> - <p> - With the greatest esteem and affection, - </p> - <p> - Your most obedient Servant, - </p> - <p> - Andreas Schachtner, - </p> - <p> - Court Trumpeter. - </p> - <p> - Salzburg, - </p> - <p> - 24 April 1792 - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_2" id="chap_2"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER II. EARLY JOURNEYS - </h2> - -<div class="fig" style="width:80%;"> -<img src="images/Lmozart.jpg" alt="Lmozart" width="100%" /><br /></div> - - <p> - It was in January of the year 1762 that L. Mozart first turned to account - the precocious talent of his children in an expedition to Munich.<span class="pagenum"><a href="pgimages/p025.png">[25]</a></span> Their - visit extended over three weeks, and both Wolfgang and his sister were - summoned to play before the Elector, and were well received everywhere. - Their success encouraged their father to a bolder attempt, and on - September 19, of the same year, they set out for Vienna.<a - href="#linknote-2001" name="linknoteref-2001" id="linknoteref-2001">1</a> - </p> - <p> - Their journey was made by easy stages. At Passau they remained for five - days, at the request of the Bishop, who wished to hear the boy-prodigy, - and having done so, rewarded him with—one ducat! Thence they - proceeded to Linz. Canon Count Herberstein travelled with them, and - Wolfgang's distress at seeing an old beggar-man fall into the water - impressed him so much that, as Bishop of Passau, in 1785 he reminded L. - Mozart of it. At Linz they gave a concert, under the patronage of Count - Schlick, Governor-General of the province. Count Palfy, a young nobleman - who was paying his respects to the Countess Schlick on his way through - Linz, heard from her such a glowing account of the boy-prodigy that he - left his travelling-carriage at the door of her residence and went with - her to <span class="side">EARLY JOURNEYS.</span> <span class="pagenum"><a - href="pgimages/p026.png">[26]</a></span> the concert; his amazement was - unbounded. From Linz they continued their journey by water. At the - Monastery of Ips, while their travelling companions, two Minorite monks - and a Benedictine, were saying mass, Wolfgang mounted to the organ-loft, - and played so admirably that the Franciscan friars, and the guests they - were entertaining, rose from table and came open-mouthed with astonishment - to listen to him. - </p> - <p> - On their arrival at Vienna, Wolfgang saved his father the payment of - customs duties. He made friends with the custom-house officer, showed him - his harpsichord, played him a minuet on his little fiddle, and—"That - passed us through!" Throughout the journey Wolfgang showed himself lively - and intelligent, readily making friends, especially with officials; his - engaging manners attracted as much love as his playing excited admiration. - </p> - <p> - The fame of the two children had preceded them to Vienna. Count Schlick, - Count Herberstein, and Count Palfy had raised expectation to the highest - pitch, and the children were assured of a good reception at court and - among the nobility, who vied with each other in their devotion to - everything connected with art. - </p> - <p> - The imperial family took more than a passive interest in musical affairs.<a - href="#linknote-2002" name="linknoteref-2002" id="linknoteref-2002">2</a> - Charles VI. was an accomplished musician, and used to accompany operatic - or other performances at court upon the clavier,<a href="#linknote-2003" - name="linknoteref-2003" id="linknoteref-2003">3</a> playing from the - figured bass, according to the custom of conductors at the time. He caused - his daughters to study music, and the future Empress Maria Theresa - displayed at an early age both taste and talent. In 1725, when only seven - years old, she sang in an opera by Fux, at a fête given in honour of her - mother, the Empress Elizabeth. It was in allusion to this that she once, - joking, told Faustina Hasse that she believed herself to be the first - <span class="side">VIENNA, 1762—WAGENSEIL.</span> <span - class="pagenum"><a href="pgimages/p027.png">[27]</a></span> of living - virtuose.<a href="#linknote-2004" name="linknoteref-2004" - id="linknoteref-2004">4</a> In 1739 she sang a duet with Senesino so - beautifully that the celebrated old singer was melted to tears.<a - href="#linknote-2005" name="linknoteref-2005" id="linknoteref-2005">5</a> - Her husband, Francis I., was also musical, and gave his children a musical - education.<a href="#linknote-2006" name="linknoteref-2006" - id="linknoteref-2006">6</a> The Archduchesses appeared frequently in - operatic performances at court, acquitting themselves "very well for - princesses."<a href="#linknote-2007" name="linknoteref-2007" - id="linknoteref-2007">7</a> - </p> - <p> - The Emperor Joseph sang well, and played the harpsichord and the - violoncello. - </p> - <p> - Anecdotes of Mozart's genius had excited much interest at court, and on - September 13, before he had even solicited the honour, L. Mozart received - a command to bring his children to Schönbrunn. A quiet day was chosen, - that the children might be heard without fear of interruption. Their - playing surpassed all expectation, and they were afterwards repeatedly - summoned to court. The Emperor took special delight in the "little - magician" and enjoyed inventing new trials of skill for him. He jestingly - told him that playing with all his fingers was nothing; playing with one - finger would be true art; whereupon Wolfgang began to play charmingly with - only one finger. Another time he told him that it would be true art to - play with the keyboard covered; and Wolfgang covered the keys with a - cloth, and played with as much decision and vivacity as if he could see - them. This <i>tour de force</i> was often repeated on subsequent - occasions, and always received with great applause. - </p> - <p> - But music was, generally speaking, a serious matter to Wolfgang, and even - at court he refused to play except before connoisseurs. Once, seeing - himself surrounded by a fashionable assemblage, he said before he began: - "Is Herr Wagenseil here? Let him come; he knows something about it." - (Georg Christoph Wagenseil—born in Vienna, 1688; died, 1779)—was - a pupil of Fux, and one of the first <span class="side">EARLY JOURNEYS.</span> - <span class="pagenum"><a href="pgimages/p028.png">[28]</a></span> - clavier-players and composers of his time: he taught the Empress and - afterwards her children.<a href="#linknote-2008" name="linknoteref-2008" - id="linknoteref-2008">8</a> The Emperor moved aside to let him come near - Mozart, who exclaimed: "I am going to play one of your concertos; you must - turn over for me." At court, as elsewhere, Mozart was a bright, happy - child. He would spring on the Empress's lap, throw his arms round her neck - and kiss her, and play with the princesses on a footing of perfect - equality. He was especially devoted to the Archduchess Marie Antoinette. - Once, when he fell on the polished floor, she lifted him from the ground - and consoled him, while one of her sisters stood by: "You are good," said - Wolfgang, "I will marry you." The Empress asked him why? "From gratitude," - answered he; "she was good to me, but her sister stood by and did - nothing."<a href="#linknote-2009" name="linknoteref-2009" - id="linknoteref-2009">9</a> The Emperor Joseph reminded him in after years - of his playing duets with Wagenseil, and of Mozart's standing in the - antechamber among the audience, calling "Pfui!" or "Bravo!" or "That was - wrong!" as the case might be.<a href="#linknote-20010" - name="linknoteref-20010" id="linknoteref-20010">10</a> - </p> - <p> - The favour of the court was further displayed in substantial honours and - rewards. In addition to a gift of money Marianne was presented with a - white silk court dress, belonging to one of the Archduchesses, and - Wolfgang with a violet coloured suit, trimmed with broad gold braid, that - had been made for the Archduke Maximilian. His father had his portrait - painted in this magnificent attire. As might have been expected, the - children became the rage in society; "all the ladies fell in love with the - lad." The music-loving Prince von Hildburghausen, Vice-Chancellor Count - Colloredo, Bishop Esterhazy, all invited the Mozarts; and before long they - were indispensable at every fashionable assembly. They were generally - carried to and fro in the carriage of their entertainers, and received - many handsome presents of money and trinkets. This prosperous course <span - class="side">SECOND JOURNEY, 1763.</span> <span class="pagenum"><a - href="pgimages/p029.png">[29]</a></span> was, however, suddenly - interrupted by an attack of scarlet fever, which kept Wolfgang in bed for - a fortnight. The dangerous part of his illness was soon over, and the - greatest sympathy was everywhere expressed for him; but the fear of - infection was then very great, and the interest taken in his convalescence - was accompanied by considerable reluctance to his society. - </p> - <p> - An invitation from the Hungarian magnates induced L. Mozart, although he - had already exceeded his leave of absence, to undertake an expedition to - Pressburg on December 11. The weather was very unfavourable, and made the - return journey through roadless Hungary not a little dangerous. Their stay - in Vienna was not much further prolonged, and early in January, 1763, they - found themselves once more in Salzburg. - </p> - <p> - Having once tested the powers and popularity of his children, Leopold - Mozart could not settle contentedly in Salzburg again, and he soon - determined on the bolder venture of making their talents known beyond - Germany. Paris was his ultimate goal, but he intended to exhibit the - children at any of the German courts which did not lie too far out of - their way. The class from which at the present day the musical public, - properly so called, is drawn was then altogether uncultivated; and even - where there were no courts, as in the imperial towns, the nobles and rich - merchants kept up similar distinctions of rank. - </p> - <p> - L. Mozart lays complacent stress upon the fact that throughout their tour, - their intercourse was confined to the nobility and distinguished persons, - and that both for their health's sake and the reputation of their court, - they were obliged to travel <i>noblement</i>. Being summer, therefore, the - travellers avoided the capitals and visited the country seats to which, at - this season, the courts were wont to repair.<a href="#linknote-20011" - name="linknoteref-20011" id="linknoteref-20011">11</a> <span class="side">EARLY - JOURNEYS.</span> <span class="pagenum"><a href="pgimages/p030.png">[30]</a></span> - The journey began on June 9, and not prosperously; for in Wasserbrunn the - carriage broke down, necessitating the delay of a whole day. "The last new - thing is," writes the father, "that in order to pass the time we went to - look at the organ, and I explained the pedal to Wolferl. He set to work to - try it on the spot; pushed aside the stool, and preluded away standing, - using the pedal as if he had practised it for months. We were all lost in - astonishment. What has caused others months of practice comes to him as a - gift of God." Wolfgang performed on the organ constantly throughout the - journey, and was, his father says, even more admired as an organist than - as a clavier-player. - </p> - <p> - Arrived at Munich on June 12, 1763, they proceeded at once to Nymphenburg, - the summer residence of the Elector. Here the introduction of the Prince - von Zweibrücken gained them a favourable reception, and they played - repeatedly before the Elector and Duke Clement; it is specially mentioned - that Wolfgang executed a concerto on the violin with cadenzas "out of his - own head." Here they fell in with two travellers from Saxony, the Barons - Hopfgarten and Bose, with whom they formed a cordial friendship, cemented - during their stay in Paris. At Augsburg they took up their abode for a - fortnight with the Mozart family, and gave three concerts, at which the - audience were almost exclusively Lutherans. The Salzburg "Europàische - Zeitung" (July 19, 1763) reports from Augsburg, July 9:— - </p> - <p> - The day before yesterday, Herr Leopold Mozart, Vice-Kapellmeister at - Salzburg, left this place for Stuttgart, with his two precocious children. - The inhabitants of his native town have fully appreciated the privilege - accorded them in witnessing the manifestation of the marvellous gifts - bestowed by Providence on these charming children; they recognise also how - great must have been the paternal care, the result of which has been the - production of a girl of eleven and, what is still more incredible, a boy - of seven years old as ornaments to the musical world. The opinion - pronounced on these prodigies by a correspondent from Vienna, which will - be found on another page, enthusiastic as it appears, will be confirmed by - all musical connoisseurs. - </p> - <p> - At Ludwigsburg, the summer residence of the Wurtemburg court, they did not - succeed in obtaining audience of the Duke, although they had brought - introductions from <span class="side">LUDWIGSBURG, 1763—JOMELLI.</span> - <span class="pagenum"><a href="pgimages/p031.png">[31]</a></span> Canon - Count Wolfegg, both to the Master of the Hunt, Bar. v. Pölnitz, and to - Jomelli. L. Mozart was inclined to ascribe this to the influence of - Jomelli, who figured as Kapellmeister from 1754 to 1768,<a - href="#linknote-20012" name="linknoteref-20012" id="linknoteref-20012">12</a> - with a salary of 4,000 fl. (more correctly 3,000 fl.), the keep of four - horses, fuel and lights, a house in Stuttgart and another at Ludwigsburg, - and 2,000 fl. pension for his widow. Leopold Mozart announces all this to - Hagenauer, with the question: "What do you think of that for a - Kapellmeister's pay?" He maintained that all native artists had to suffer - from Jomelli's influence, who spared no trouble to drive Germans from the - court and to admit none but Italians; this was the more possible, as he - was in high favour with the Duke. - </p> - <p> - He and his countrymen, of whom his house was always full, were reported to - have said that it was incredible that a child of German birth could have - such musical genius, and so much spirit and fire. <i>Ridete Amici!</i> he - adds. Granted, however, that musical taste in Ludwigsburg had been - thoroughly Italianised by Jomelli's influence and position,<a - href="#linknote-20013" name="linknoteref-20013" id="linknoteref-20013">13</a> - there is no doubt that this account of him is prejudiced and exaggerated. - Metastasio pictures him as courteous and affable,<a href="#linknote-20014" - name="linknoteref-20014" id="linknoteref-20014">14</a> and in Stuttgart he - had the reputation of giving all due credit to German artists,<a - href="#linknote-20015" name="linknoteref-20015" id="linknoteref-20015">15</a> - so that L. Mozart's accusation is probably without much foundation. He - himself acknowledges that Jomelli's unlimited power had been principally - the cause of the excellence of musical performances in Ludwigsburg; though - here again, Schubart complains that the orchestra was spoilt by the - numerous amateur members who could not agree, and who were fond of - introducing ornamentations in their separate parts, quite out of character - with the whole.<a href="#linknote-20016" name="linknoteref-20016" - id="linknoteref-20016">16</a> - </p> - <p> - Of the really superior amateurs who were then at <span class="side">EARLY - JOURNEYS.</span> <span class="pagenum"><a href="pgimages/p032.png">[32]</a></span> - Ludwigsburg L. Mozart mentions only Tartini's pupil, P. Nardini (died - 1793) who "was unsurpassed in taste, purity, and delicacy of tone, but not - by any means a powerful player." - </p> - <p> - From Ludwigsburg they proceeded to Schwetzingen, and presenting - recommendations from the Prince von Zweibrücken and Prince Clement of - Bavaria, were well received by the Elector Palatine Karl Theodor. On July - 18 the court assembled to hear them from five to nine o'clock; the - children set all Schwetzingen in commotion, and the electoral household - were enchanted with them. L. Mozart praises the admirable flute-playing of - Wendling, and speaks of the orchestra as the best in Germany, being - entirely composed of young men of good birth, who were "neither tipplers, - nor gamblers, nor miserable ragamuffins" (a hit at Salzburg), and who were - as estimable in their private as in their professional capacity. He goes - on to inform pious Frau Hagenauer, that since they left Wasser-burg they - had found no holy water, and rarely a crucifix in their bedrooms, and that - they found it difficult to procure fast-day meals: "Everybody eats meat, - and perhaps so have we, without knowing it. After all, it is no fault of - ours!" - </p> - <p> - Making an excursion to Heidelberg, Wolfgang played the organ in the Church - of the Holy Spirit, and so astonished his audience that the Dean ordered - his name and the particulars of his visit to be inscribed as a memorial of - it on the organ. Unfortunately no trace of the inscription remains. - </p> - <p> - At Mayence, owing to the illness of the Elector, Joseph Emnrerich (von - Breidtbach), they could not appear at court, but made 200 florins at three - concerts. Here they met the singer, Marianne de Amicis, who was returning - with her family from London. - </p> - <p> - At Frankfort, which they went out of their way to visit, Mozart's first - concert, on August 18, was so successful that they decided on giving three - more. The newspaper announcement, of August 30, 1763, shows what an - astonishing performance was offered to the public. It runs as follows:<a - href="#linknote-20017" name="linknoteref-20017" id="linknoteref-20017">17</a>— - <span class="side">FRANKFORT, COBLENZ, COLOGNE.</span> <span - class="pagenum"><a href="pgimages/p033.png">[33]</a></span> The universal - admiration excited in the minds of the audience by the astounding genius - of the two children of Herr L. Mozart, Kapellmeister at the Court of - Salzburg, has necessitated the threefold repetition of the concert which - was announced to take place on one occasion only. - </p> - <p> - In consequence, therefore, of this universal admiration, and in deference - to the desire of many distinguished connoisseurs, the next and positively - the last concert will take place this evening, Tuesday, August 30, in the - Scharfischen Saal, on the Liebfraoenberge. - </p> - <p> - The little girl, who is in her twelfth year, will play the most difficult - compositions of the greatest masters; the boy, who is not yet seven, will - perform on the clavecin or harpsichord; he will also play a concerto for - the violin, and will accompany symphonies on the clavier, the manual or - keyboard being covered with a cloth, with as much facility as if he could - see the keys; he will instantly name all notes played at a distance, - whether singly or in chords on the clavier, or on any other instrument, - bell, glass, or clock. He will finally, both on the harpsichord and the - organ, improvise as long as may be desired and in any key, thus proving - that he is as thoroughly acquainted with the one instrument as with the - other, great as is the difference between them.<a href="#linknote-20018" - name="linknoteref-20018" id="linknoteref-20018">18</a> - </p> - <p> - Here, too, Goethe heard him. "I saw him as a boy, seven years old," he - told Eckermann, "when he gave a concert on one of his tours. I myself was - fourteen, and I remember the little fellow distinctly with his powdered - wig and his sword."<a href="#linknote-20019" name="linknoteref-20019" - id="linknoteref-20019">19</a> - </p> - <p> - At Coblenz, Mozart was presented to the Elector of Treves, Johann Philipp - (von Walderdorf), by Baron Walderdorf and the Imperial Ambassador, Count - Bergen, and appeared at court on September 18. He was also frequently - invited by the Privy Councillor and Imperial Knight von Kerpen, whose - seven sons and two daughters all either sang or played some instrument. At - Bonn, the Elector of Cologne, Maximilian Freidrich (Count of - Konigseck-Rothenfels), being absent, they only remained long enough to see - and admire the splendours of the residential palace; the magnificent beds, - the baths, the picture galleries, concert halls, decorations, inlaid - tables, chairs, &c.; also the numerous curiosities at Poppelsdorf and - Falkenlust. At Cologne, on the other hand, they only note the "dingy - cathedral." At Aix, the Princess Amalie, sister <span class="side">EARLY - JOURNEYS.</span> <span class="pagenum"><a href="pgimages/p034.png">[34]</a></span> - to Frederick the Great, and a zealous lover and patroness of music, was - taking the waters. She endeavoured to persuade L. Mozart to take his - children to Berlin, but he would not alter his plans. - </p> - <p> - "She has no money," writes the practical man. "If the kisses she bestows - on my children, particularly on Master Wolfgang, were each a louis d'or, - we should be well off; as it is, neither our hotel bill nor our - post-horses can be paid with kisses." At Brussels, where Prince Charles of - Lorraine, brother of the Emperor Francis I., resided as Governor and - Captain-General of the Austrian Netherlands, they were delayed some time, - but succeeded in giving a grand concert. - </p> - <p> - Thence they proceeded direct to Paris, where they arrived on November 18, - and were kindly received and hospitably entertained by the Bavarian - ambassador, Count von Eyck. His wife was a daughter of the high - chamberlain at Salzburg, Count Arco. Mozart was furnished with - introductions to the most distinguished persons then in Paris; but all - these were worth nothing, L. Mozart writes, in comparison with one letter - given to him by a merchant's wife at Frankfort, and addressed to Grimm. - Friedrich Melchior Grimm, the pupil and disciple of Gottsched,<a - href="#linknote-20020" name="linknoteref-20020" id="linknoteref-20020">20</a> - had lived in Paris since 1749. As secretary to Count Friesen, and - afterwards to the Duke of Orleans, he had admission to the highest circles - of society. His amiable disposition and the important share he took in the - literary struggles of the encyclopedists gained him a still more exalted - position as a sort of literary and artistic arbiter. His judgment on - musical matters was eagerly sought after, and, as it came within his - special province to bring to light anything out of the common way, he was - of all others most fitted to appreciate Wolfgang's performances. He had - genuine sympathy with his countrymen, too, and could understand such a - nature as L. Mozart's. He had not yet been created baron and ambassador, - was still active and energetic, and exerted all his personal and literary - influence for the Mozart family. Leopold ascribes <span class="side">PARIS—1763-64, - GRIMM, MDME. DE POMPADOUR.</span> <span class="pagenum"><a - href="pgimages/p035.png">[ 35]</a></span> all their subsequent success to - this "powerful friend." "He has done everything—opened the court to - us, managed the first concert, and is going to manage the second. What - cannot a man do with sense and a kind heart? He has been fifteen years in - Paris, and knows how to make things fall out as he wishes." - </p> - <p> - Their first object was the introduction at court. The most important - personage at that time at Versailles was, of course, Madame de Pompadour. - "She must have been very beautiful," writes L. Mozart to Madame Hagenauer, - "for she is still comely. She is tall and stately; stout, but well - proportioned, with some likeness to Her Imperial Majesty about the eyes. - She is proud, and has a remarkable mind." Mozart's sister remembered in - after days how she placed little Wolfgang on the table before her, but - pushed him aside when he bent forward to kiss her, on which he indignantly - asked: "Who is this that does not want to kiss me?—the Empress - kissed me."<a href="#linknote-20021" name="linknoteref-20021" - id="linknoteref-20021">21</a> The King's daughters were much more - friendly, and, contrary to all etiquette, kissed and played with the - children, both in their own apartments and in the public corridors. On New - Year's Day the Mozart family were conducted by the Swiss guard to the - supper-room of the royal family. Wolfgang stood near the Queen, who fed - him with sweetmeats, and talked to him in German, which she was obliged to - interpret to Louis XV. The father stood near Wolfgang, and the mother and - daughter on the other side of the King, near the Dauphin and Madame - Adelaide. - </p> - <p> - Once having played at Versailles, they were sure of access to the most - distinguished society.<a href="#linknote-20022" name="linknoteref-20022" - id="linknoteref-20022">22</a>A small oil painting, now in the Museum at - Versailles, shows little Wolfgang at the clavier in the <i>salon</i> of - Prince Conti, the centre of an assemblage of great people. Finally, having - established their <span class="side">EARLY JOURNEYS.</span> <span - class="pagenum"><a href="pgimages/p036.png">[36]</a></span> position in - private society they gave two great concerts (on March 10 and April 9, - 1764) in the rooms of a certain fashionable M. Felix, who had built a - little theatre for private representations. The permission to give these - concerts was a favour obtained with difficulty, as they infringed the - privileges both of the Concert Spirituel and of the French and Italian - theatres. The result was in every respect a brilliant success. Marianne - Mozart played the most difficult compositions of the musicians then living - in Paris, especially of Schobert and Eckart, with a precision and - correctness that could not have been surpassed by the masters themselves. - </p> - <p> - Schobert was a native of Strasburg, cembalist to the Prince de Conti; as a - composer he was famous for his grace and fire, especially in allegros,<a - href="#linknote-20023" name="linknoteref-20023" id="linknoteref-20023">23</a> - but as a man he was not all he should have been, according to L. Mozart. - He was a false flatterer, his religion was <i>à la mode</i>, and his envy - was often so ill-concealed as to excite ridicule. Eckart, on the contrary, - was a worthy man, and quite free from jealousy; he had come from Augsburg - to Paris in 1758, and was highly esteemed as a clavier-player and teacher. - </p> - <p> - Wolfgang's performances on the clavier, organ, and violin, extraordinary - as they were, were thrown into the shade by the proofs he gave of almost - incredible musical genius.<a href="#linknote-20024" - name="linknoteref-20024" id="linknoteref-20024">24</a> He not only - accompanied at sight Italian and French airs, but he transposed them - [prima vista]. - </p> - <p> - At that time, accompanying meant more than the playing of prepared - passages for the piano or clavier; it involved the choice at the moment of - a fitting accompaniment for the <span class="side">FIRST PRINTED - COMPOSITIONS.</span> <span class="pagenum"><a href="pgimages/p037.png">[37]</a></span> - several parts of the score, or the supplying of harmonies to the bass. - </p> - <p> - On the other hand, the simplicity of the harmony, and the adherence to - certain fixed forms, gave to such exercises facilities not afforded by the - license and want of form of modern music. Grimm relates in his - correspondence a truly astonishing instance of the boy's genius. Wolfgang - accompanied a lady in an Italian air without seeing the music, supplying - the harmony for the passage which was to follow from that which he had - just heard. This could not be done without some mistakes, but when the - song was ended he begged the lady to sing it again, played the - accompaniment and the melody itself with perfect correctness, and repeated - it ten times, altering the character of the accompaniment for each. On a - melody being dictated to him, he supplied the bass and the parts without - using the clavier at all; he showed himself in all ways so accomplished - that his father was convinced he would obtain service at court on his - return home. Leopold Mozart now thought the time was come for introducing - the boy as a composer, and he printed four sonatas for the piano and - violin, rejoicing at the idea of the noise which they would make in the - world, appearing with the announcement on the title-page that they were - the work of a child of seven years old. He thought well of these sonatas, - independently of their childish authorship; one andante especially "shows - remarkable taste." When it happened that in the last trio of Op. 2, a - mistake of the young master, which his father had corrected (consisting of - three consecutive fifths for the violin), was printed, he consoled himself - by reflecting that "they can serve as a proof that Wolfgangerl wrote the - sonatas himself, which, naturally, not every one would believe." The - little composer dedicated his first printed sonatas (6, 7, K.), to the - good-natured Princesse Victoire, both she and her sisters being very fond - of music. The next (8,9, K.), were dedicated to the amiable and witty - Comtesse de Tessê, lady-in-waiting to the Dauphiness. - </p> - <p> - Grimm had written a dedication in Mozart's name, in which both he and the - Dauphiness were well touched off. <span class="side">FIRST JOURNEY.</span> - <span class="pagenum"><a href="pgimages/p038.png">[38]</a></span> To L. - Mozart's vexation she declined it as too eulogistic, and a simpler one had - to be substituted. - </p> - <p> - The prodigies were overwhelmed with distinctions, complimentary verses, - and gifts. M. de Carmontelle, an admirable amateur portrait painter, made - a charming picture of the family group;<a href="#linknote-20025" - name="linknoteref-20025" id="linknoteref-20025">25</a> it was engraved by - Delafosse at Grimm's instigation. - </p> - <p> - The unprecedented success of the two children was the more significant - since musical culture was not nearly so predominant in Paris as in most of - the German courts. "It is a pity," says Grimm, "that people in this - country understand so little of music." - </p> - <p> - L. Mozart notes the standing war between French and Italian music, and the - position which Grimm took up on the side of the Italians served to confirm - him in his preconceived opinions. According to him none of the French - music was worth a groat; in church music all the solos and everything - approaching to an air, were "empty, cold, and wretched, in fact French." - But he did justice to the choruses, and lost no opportunity of letting his - son hear them.<a href="#linknote-20026" name="linknoteref-20026" - id="linknoteref-20026">26</a> In instrumental music the German composers, - among them Schobert, Eckart, and Hannauer, were beginning to make their - influence felt, so much so that Le Grand<a href="#linknote-20027" - name="linknoteref-20027" id="linknoteref-20027">27</a> abandoned the - French style and composed sonatas after German models. The revolution to - be wrought by Gluck, was as yet, indeed, not to be foreseen; but L. Mozart - hoped that in ten or fifteen years the French style would be extinguished. - </p> - <p> - On April 10, 1764, the Mozart family left Paris. At Calais, Marianne notes - in her diary, "how the sea runs away and comes back again." Thence they - crossed to Dover in a small vessel, the packet being over full, and were - very sea-sick; an experienced courier, whom they had brought with them - from Paris, arranged the journey direct <span class="side">LONDON, - 1764-65.</span> <span class="pagenum"><a href="pgimages/p039.png">[39]</a></span> - to London.<a href="#linknote-20028" name="linknoteref-20028" - id="linknoteref-20028">28</a> They were heard at court on April 27, and - their reception surpassed all expectation. "The favour shown to us by both - royal personages is incredible," writes L. Mozart; "we should never - imagine from their familiar manner that they were the King and Queen of - England. We have met with extraordinary politeness at every court, but - this surpasses them all. A week ago we were walking in St. James's Park; - the King and Queen drove past, and although we were differently dressed, - they recognised us, and the King leant out of the window smiling and - nodding, especially towards Wolfgang." - </p> - <p> - George III. was a connoisseur and passionate admirer of Handel's music, - and Queen Charlotte sang and played; both had German taste, and gave - special honour to German artists, as Jos. Haydn found in later years.<a - href="#linknote-20029" name="linknoteref-20029" id="linknoteref-20029">29</a> - The Mozarts were summoned to court on May 19, and played before a limited - circle from six to ten o'clock. Pieces by Wagenseil, Bach, Abel, and - Handel were placed by the King before the "invincible" Wolfgang, who - played them all at sight; he surpassed his clavier-playing when he sat - down to the King's organ; he accompanied the Queen in a song, a - flute-player in a solo, and, finally, he took the bass of an air by Handel - and improvised a charming melody to it. None took more interest in the - young musician than the Queen's music-master, Joh. Christian Bach,<a - href="#linknote-20030" name="linknoteref-20030" id="linknoteref-20030">30</a> - the son of Sebastian Bach, settled in London since 1762, and the author of - several popular operas and numerous pianoforte compositions. He looked - upon his art after an easy careless fashion; but his kindness and goodwill - won Wolfgang's heart for ever. He liked to play with the boy; took him - upon his knee and went through a sonata with him, each in turn playing a - bar with so much precision that no one would have suspected two - performers. He began a fugue, which Wolfgang took up and completed when - Bach broke off. <span class="side">FIRST JOURNEY.</span> <span - class="pagenum"><a href="pgimages/p040.png">[40]</a></span> At last L. - Mozart thought the time had come to introduce to the public "the greatest - wonder of which Europe or the world can boast," as the grandiloquent - announcement ran. Not without due calculation, the concert was fixed for - June 5, the King's birthday, which was sure to bring a large public to - London. The speculation succeeded, and L. Mozart "was terrified" by taking - one hundred guineas in three hours—a satisfactory sum to send home. - On the 29th Wolfgang played at a concert given at Ranelagh Gardens, with a - charitable object, and "astonished and delighted the greatest connoisseurs - in England." This prosperous career was, however, temporarily cut short; - Leopold Mozart was seized with dangerous inflammation of the throat, and - retired with his children to Chelsea, where they remained seven weeks - before his cure was completed. During this time Wolfgang, out of - consideration for his father, left his instrument untouched; but he set to - work to write orchestral symphonies, and his sister tells<a - href="#linknote-20031" name="linknoteref-20031" id="linknoteref-20031">31</a> - how he said to her, sitting near: "Remind me to give something really good - to the horn." The horn was at that time a favourite instrument in England, - and in many of Wolfgang's youthful compositions it has a prominent part. - The first symphony, in E flat major (1 K.), in the three usual movements, - has many corrections which the boy made, partly to improve the - instrumentation, partly to moderate the too rapid transition to the - principal theme of the first movement. Originality is scarcely to be - expected, but it is something that a due regard to form and continuity - should be everywhere apparent. He worked so diligently that at the next - concert it was announced that all the instrumental pieces were of - Wolfgang's composition. Three symphonies (17,18,19, K.), in B flat major - (with two minuets, the instrumentation not quite complete), in E flat - major (with clarinets, instead of oboes, and bassoons), and in D major - (Londra, 1765), which all fall within the London visit, show marked - progress. The subjects are better defined, the disposition of the parts is - freer and more orchestral, and some instrumental effects <span class="side">LONDON, - 1764-65.</span> <span class="pagenum"><a href="pgimages/p041.png">[41]</a></span> - begin to be heard. On October 29, they were in town again, and invited to - court to celebrate the fourth anniversary of the King's accession. As a - memento of the royal favour, L. Mozart printed six sonatas for piano and - violin or flute, composed by Wolfgang, and dedicated to the Queen on - January 18, 1765, which dedication she rewarded with a present of fifty - guineas.<a href="#linknote-20032" name="linknoteref-20032" - id="linknoteref-20032">32</a> The opening of the Italian Opera House on - November 24, 1764, had no small influence on Wolfgang's genius; here, for - the first time, he heard singers of note. Giovanni Manzuoli (born in - Florence, 1720),<a href="#linknote-20033" name="linknoteref-20033" - id="linknoteref-20033">33</a> whose singing and acting were then exciting - the London public to the highest enthusiasm,<a href="#linknote-20034" - name="linknoteref-20034" id="linknoteref-20034">34</a> became acquainted - with the Mozart family, and gave Wolfgang lessons in singing. His voice - was, of course, a boyish treble; his style that of an artist. The - following year, in Paris, Grimm declared that he had so profited by - Manzuoli's instruction as to sing with extreme taste and feeling, - notwithstanding the weakness of his voice. Thus early did Mozart acquire, - as if by natural instinct, all the requisites for a great composer which - are, to most men, the result of years of painful study. - </p> - <p> - During Lent, he enjoyed the opportunity of hearing Handel's Oratorios, but - we hear nothing of any special influence which they may have had on his - mind; indeed, he knew little of Handel in later years, until Van Swieten - made him acquainted with his works. - </p> - <p> - On February 21, the "Wonder of Nature" reappeared in public at a concert - which had been often postponed. The political situation and the illness of - the king made the time an unfavourable one, and the receipts were not so - great as had been expected. - </p> - <p> - Another concert, on May 13, took place only after repeated announcements - of the approaching departure of the Wonder of Nature, and at a reduced - rate. "It was quite enchanting," declares the "Salzburger Zeitung"<a - href="#linknote-20035" name="linknoteref-20035" id="linknoteref-20035">35</a> - "to hear the sister <span class="side">FIRST JOURNEY.</span> <span - class="pagenum"><a href="pgimages/p042.png">[42]</a></span> of twelve - years old play the most difficult sonatas on the harpsichord, while her - brother accompanied her impromptu on another harpsichord." Wolfgang - performed on a harpsichord with two manuals and a pedal which the musical - instrument maker Tschudi had constructed for the King of Prussia;<a - href="#linknote-20036" name="linknoteref-20036" id="linknoteref-20036">36</a> - Tschudi "rejoiced that his extraordinary harpsichord should be played for - the first time by the most extraordinary performer in the world." After - this, L. Mozart repeatedly invited the public to hear and test the young - wonder in private daily from twelve to two o'clock; at first these - performances took place in their own lodging, afterwards in a tavern, not - of the first rank. It was promised as something extraordinary that the two - children should play a duet on the same clavier with the keyboard covered. - It was for these occasions that Wolfgang composed his first duet, - according to L. Mozart, the first sonata for four hands ever written. - </p> - <p> - The Hon. Daines Barrington, a man highly esteemed as a lawyer and a - philosopher, undertook a repeated and searching trial of the boy's skill, - and has left a circumstantial report of the result.<a - href="#linknote-20037" name="linknoteref-20037" id="linknoteref-20037">37</a> - He obtained a copy of Wolfgang's registry of baptism, in order to be sure - of his age, and made other minute inquiries concerning him. Besides the - usual tests of playing difficult pieces at sight, and of singing and - accompanying with proper expression a score hitherto unknown to him, he - demanded an improvisation. He told Mozart to improvise a love-song such as - Manzuoli might sing in some opera. The boy at once pronounced some words - to serve as a recitative, then followed an air on the word <i>affetto</i> - (love) of about the length of an ordinary love-song in the regulation two - parts. In the same way he composed a song expressive of anger on the word - <i>perfido</i> which excited him so much, that he struck the clavier like - one possessed, and several times sprang up from his seat. Barrington - remarks that these improvised compositions, if not very astonishing, are - <span class="side">HOLLAND, 1765.</span> <span class="pagenum"><a - href="pgimages/p043.png">[43]</a></span> yet far above the ordinary run, - and give proofs of decided inventive power. Not only has Mozart's - technical education so far advanced, that he handles freely the forms and - rules of composition; he begins now to display the inspired imagination of - an artistic genius. - </p> - <p> - It is interesting to note the first stirrings of the dramatic element in - Mozart, and how he was able already to give articulate expression to - various passions as they were suggested to him. - </p> - <p> - An instance of this is a tenor song, "Va dal furor portata" (21 K.), - composed in London, 1765, in which the Da capo form is rigorously adhered - to, and which, though wanting in originality displays much sense of - characteristic expression. - </p> - <p> - Before the end of their London stay they visited the British Museum, the - natural history and ethnographical curiosities being duly noted by - Marianne. In deference to an expressed wish, Wolfgang presented the Museum - with his printed sonatas and with a manuscript composition (20 K.), - consisting of a short madrigal in four parts, "God is our Refuge," the - melody being possibly suggested.<a href="#linknote-20038" - name="linknoteref-20038" id="linknoteref-20038">38</a> Notwithstanding - this, the treatment of it is an extraordinary proof not only of the boy's - skill, but of his readiness in apprehending and adhering to an - unaccustomed form.<a href="#linknote-20039" name="linknoteref-20039" - id="linknoteref-20039">39</a> - </p> - <p> - On July 24, 1765, they left London, remained one day in Canterbury, and - passed the rest of the month at the country seat of Sir Horace Mann. In - obedience to the repeated and earnest solicitations of the Dutch - Ambassador, speaking as the mouthpiece of the Princess Caroline, of - Nassau-Weilburg, L. Mozart, contrary to his original plan, consented to - visit the Hague. He probably lays stress on this pressing invitation to - excuse his lengthened absence from Salzburg. His leave of absence had long - ago expired, <span class="side">FIRST JOURNEY.</span> <span class="pagenum"><a - href="pgimages/p044.png">[44]</a></span> and he was repeatedly urged to - hasten his return; but he was firmly resolved with God's help, to carry - out what he had begun. They had proceeded as far on their journey as - Lille, when Wolfgang was seized with an illness which necessitated a delay - of four weeks, and from which he had not quite recovered when he was in - Ghent playing on the great organ of the Church of St. Bernard. They - reached the Hague in the beginning of September, and met with a very - gracious reception from the Prince of Orange and his sister the Princess - of Weilburg. But now, Marianne, in her turn fell dangerously ill; was - delirious for a week together, and received the last sacrament. "No one," - writes the father, "could have heard unmoved the interview between myself, - my wife, and daughter, and how we convinced the latter of the vanity of - the world and the blessedness of early death, while Wolfgang was amusing - himself with his music in another room." They did not neglect to have - masses for Marianne's recovery said in Salzburg. - </p> - <p> - On the Sunday that she was at her worst, Leopold opened the Gospel at the - words: "Lord, come down, ere my child die;" but a new treatment of the - case by Herr Schwenckel, physician to the Princess of Weilburg, was so - successful, that he was soon able to acknowledge the prophetic - significance of the words: "Thy daughter sleeps; thy faith hath saved - thee." - </p> - <p> - Scarcely was the father relieved from this anxiety when he was subjected - to a still greater trial. Wolfgang was seized with a violent attack of - fever, which reduced him to extreme weakness for several weeks. But even - illness did not cripple the boy's mental activity. He insisted on having a - board laid across his bed, on which he could write; and even when his - little fingers refused their accustomed service he could scarcely be - persuaded to cease writing and playing. - </p> - <p> - In January, 1766, we find him composing a song, "Conservati fedele" (23 - K.), for the Princess of Weilburg, which consists of a pleasant, flowing - melody, and here and there characteristic touches, happily expressed by - changes of harmony. <span class="side">HOLLAND, 1765-66.</span> <span - class="pagenum"><a href="pgimages/p045.png">[45]</a></span> He was able - before the end of this month to go on to Amsterdam, where they spent four - weeks. Wolfgang gave two concerts at which all the instrumental pieces - were of his own composition. Among them was a Symphony in B flat major (22 - K.), in three movements, which had been written at the Hague, and which - contains noteworthy instances of thematic elaboration and well-rounded - phrasing. Although it was Lent, and all public amusements were strictly - forbidden, these concerts were permitted because the "exhibition of the - marvellous gifts of these children redounds to the glory of God," a - resolution which, though it was formulated by Lutherans, was nevertheless - cordially accepted by so devout a Catholic as L. Mozart. - </p> - <p> - On March 8, 1766, they travelled back to the Hague, to assist at the - festivities given in honour of the Prince of Orange, who came of age on - that day. Wolfgang was ordered to compose six sonatas for piano and violin - for the Princess of Weilburg, which were printed with a dedication (26 to - 31, K.). In addition, he wrote several songs for the same princess, and - other "trifles," which were also printed, among them pianoforte variations - on an air composed for the occasion (24 K.), and upon another air, "which - is sung, played, and whistled all over Holland." This was the song, - "Wilhelmus von Nassau,"<a href="#linknote-20040" name="linknoteref-20040" - id="linknoteref-20040">40</a> written and composed by Philipp von Mamix - (d. 1598), on the Prince of Orange (d. 1584), which soon spread far and - wide<a href="#linknote-20041" name="linknoteref-20041" - id="linknoteref-20041">41</a> and became the national song of Holland. - Mattheson cites it as an instance of a national war-song, which had - inspired a whole people to great deeds, and had played an important part - in the war and in the celebration of peace, in 1749.<a - href="#linknote-20042" name="linknoteref-20042" id="linknoteref-20042">42</a> - For one concert, Wolfgang composed an orchestral piece after the manner of - a "Concerto grosso," in which a clavier obbligato was introduced with the - other instruments and called it a "Galimathias musicum." Sketches for this - in Wolfgang's handwriting, with his father's corrections here and there, - have <span class="side">FIRST JOURNEY.</span> <span class="pagenum"><a - href="pgimages/p046.png">[46]</a></span> been preserved (32 K).<a - href="#linknote-20043" name="linknoteref-20043" id="linknoteref-20043">43</a> - After an easy andante, which serves as an introduction, come thirteen - movements, generally only in two parts, varying both in measure and time. - There is a variety of instrumentation unmistakably present, and the horns - are specially favoured; there is one passage which imitates the bagpipes. - </p> - <p> - [See Page Image] - </p> - <p> - The whole winds up with an elaborate movement on the first part of the - national song— - </p> - <p> - which is partly fugued, partly worked out in a free imitation, showing, as - one might expect, the uncertain hand of a boy. But it is plain that he was - considered as an established composer. His father's talent, too, met with - flattering recognition; his Violin Method was translated into Dutch, and - dedicated to the Prince of Orange on his accession.<a - href="#linknote-20044" name="linknoteref-20044" id="linknoteref-20044">44</a> - The publisher brought it to Leopold Mozart, accompanied by the organist, - who invited Wolfgang to play on the great organ at Haarlem, which he did - on the following day. At length they travelled by way of Mechlin to Paris, - where they arrived on May 10, and established themselves in a lodging - provided by their friend Grimm. The progress made both by Wolfgang and his - sister was acknowledged by all; but the public are more easily excited by - the phenomenal performances of an infant prodigy than by the incomparably - more important development of an extraordinary genius, and the interest in - the children does not appear to have been so great as on their former - visit. Nevertheless, they played repeatedly at Versailles; the Princess of - Orleans, afterwards Duchess of Condé, thought herself honoured in - presenting Wolfgang with a little rondo for piano and violin of her own - composition.<a href="#linknote-20045" name="linknoteref-20045" - id="linknoteref-20045">45</a> Prince Karl Wilhelm Ferdinand von - Braunschweig, the Braunschweig Achilles, as Winckelmann calls him,<a - href="#linknote-20046" name="linknoteref-20046" id="linknoteref-20046">46</a> - who <span class="side">PARIS, SWITZERLAND, 1766.</span> <span - class="pagenum"><a href="pgimages/p047.png">[47]</a></span> had won his - laurels in the seven years' war, sought them out in Paris. "He is - pleasant, handsome, and amiable," writes L. Mozart, "and as soon as I went - in, he asked me if I were the author of the Violin School." He had not - only intelligence and good taste in music, but played the violin himself - so well "that he might have made his fortune by it."<a - href="#linknote-20047" name="linknoteref-20047" id="linknoteref-20047">47</a> - He said of Wolfgang that many a kapellmeister had lived and died without - having learnt as much as the boy knew now. He entered into competition - with the most distinguished artists on the organ, the piano, or in - improvisation, and either came off victor or with abundant honour. On June - 12, he composed a little Kyrie for four voices with stringed accompaniment - (33, K), that is precise and simple, but in style and form, and in the - purity of its melody, approaches nearer to the Mozart of after life than - any other composition of his boyhood. - </p> - <p> - Leaving Paris on July 9 they obeyed the summons of the Prince of Condé to - Dijon, where the Estates of Burgundy were assembled. Next they stayed a - month at Lyons, and made the acquaintance of a certain Meurikofer, a - merchant, who was never tired of the joke of making Wolfgang sing an - Italian song with spectacles on his nose. At Ghent, where they found - everything in confusion, they made no stay; at Lausanne they remained five - days at the request of several distinguished persons, especially of Prince - Louis of Wurtemberg, brother of Duke Charles; they were a week at Berne, - and a fortnight at Zurich; guests of the Gessner family, from whom they - received much kindness, and parted with regret. Among other books - presented to them as keepsakes, Salomon Gessner gave them a copy of his - works, with the following inscription:— - </p> - <p> - Accept this gift, dear friends, in the same friendly spirit in which I - offer it. May it preserve my memory fresh among you. May you, venerable - parents, long enjoy the sight of the happiness of your children wherein - consists the most precious fruit of their education; may they be as happy - as their merit is extraordinary! In the tenderest youth <span class="side">FIRST - JOURNEY.</span> <span class="pagenum"><a href="pgimages/p048.png">[48]</a></span> - they are an honour to their country and the admiration of the world. Happy - parents! happy children! Never forget the friend whose esteem and love for - you will never be less lively than at this moment. - </p> - <p> - Salomo Gesner. - </p> - <p> - Zurich, August 3, 1766. - </p> - <p> - Taking Winterthur and Schafhausen by the way, they journeyed to - Donaueschingen, where they were expected by Prince Joseph Wenzeslaus von - Fürstenberg. They remained here twelve days, and played every evening from - five to nine o'clock, always producing some novelty; they were richly - rewarded by the Prince, who was moved to tears at their departure. At - Biberach, Count Fugger von Babenhausen arranged an organ competition - between Wolfgang and Sixtus Bachmann, who was two years older than - Wolfgang, and had attracted great admiration by his musical performances. - "Each tried his utmost to surpass the other, and the competition increased - the fame of both."<a href="#linknote-20048" name="linknoteref-20048" - id="linknoteref-20048">48</a> Then they went by way of Ulm, Günzburg, and - Dillingen to Munich. Arriving here on November 8, they dined with the - Elector on the following day. Wolfgang sat next to him and composed a - piece in pencil, taking for theme a few bars which the Elector hummed to - him; this piece he played after dinner to the astonishment of all the - party. - </p> - <p> - An indisposition with which Wolfgang was here seized seems to have put a - stop to a journey to Regensburg which had been planned, and about the end - of November, 1766, the Mozart family re-entered Salzburg. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_3" id="chap_3"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER III. STUDY IN SALZBURG. - </h2> - <p> - LEOPOLD MOZART <span class="pagenum"><a href="pgimages/p049.png">[49]</a></span>had every reason to be satisfied with the result of his - tour; the extraordinary talents of his children had been duly appreciated,<a - href="#linknote-3001" name="linknoteref-3001" id="linknoteref-3001">1</a> - honours of every kind had been heaped upon them, and the three years - exertions had produced a not inconsiderable pecuniary gain.<a - href="#linknote-3002" name="linknoteref-3002" id="linknoteref-3002">2</a> - In spite of repeated, and sometimes severe, attacks of illness, the - children returned to Salzburg in full health and vigour, and, what was of - not less importance, with their childlike simple minds unspoiled by the - exceptional degree of notice and admiration they had everywhere excited. - The little Orpheus rode round the room on his father's stick, and sprang - up to play with his favourite cat, in the middle of his improvisations on - the clavier. - </p> - <p> - During the journey he had amused himself by constructing an imaginary - kingdom, which he called Rücken; it was inhabited by children, of whom he - was king, and his invention of fresh gifts and qualities for his kingdom - and subjects was inexhaustible. So vividly was it impressed on his - imagination, that he made a servant, who was something of a draughtsman, - draw a map of it, to which he supplied the names of the places.<a - href="#linknote-3003" name="linknoteref-3003" id="linknoteref-3003">3</a> - A very favourite idea of his was to compose an opera, to be performed - entirely by young Salzburgers, of whom he drew up a list with his father. - His tenderness of heart was constantly displayed. One morning on awaking, - he began to cry bitterly, and <span class="side">STUDY IN SALZBURG.</span> - <span class="pagenum"><a href="pgimages/p050.png">[50]</a></span> being - asked the reason, answered that he longed to see his friends in Salzburg, - all of whom he then mentioned by name. When he heard that Hagenauer's son - Dominicus had entered the Monastery of St. Peter's he burst into tears, - imagining that he should never see him again. Reassured on this point, he - planned a visit to St. Peter's immediately on his return home, and talked - of the games that he and his friend would play together. - </p> - <p> - Occasionally, Wolfgang displayed a considerable amount of self-assertion. - A gentleman of rank in Salzburg was uncertain how to address the boy in - conversation. The formal pronoun <i>Sie</i> appeared unbefitting a child, - while <i>Du</i> was too familiar for so celebrated an artist; he took - refuge in <i>Wir</i>, and began: "So <i>we</i> have been in France and - England"—"<i>We</i> have been introduced at court"—"<i>We</i> - have been honoured"—when Mozart interrupted him hastily: "And yet, - sir, I do not remember to have seen you anywhere but in Salzburg." - </p> - <p> - But L. Mozart's satisfaction was not entirely without alloy. He was too - intimately acquainted with the Salzburg court to feel certain of obtaining - such a position as would enable him to educate his children in a way - befitting their talents. On this point he had written to Hagenauer, - shortly before their return:— - </p> - <p> - Everything depends on my having a position at home which is suitable to my - children. God (all too merciful to me, miserable sinner) has endowed my - children with such genius that, laying aside my duty as a father, my - ambition urges me to sacrifice all else to their education. Every moment - lost, is lost for ever, and if I never realised before how precious the - time of youth is, I know it now. You know that my children are accustomed - to work; if they once had an excuse for idleness, such as an inconvenient - house, or want of opportunity for study, my whole fabric would fall to the - ground. Custom is an iron path, and Wolfgang has still much to learn. But - how shall we be treated in Salzburg? Perhaps we shall be only too glad to - take our knapsacks on our backs and be off again. At any rate, I offer my - children to my country. If it will have none of them, that is not my - fault, and will be my country's loss. - </p> - <p> - So shrewd a man of the world had no idea of burying the pound that might - produce such excellent interest. <span class="side">INSTRUCTION IN - COUNTERPOINT.</span> <span class="pagenum"><a href="pgimages/p051.png">[51]</a></span> - The uneventful stay of nearly a year which L. Mozart made with his - children in Salzburg was employed in mechanical practice, and perhaps - still more in the study of composition. A detailed account of these - studies is not obtainable; but L. Mozart's wise and earnest views, his - clear apprehension that genius entails twofold labour and exertion on its - possessor, leave no doubt as to the severity and thoroughness of his - instruction to his son. An exercise book containing exercises in - thorough-bass and counterpoint is preserved in the Mozarteum at Salzburg, - bearing no date, but evidently falling within this period. The intervals - and scales are followed by a long list of short lessons on a given melody - generally in three parts, to be worked out harmonically and according to - the different kinds of simple counterpoint. (<i>Nota contra notam; duoy - quatuor nota contra notam; cum ligaturis; floridum</i>.) The choral tunes - which serve as Cantus firmus are taken from Fux's Gradus ad Pamassum, - which was no doubt employed as a textbook. <a href="#linknote-3004" - name="linknoteref-3004" id="linknoteref-3004">4</a> The lessons, - corrections, and brief notes are generally in the father's writing, the - working out and the fair copies of the corrected lessons are of course - made by Wolfgang; on one occasion he jokingly notes the different parts as - <i>Il Sign. d'Alto, il Marchese Tenore, il Duca Basso</i>. An observation - of the compositions of this period, which are still preserved, will show - us the result of the studies. - </p> - <p> - Archbishop Sigismund,<a href="#linknote-3005" name="linknoteref-3005" - id="linknoteref-3005">5</a> incredulous of Wolfgang's powers, caused him, - so Barrington says, to be locked up for a week, seeing no one, during - which time he was to compose an oratorio, for which the Archbishop - provided the subject. Wolfgang stood the test triumphantly, and the - oratorio was publicly performed, with great success, during Lent, 1767. - </p> - <p> - This composition (35 K.) was printed in Salzburg (1767) with the title:— - <span class="side">STUDY IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p052.png">[52]</a></span> The Obligation of the First and - Greatest Commandment, Mark 12, v. 30: Thou shalt love the Lord Thy God - with all thy hearty with all thy mind, with all thy soul, and with all thy - strength. - </p> - <p> - [See Page Image] - </p> - <p> - After this preface, the declaration "that there is no more dangerous state - for the soul than lukewarmness in the work of salvation" is given as a - reason for this musical representation "by which it is intended not only - to delight the mind but to elevate the soul." - </p> - <p> - In the first part the understanding and judgment of the lukewarm Christian - are stirred by the loving and indefatigable zeal of the Christian Spirit, - with the assistance of Divine Mercy and Justice. In the second part, right - <span class="side">FIRST ORATORIO, 1767.</span> <span class="pagenum"><a - href="pgimages/p053.png">[53]</a></span> judgment is victorious, the will - is prepared for surrender, to be finally and completely freed from fear - and wavering in the third and last part. - </p> - <p> - The verses, richly garnished with Latin texts, have quite the prosaic - bombastic character of the period. - </p> - <p> - Mozart's original score<a href="#linknote-3006" name="linknoteref-3006" - id="linknoteref-3006">6</a> has the title in his father's writing: - "Oratorium di Wolfgango Mozart composto nel mese di Marzo, 1766." As they - were then in the Netherlands, we must suspect an error. But the date 1766 - is established by the "10 years old" on the title-page; he must have set - to work immediately after his return, quite at the end of 1766, and the - representation must have taken place in March of the following year. - </p> - <p> - The score, which fills 208 pages, bears unmistakable traces of boyish - workmanship in the blotted notes, and in the uncertain writing and - spelling of the text of the songs (that of the recitatives is in another - and a firmer handwriting), but there is not a sign of boyishness in the - music itself. The whole composition is modelled on the Italian oratorio, - and shows a complete mastery of its forms. The introductory symphony is an - allegro in the usual two parts, simple in its execution, and with no - actual thematic elaboration, but precise and well rounded. The dialogue is - in recitative, and maintained throughout with correct declamation, here - and there displaying a fine sense of fitting expression, which tells more - for the independent power of comprehension than even the surprising - technical skill exhibited. Here and there comes an accompanied recitative, - with an effort after originality, depending chiefly on the expression of - the words, which are poor stuff in most cases. For instance, after the - lines— - </p> -<pre xml:space="preserve"> - Und der Verkehrte will sich bald ergeben, - Wenn ihnen fühlbar sollte vor ihnen schweben - Das Pein-und Schreckenbild des offnen Höllengrund, -</pre> - <p> - <span class="side">STUDY IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p054.png">[54]</a></span> - </p> - <p> - which have been given in secco-recitative, comes the strongly accented - passage:—[See Page Image] <span class="side">FIRST ORATORIO, 1767.</span> - <span class="pagenum"><a href="pgimages/p055.png">[55]</a></span> They are - in the usual form, the principal subject elaborated and repeated after a - short intermediate subject, with ritornellos differing in length and - character, according to the commonly accepted varieties. The perfect - decision of style and composition leaves the inexperienced hand of the - scholar hardly visible, and it is plain that the boy has taken in and - turned to account all that he has heard. But although the work may be - considered on a level with most of the similar compositions of the time, - it cannot be said to be distinguished from them by individual character. - It conforms on all important points to the Italian style, although there - is now and then a sentimental colouring suggested by Graun's German - verses. - </p> - <p> - The melodies are simple and good, with here and there a pure and dignified - phrase, and a delicate expression of deep feeling. Witness the passage in - the second soprano air, "Du wirst von deinem Leben genaue Rechnung geben," - which is afterwards well made use of in the recitative. The very moderate - embellishment of the whole work is in great measure the father's addition. - The third tenor air rises above the level of the rest; the words, although - themselves certainly not inspired, have given opportunity for the - expression of a tender earnest mood in a charming flowing melody whose - well-chosen harmonies and admirable instrumentation shadow forth - unmistakably the later Mozart. He must himself have felt the charm of this - air, for, as we shall see, he repeated it in his first opera. The finale - of the oratorio is a pleasing terzet for two soprani and tenor, with the - parts in easy imitation. The orchestra is the usual one of the day, - stringed instruments, bassoons, seldom used independently, two horns, and - two oboes, sometimes replaced by two flutes. The parts are, as was usual, - carefully put together, but without any pretence to more than technical - skill; only the second tenor air has an obbligato alto trombone - accompaniment suggested by a reference in the text to the trump of doom.<a - href="#linknote-3007" name="linknoteref-3007" id="linknoteref-3007">7</a> - </p> - <p> - <span class="side">STUDY IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p056.png">[56]</a></span> - </p> - <p> - A little cantata for two voices was also evidently composed for this Lent. - It bears the title "Grab-Musik, 1767" (42 K.), and is a dialogue between - the Soul and an Angel, the verses having a decided smack of the local poet - of Salzburg. The Soul is intrusted to a bass voice, which was not employed - in the oratorio. The cantata begins at once with a Recitative for the - Soul: - </p> -<pre xml:space="preserve"> - Meines Jesu gottlichs Herz - Das reget sich nicht mehr, - Und ist von Blut und Leben leer. - - Was für ein hartes Eisen - Konnt dieses süsseste und allerliebste - Herz zerreissen! -</pre> - <p> - Then follows the air— - </p> -<pre xml:space="preserve"> - Felsen spaltet euren Rachen, &c. -</pre> - <p> - Here Wolfgang has striven to express the somewhat whining pathos of the - text both by the voice and the instruments, and the result is a bravura - song, handled with great skill. There can be no doubt that this song made - a great effect at the time, though its want of good taste shocks us now. - The succeeding soprano air, on the other hand, which closes with the - warning— [See Page Image] <span class="side">GRAB-MUSIK, 1767.</span> - <span class="pagenum"><a href="pgimages/p057.png">[57]</a></span> - expresses a soft, not unpleasing sentimental mood, which is still more - toned down in the concluding duet. Yet even here we have fanciful passages—accepted - at the time as legitimate both in music and poetry, as corresponding to a - complex state of feeling. - </p> - <p> - For a later performance, probably before 1775, Mozart added a final - chorus, introduced by a short recitative, in unjson throughout, thus - bringing the whole piece simply and melodiously to a conclusion. A little - song (146 K.): "Kom-met her, ihr frechen Sünder, seht den Heyland aller - Welt," not in any way remarkable, belonging probably to the beginning of - 1770, was also intended for a Lenten performance. - </p> - <p> - Not long after Wolfgang's return from Paris, he paid a visit to the - Monastery of Seeon, where he was on friendly terms with the monks. During - dinner the abbot expressed his regret that no offertory had been composed - for the festival of St. Benedict. Wolfgang took advantage of the first - pause <span class="side">STUDY IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p058.png">[58]</a></span> to leave the dining-hall, and - leaning on the ledge of the window opposite the door, he wrote his - offertory "Scande coeli limina" (34 K.). It begins with a pleasing soprano - solo, a gentle flowing melody accompanied by the violins; then comes a - lively chorus with drums and trumpets, somewhat cramped in style and - pedantic in the imitative arrangement of its parts. - </p> - <p> - Among the monks was a certain Herr v. Haasy, called Father Johannes, who - was very fond of Wolfgang. The boy sprang towards him as soon as he - entered the monastery, climbed on his neck and stroked his cheeks, singing - the while:— - </p> - <p> - [See Page Image] - </p> - <p> - This scene excited great amusement, and the monks were never tired of - teasing him about his tune. When the fête-day of Father Johannes came - round, Wolfgang presented him with an offertory (72 K.). It begins in a - joyous burst with the words (Matth. xi. 11), "Inter natos mulierum non - surrexit maior"; then with the words "Ioanne Baptista" he introduces the - above melody as a birthday greeting to his friend. Apart from this - charming display of childish affection, the offertory, which in any case - belongs to his early boyhood, is a beautiful piece of music. The subject, - which is pursued throughout with a natural, easy movement of the parts, - has the caressing little melody running through it, and is twice - interrupted by the words (S. John i. v. 29), "Ecce Agnus Dei qui tollit - peccata mundi," given in a quiet, serious manner, that has a charming - effect. The greeting breaks out once more in the "Alleluia," which ends - the piece.<a href="#linknote-3008" name="linknoteref-3008" - id="linknoteref-3008">8</a> - </p> - <p> - In the spring of 1767, Wolfgang again came forward as a composer in his - native town. - </p> - <p> - It was the general custom at the university to celebrate the close of the - scholastic year by a dramatic representation <span class="side">APOLLO ET - HYACINTHUS.</span> <span class="pagenum"><a href="pgimages/p059.png">[59]</a></span> - among the students. In the year 1661, a large theatre, supplied with - twelve scenes, was built to replace the smaller one hitherto used, and - excited great admiration.<a href="#linknote-3009" name="linknoteref-3009" - id="linknoteref-3009">9</a> According to custom, a Latin play, written by - the Professor of Poetry, or some other ecclesiastic, was represented by - the "Benedictine Muses," i.e., by the students. The subject was taken from - the Old or New Testament, more rarely from heathen mythology, and was - always intended to point some particular moral.<a href="#linknote-30010" - name="linknoteref-30010" id="linknoteref-30010">10</a> Following an old - usage, musical portions were interspersed through the tragedy or comedy, - as they were also in the Italian spoken drama, so that a short Latin opera - of a congenial tendency, with one part serving as a prologue, was - introduced between the acts of the drama, just as in the opera seria the - intermezzi or ballets came between the acts. Members of the chapel - undertook the composition, and some of the singers assisted the - performance by taking the more difficult parts. - </p> - <p> - On May 13, 1767, the Syntax, that is, the students of the second class, - performed the tragedy, "dementia Croesi." This time the musical supplement - was entitled "Apollo et Hyacinthus seu Hyacinthi Metamorphosis," and - composed by Wolfgang, who is set forth in the printed text-book thus: <i>Auctor - operis musici nobilis dominus Wolfgangus Mozart, un-decennis, filius - nobilis ac strenui domini Leopoldi Mozart, Capello Magistri.</i> - </p> - <p> - The old myth is treated with considerable freedom, after the manner of an - Italian opera; for the edification of pious youth Melia becomes the - beloved of Apollo and Zephyrus, Hyacinthus a comparatively insignificant - personage. The piece ends <i>en règle</i> with a betrothal. A regular - dramatic treatment is not even attempted, only long detached airs and - duets, old-fashioned in style and form, and adapted of necessity to the - Latin text. The dialogue is in Iambics, the choruses and songs are rhymed. - The text is correct enough, but devoid of taste, and imitates in some - particulars the <span class="side">STUDY IN SALZBURG.</span> <span - class="pagenum"><a href="pgimages/p060.png">[60]</a></span> libretti of - the Italian opera. After a short overture in two parts, simple and well - put together, the action begins with a recitative between Hyacinthus and - Zephyrus, who betrays his love for Melia and jealousy of Apollo; Æbalus - and Melia appear and sacrifice to Apollo, who is invoked by the chorus:— - </p> -<pre xml:space="preserve"> - Numen o Latonium - Audi vota supplicum, - Qui ter digno te honore - Certant sancte colere. - Nos benigno tu favore - Subditos prosequere. -</pre> - <p> - The sacrifice is not accepted; a thunderbolt scatters them all, and Æbalus - tries to reassure Hyacinthus in an air:— - </p> -<pre xml:space="preserve"> - Sæpe terrent numina, - Surgunt et minantur, - Fingunt bella - Quae nos angunt - Mittunt tela - Quae non tangunt; - At post ficta nubila - Rident et iocantur. -</pre> - <p> - Then Apollo appears, and begs for the protection of Æbalus, Jupiter having - banished him; after many civilities on either side, Apollo returns thanks - in an air. Hereupon follow the two first acts of the tragedy. Then Æbalus - informs his daughter that Apollo demands her in marriage; she willingly - consents, and expresses her delight in an elaborate air. - </p> -<pre xml:space="preserve"> - Lætari, iocari - Fruique divinis honoribus stat, - Dum hymen optimus - Tædis et floribus Grata, beata - Connubia iungit et gaudia dat? -</pre> - <p> - But now comes in Zephyrus with the tidings that Hyacinthus is slain by - Apollo. Melia thereupon declares that she cannot accept him, OEbalus - wishes to banish him, and Zephyrus expresses in an air the hopes to which - these <span class="side">APOLLO ET HYACINTH US.</span> <span - class="pagenum"><a href="pgimages/p061.png">[61]</a></span> events give - birth. Then enters Apollo, overwhelms Zephyrus with abuse, and causes him - to be borne away by the winds; Melia, enraged by this fresh deed of - violence, reproaches Apollo, and a duet follows, in which she rejects and - dismisses him, while he bewails his love and her cruelty. - </p> - <p> - Hereupon follow the third and fourth acts of the tragedy. Then Hyacinthus - is borne in dying, and declares in an accompanied recitative that Zephyrus - is his murderer, which gives occasion to Æbalus to rage duly in an air, - followed by a duet between him and Melia, dreading the anger of the - offended god. But Apollo appearing, changes Hyacinthus into a flower, - extends his forgiveness to Æbalus and Melia, and betrothes himself to the - latter. - </p> - <p> - A concluding terzet expresses the general satisfaction. - </p> - <p> - This composition manifests throughout great decision of style, and in many - respects a very marked progress. The songs—in the old-fashioned aria - form—are more freely treated, the handling of the parts is more - independent, and a disposition to the imitative form is more marked than - heretofore. In the duet between Melia and Æbalus, for instance, and in the - first chorus, where the voices are treated harmonically, the violins have - an imitative phrase in the accompaniment. - </p> - <p> - Mistakes here and there in the text prove Wolfgang's Latin to be still - that of a learner. A droll little note written in 1769, to Madame - Hagenauer, shows that he was then working hard at it. The note runs as - follows:— - </p> - <p> - Dear Friend,—I hope you will excuse the liberty I take in troubling - you with these few lines; but since you told me yesterday that you - understood everything, and that I might write Latin to you as much as I - chose, I cannot refrain from sending you at once some Latin lines, and - when you have read them please send the answer back by one of your own - servants, for our girl cannot wait. (But you must send me the answer in a - letter.) - </p> - <p> - Cuperem scire, de qua causa, à quam plurimis adolescentibus ottium usque - adeo æstimetur, ut ipsi se nec verbis, nec verberibus, ab hoc sinant - abduci. - </p> - <p> - Even if the text were translated and explained to him, it would have been - strange if he had found no difficulty in the <span class="side">STUDY IN - SALZBURG.</span> <span class="pagenum"><a href="pgimages/p062.png">[62]</a></span> - language; and it is only another proof of the boy's musical apprehension - that his setting of the familiar German sacred texts has a more - distinctive character than that of this piece of declamatory school - rhetoric; the mere fact of being set to produce a brilliant work as a task - had its influence on the music, which is cold and stiff, and sometimes - devoid of taste. No doubt the long passages, the peculiar turns given to - the pompous or amorous melodies, all that appears to us most tiresome was - then most loudly applauded, and the truly surprising ability shown in the - working out may have passed at that time for original productive power, - which is just what we cannot grant it to have been. Still, there are not - wanting signs even of this, and the young artist asserts his individuality - at once whenever he has to express a simple emotion, such as he can - comprehend and enter into. - </p> - <p> - There is a little solo in the first chorus (G major, 3-4) which, in its - expressive simplicity, almost reminds us of Gluck. Again, in the duet - between Melia and Obalus there is a long well-worked-out cantilene, which - is not without beauty and expression, and is further distinguished by - original instrumentation. In this the first violins (muted) lead the - melody, the second violins and bass accompany <i>pizzicato</i>, two tenors - <i>coll' arco</i>, and two horns are introduced; a very striking variation - on the otherwise simple orchestral accompaniment, consisting of the string - quartet, two oboes, and two horns. - </p> - <p> - The duet between Melia and Apollo shows most dramatic talent, being the - only expression of an exciting situation and contrasting emotions. The - recitatives are not distinguished by characteristic expression in the same - degree as those of the sacred pieces; they are easy and flowing, but quite - in the style of the ordinary recitative of Italian opera; no doubt because - Mozart felt that such an expression of feeling as suited the elevated, - lyrical emotions of the cantata was unsuited to the dialogue of an opera. - </p> - <p> - It is an astonishing proof of the productiveness and constant industry of - the young composer that, between December and May, three important works - were completed and performed. In the summer of 1767 we find him preparing - <span class="side">VIENNA, 1767.</span> <span class="pagenum"><a - href="pgimages/p063.png">[63]</a></span> [See Page Image] - </p> - <p> - for a journey to Vienna, and composing four clavier concertos (37,39-41 - K.), in F (April), B flat ( June), D and G major ( July), with the usual - orchestral accompaniment; once, only, trumpets are added. The form is the - usual one in three movements, like the symphony. The compositions are not - above the ordinary level, and have little either of original or technical - interest. It is noteworthy that even in these works, which were to serve - as show pieces, we can trace no signs of boyish pleasure in odd or - artificial effects; the love of tuneful melody, and the endeavour to blend - the orchestra and the solo part into an harmonious whole, are as - observable in his first compositions as in his last. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_4" id="chap_4"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER IV. THE FIRST OPERA IN VIENNA. - </h2> -<p> -<span class="pagenum"><a - href="pgimages/p063.png">[63]</a></span> -</p> - <p> - THE approaching marriage of the Archduchess Maria Josepha with King - Ferdinand of Naples furnished Leopold Mozart with a pretext for repairing - to Vienna with his whole family; this he did in the beginning of - September, - </p> - <p> - 1767, with every expectation that the public of that brilliant capital - would recognise the progress made by Wolfgang since their former visit.<a - href="#linknote-4001" name="linknoteref-4001" id="linknoteref-4001">1</a> - </p> - <p> - They travelled quickly; were invited to dine with the Bishop at Lambach; - and at the Monastery of Mölk, where Wolfgang tried the organ, his playing - was at once recognised by the organist. - </p> - <p> - Misfortune awaited them at Vienna. The charming and universally beloved - Princess Josepha fell ill of the small-pox, which carried her off in less - than a month. This, of course, put a stop to any appearance at court, or - at the houses of the nobility. - </p> - <p> - Leopold Mozart had been advised when in Paris to follow the example of the - Duke of Orleans, who had set the fashion <span class="side">THE FIRST - OPERA IN VIENNA.</span> <span class="pagenum"><a href="pgimages/p064.png">[64]</a></span> - of inoculation with his own children in 1756, and to "graft the small-pox" - in his little boy. "But I prefer," he wrote (February 22, 1764), "to leave - it all in God's hands; let Him, in His divine mercy, dispose as He will of - the life of this wonder of nature." Now, however, he took instant flight - to Olmütz with his children, but they did not escape; first Wolfgang - sickened, then Marianne. Count Leopold Anton von Podstatzky, Dean of - Olmütz and Canon of Salzburg (which would account for his acquaintance - with Mozart), out of compassion to the distracted father, took the whole - family into his house, making light of the risk of infection. In the - deanery, well cared for, and skilfully doctored, the children passed - through all stages of the disease, which, with Wolfgang at least, was so - severe, that he lay blind for nine days. - </p> - <p> - "Again is the saying proved true," writes L. Mozart: "In Te Domine - speravi, non confundar in æternum." "What extraordinary and unexpected - good fortune it was that Count P. should have been willing to receive a - child with the small-pox! I cannot tell you with what kindness and - goodness we were treated; who else would have received a family under such - circumstances, and that from an impulse of pure humanity? This good deed - shall redound to the honour of the Count in the biography of our little - one which I intend to publish some day, for I consider that it is the - commencement of a new epoch in his life." - </p> - <p> - He endeavoured also to bring about an expression "of gratitude, or at all - events of approbation" on the part of the Archbishop towards the Count. - For several weeks after his recovery, Wolfgang was obliged to be very - careful of his eyes, and his daily visitor, the Archbishop's chaplain, - Hay, afterwards Bishop of Konigsgràz (brother to Frau von Sonnenfels),<a - href="#linknote-4002" name="linknoteref-4002" id="linknoteref-4002">2</a> - strove to relieve the tedium of his enforced idleness by teaching him - card-games, in which the boy soon became as great an adept as his - instructor. He threw himself with the same zeal into the practice of - fencing, <span class="side">IMPERIAL CONDESCENSION—VIENNA, 1768.</span> - <span class="pagenum"><a href="pgimages/p065.png">[65]</a></span> having - at all times a great love of exercises demanding bodily activity.<a - href="#linknote-4003" name="linknoteref-4003" id="linknoteref-4003">3</a> - When his recovery was complete, he composed an aria for the little - daughter of his physician, Wolf, of which her father reminded him in later - years (May 28, 1778). - </p> - <p> - On their return journey to Vienna they stayed for a fortnight at Brunn, - where they were received with great kindness by Count Franz Anton - Schrattenbach, brother to Archbishop Sigismund, of Salzburg: all the - nobility residing at Brünn treated them with the "highest distinction." - </p> - <p> - But at Vienna, which they re-entered at the beginning of January, 1768, - difficulties crowded thick upon them. At court, indeed, their reception - took place sooner than they had dared to hope. The Empress Maria Theresa - had scarcely recovered from the small-pox, when she remembered her - admiration of the children, and sent for the family. - </p> - <p> - The Emperor himself came into the ante-chamber, and conducted them to his - mother, no other person being present but Duke Albert of Sachsen-Teschen, - and the Archduchesses. They passed two hours in the midst of this family - circle. The Empress, a motherly woman, conversed intimately with Frau - Mozart, and questioned her on all details of the children's illness, - pressing her hands and stroking her cheeks compassionately, while the - Emperor discussed musical and other matters with Wolfgang and his father, - and "made Nannerl blush very often." - </p> - <p> - This unusual condescension was gratifying to the patriotic feelings of the - Mozart family, but it was not directly profitable. The Empress presented - them with a pretty medal of small value; but as she had visited neither - the opera nor the theatre since the death of her consort, and had - discontinued all musical parties, a summons to play at court could only - come from the Emperor. But Joseph showed little inclination to liberality - in the cause of art, and others, besides L. Mozart, complained of his - parsimony. <span class="side">THE FIRST OPERA IN VIENNA.</span> <span - class="pagenum"><a href="pgimages/p066.png">[66]</a></span> The nobility - followed the example of the court, and avoided any appearance of - extravagance in order to ingratiate themselves with the Emperor. Dancing - was the only amusement during the carnival, but, whereas, formerly the - nobles vied with each other in costly entertainments, at which - distinguished artists were nearly always present, they now gave their - balls in public rooms and at small expense. L. Mozart suspects that the - court made its advantage by this, contracting for all dances, masquerades, - and balls, and sharing the profits with the contractor. Under these - circumstances, the good recommendations Mozart had brought with him were - of little use. He had letters to the Master of the Horse, Count von - Dietrichstein, who was high in the Emperor's favour, to Fräulein Josepha - Guttenberg, "the Empress's right hand," and to the court physician, - L'Augier,<a href="#linknote-4004" name="linknoteref-4004" - id="linknoteref-4004">4</a> a travelled and accomplished man of - considerable talent, and excellent judgment in music; all that was refined - and cultivated in Viennese society flocked to his assemblies. Among - Mozart's patrons was also Duke Joh. Carl v. Braganza, a man of the first - importance, who had proved his spirit and courage at the earthquake of - Lisbon, and as a volunteer in the Austrian army;<a href="#linknote-4005" - name="linknoteref-4005" id="linknoteref-4005">5</a> frequent travels had - increased his knowledge and enlarged his views;<a href="#linknote-4006" - name="linknoteref-4006" id="linknoteref-4006">6</a> he was an excellent - companion and a thorough musical connoisseur.<a href="#linknote-4007" - name="linknoteref-4007" id="linknoteref-4007">7</a> - </p> - <p> - Gluck dedicated to him his "Paride ed Elena" (1770), and in the well-known - dedication explained that he sought in the Duke, not so much a patron as a - judge, of thorough knowledge, fine taste, and unprejudiced opinions. - </p> - <p> - The Mozarts were further favourably noticed by Prince Kaunitz, an elegant - connoisseur, but a man of such exaggerated anxiety on the subject of his - health, that he would not admit Wolfgang into his presence as long as the - traces of the small-pox remained on his face. <span class="side">MUSIC IN - VIENNA, 1768.</span> <span class="pagenum"><a href="pgimages/p067.png">[67]</a></span> - But the Viennese generally were not enthusiastic for art. Leopold Mozart - gives the following account of them:— - </p> - <p> - The Viennese public, as a whole, has no love of anything serious or - sensible; they cannot even understand it; and their theatres furnish - abundant proof that nothing but utter trash, such as dances, burlesques, - harlequinades, ghost tricks, and devil's antics will go down with them. - You may see a fine gentleman, even with an order on his breast, laughing - till the tears run down his face, and applauding with all his might some - piece of senseless buffoonery; whilst in a most affecting scene, where the - situation and action are alike irresistibly fine and pathetic, and where - the dialogue is of the highest order, he will chatter so loud with a lady - that his better-informed neighbours can scarcely hear a word of the play. - </p> - <p> - Recollecting the efforts that were being made just at this time by - Sonnenfels and his colleagues to introduce a higher style of entertainment - in Vienna,<a href="#linknote-4008" name="linknoteref-4008" - id="linknoteref-4008">8</a> this description will not appear exaggerated. - Indeed, L. Mozart fails to animadvert on the main entertainment of the - Viennese, the barbarous baiting of wild animals. Under these - circumstances, it is conceivable that the same people who raved about the - performances of the little prodigy, felt little interest in the - development of an artist's genius. To this passive indifference on the - part of the public was added the active opposition of envious musicians - living by their profession, who had been ready to applaud the precocity of - a child, but who saw with quite other eyes the arrival in their midst of - an accomplished musician ready to meet them on their own ground. - </p> - <p> - L. Mozart says of them:— - </p> - <p> - I soon found that all the clavier-players and composers in Vienna were in - opposition to us, Wagenseil only excepted, who, being ill, could be of - little use to us. The plan adopted by these people was to avoid all - opportunities of seeing us or of learning the extent of Wolfgang's - attainments. Why was this? In order that when they were asked whether they - had heard the boy, and what they thought of him, they might reply in the - negative, and deny the possibility of what they were told; that they might - assert his performances to be impostures and <span class="side">THE FIRST - OPERA IN VIENNA.</span> <span class="pagenum"><a href="pgimages/p068.png">[68]</a></span> - mere buffoonery, got up beforehand, and all that he pretended to compose - to have been previously learnt. Now you see why they avoided us. They knew - very well that if they saw and heard they would not have a word to say - without the risk of losing their honour. But I set a trap for one of these - good folks. I persuaded some one to give me quiet notice of his presence, - and to induce him to bring an extraordinarily difficult concerto, which - was to be laid before Wolfgang. This all took place, and he had the - satisfaction of hearing his concerto played by Wolfgang as if he knew it - by heart. The astonishment of this composer and clavier-player, the - expressions of which he made use in his admiration, let us all into the - secret of what I have told you above. He ended by saying: "I must honestly - declare my opinion that this boy is the greatest musician in the world; I - could not have believed it." - </p> - <p> - But a solitary triumph of this sort could not do much against the secret - enmity of an envious cabal. The Emperor himself furnished a better weapon - by a proposal which was calculated to display Wolfgang's powers in the - most brilliant light. He ordered him to compose an opera, and intimated a - wish that the boy should himself conduct the work at the clavier. - </p> - <p> - Both father and son eagerly seized on this proposal, the more so as - success would not only insure their position in Vienna, but would pave the - way for the young artist to Italy and the Italian stage. - </p> - <p> - The Emperor announced his wish to the theatrical manager, Affligio. - Leopold Mozart, knowing that the fate of an opera greatly depends on the - performers, strove to win the goodwill of the artists, male and female; - this was not difficult to accomplish, for it was felt that unusual - applause would be given to the work of so young an artist, and Affligio - was urged on all sides to undertake the production of the work. He was - ready enough to consent; and concluded a contract to produce the opera, - with an honorarium to the composer of 100 ducats. - </p> - <p> - The singers available for opera seria were not by any means of the first - rank. - </p> - <p> - On September 29, 1767, L. Mozart gives as his opinion that Hasse's opera - ("Partenope") is fine, but the singers, considering the occasion, - indifferent; Tibaldi was the tenor; Rauzzini, of Munich, the best male - soprano; the <span class="side">GLUCK'S "ALCESTE."</span> <span - class="pagenum"><a href="pgimages/p069.png">[69]</a></span> prima donna - was Elizabeth Deiberin (Teyber), daughter of a Viennese court violinist, - and pupil of Tesi and Hasse. Gluck had not been willing to entrust his - "Alceste" to these singers. "Alceste" was brought out in Vienna on - December 16, 1767; Bemasconi made a great sensation as Alceste, but - Tibaldi took Admetus. The Mozarts were then at Olmtitz, but they had an - opportunity on their return of hearing what L. Mozart calls "Gluck's - melancholy 'Alceste.'" - </p> - <p> - It is a remarkable coincidence, that in the act of writing his first - opera, Wolfgang should have witnessed in Gluck's "Alceste" the most marked - attempt yet made for the reform of dramatic music; and it is not unlikely - that early association may have been partly the cause that he afterwards - studied "Alceste" with unquestionable partiality. - </p> - <p> - L. Mozart's ideas were too firmly rooted in the tradition of Italian music - to enable him to appreciate Gluck's innovations. That the public in - general were of his opinion is evident from Sonnenfels' mimicry of the - gossip, not of the gallery, but of the boxes of the nobility:— - </p> - <p> - "This is edifying! Nine days without a play, and on the tenth we get a De - profundis—What? This is meant to be pathetic? Well, perhaps we shall - shed a few tears presently—from <i>ennui</i>." - </p> - <p> - "Come, this is throwing money away! It is too absurd, a fool of a woman - dying for her husband!" - </p> - <p> - The members of the Opera Buffa, on the contrary, were of first-rate - excellence;<a href="#linknote-4009" name="linknoteref-4009" - id="linknoteref-4009">9</a> the die was cast, therefore, for an opera - buffa. The text was furnished by Marco Coltellini, who had been - "Theatrical Poet" in Vienna since 1764, and in 1772 was made "Imperial - Poet" at the court of St. Petersburg. He wrote after the manner of - Metastasio, who complimented him highly;<a href="#linknote-40010" - name="linknoteref-40010" id="linknoteref-40010">10</a> his principal - libretti were for Gassmaun ("Amore <span class="side">THE FIRST OPERA IN - VIENNA.</span> <span class="pagenum"><a href="pgimages/p070.png">[70]</a></span> - Psiche"), Hasse ("Piramo Tisbe"), Salieri ("Armida"),<a - href="#linknote-40011" name="linknoteref-40011" id="linknoteref-40011">11</a> - and for Mozart "La Finta Semplice," in three Acts (51 K). Wolfgang set to - work at once in order that the opera might be ready by Easter. As soon as - the first act was completed it was distributed among the singers, who - expressed their entire satisfaction and admiration. But delay was caused - by the poet, who proceeded so leisurely with the alterations in the text - required both by composer and performers, that he had not finished them - until after Easter. Mozart, nothing daunted, composed eagerly and - industriously, wrote new airs whenever they were demanded, and had soon - completed the score of 25 numbers and 558 pages, in three parts. In the - meantime intrigues were set on foot from all sides to hinder the - production of the opera. Advantage was taken of a natural feeling of - repugnance at seeing a boy of twelve years old conducting in the place - usually occupied by Gluck. Leopold suspected Gluck of being concerned in - these intrigues. It is true he wrote at first: "I have brought Gluck over - to our side, and even if he is not quite sincere, he has to keep it to - himself, for his patrons are also ours;" but later he says, in plain - language: "So far, all the composers, with Gluck as their leader, have - left no stone unturned to hinder the progress of this opera." The decision - with which Gluck proceeded on the path he had marked out for himself may - have caused him to take less interest in Mozart's youthful genius than - seemed to the father right, and the latter may have been still further - repelled by Gluck's unsociable manners;<a href="#linknote-40012" - name="linknoteref-40012" id="linknoteref-40012">12</a> but envy and - intrigue directed against struggling talent are inconsistent with the - composer's proud and upright character. Nevertheless, the music was - condemned beforehand as being "not worth a groat, suiting neither the - words nor the metre, in consequence of the boy's not understanding Italian - sufficiently well." Thereupon Leopold caused Hasse, a man honoured for his - reputation, beloved for his gentle disposition, and justly called the - "father of music,"<a href="#linknote-40013" name="linknoteref-40013" - id="linknoteref-40013">13</a> and Metastasio, as the <span class="side">PROFESSIONAL - INTRIGUES.</span> <span class="pagenum"><a href="pgimages/p071.png">[71]</a></span> - highest authority, to pronounce their opinion in opposition to Gluck and - Calsabigi,<a href="#linknote-40014" name="linknoteref-40014" - id="linknoteref-40014">14</a> that of thirty operas produced in Vienna - Wolfgang's was incomparably the best, and worthy of the highest - admiration. - </p> - <p> - Then the mode of attack was changed. The composition, it was said, was not - Wolfgang's at all, but his father's. This assertion also could be - disproved. At a large assembly, where there were present Prince Kaunitz, - Duke of Braganza, Bono, Kapellmeister to the Prince von Hildburghausen,<a - href="#linknote-40015" name="linknoteref-40015" id="linknoteref-40015">15</a> - Metastasio, and Hasse, a favourite volume of Metastasio was opened, and a - song taken at random was given to Mozart to compose and write down with - orchestral accompaniments—a proof which at least left no doubt of - the boy's technical skill and readiness. Niemetschek confirms this through - the testimony of "credible persons," who had been present at similar - tests. - </p> - <p> - In spite of all L. Mozart's exertions the unceasing slanders issuing from - "the stirred-up hell of music" reached at last the artists who were to - represent the opera. The orchestra were encouraged to resent the - leadership of a boy; the singers, although they had one and all declared - themselves fully satisfied with the music, now that they saw the strength - of the opposition, began to fear the effect of the opera before the - public. It became their interest to postpone its production, and to shrug - their shoulders over the composition whenever they saw an opportunity. - </p> - <p> - L. Mozart complains bitterly of the duplicity of the singers, some of whom - scarcely knew their notes, and had to learn everything by ear, and assures - Count Zeil, who thought that all the musicians were in Wolfgang's favour, - that he must not judge from the outside, but must learn the "innate malice - of the creatures." - </p> - <p> - Soon the impresario, who had undertaken the production of the opera - chiefly on account of the effect likely to be produced by the boyish age - of the composer, began to reflect on <span class="side">THE FIRST OPERA IN - VIENNA.</span> <span class="pagenum"><a href="pgimages/p072.png">[72]</a></span> - the risk he was running, and to draw back. Affügio was an adventurer and a - gambler, who had procured an officer's commission by swindling, and had - risen to be lieutenant-colonel; his utter want of sympathy with art was - illustrated by the anecdote that being present at a bull-baiting where two - dogs were pitted against a Hungarian ox, he remarked to a friend, "Believe - me, I prefer these dogs to Aufrene and Neuville" (two excellent actors, - then high in favour with him).<a href="#linknote-40016" - name="linknoteref-40016" id="linknoteref-40016">16</a> His name acquired - an unhappy immortality by the share which he took more than once in the - struggle of the legitimate drama against the buffoonery of the age.<a - href="#linknote-40017" name="linknoteref-40017" id="linknoteref-40017">17</a> - He was at last sent to the galleys for forgery, and there ended his - career.<a href="#linknote-40018" name="linknoteref-40018" - id="linknoteref-40018">18</a> - </p> - <p> - With such a man as this had Mozart to do. He postponed the opera on every - possible pretext from Easter to Whitsuntide, then to the Emperor's return - from Hungary, and so on continually, putting one opera after the other - into rehearsal, and as often as L. Mozart wrung from him the order to copy - and rehearse Wolfgang's opera, so often was it secretly recalled. The - Emperor's interest in the work remained unabated, and he frequently - inquired after its progress from Wolfgang; but even his influence could - not prevail against Affligio, who held his position quite independent of - the court. He had the theatre on a lease, and bore all the expenses, the - imperial family having the privilege of free ingress. - </p> - <p> - Affligio had promised the nobles, and especially Prince Kaunitz, to revive - the French drama, discarded in 1766. He accomplished this in 1768, but, - according to L. Mozart, at a cost of 70,000 gulden and a great loss to - himself; Prince Kaunitz strove to make the loss good by an appeal to the - Emperor to share in the expenses; but this attempt failed signally. Under - these circumstances, no influence from this quarter could be brought to - bear on Affligio, and nothing remained for L. Mozart but to overcome his - evasions step by step. When at last Affligio was driven to bay he declared - <span class="side">TREACHERY OF AFFLIGIO—FAILURE.</span> <span - class="pagenum"><a href="pgimages/p073.png">[73]</a></span> that he would - give the opera if L. Mozart insisted on it, but that it should not benefit - him much, for he would take care that it was hissed off the stage. After - this threat, which would certainly have been fulfilled, nothing remained - but to give up the production of the opera. On September 21, L. Mozart - justified himself to the Emperor by a formal complaint against Affligio, - which was intrusted for delivery to the Court Director of Music (Hof und - Kammer-Musik-director), Count Joh. Wenzel Spork, a zealous musical friend; - but, as might have been foreseen, it was without result. - </p> - <p> - For nine months the affair had thus dragged on, during which time L. - Mozart had been living with his family at Vienna almost entirely on the - proceeds of their previous tour. His receipts at Vienna could not but be - insignificant, and the salary which he drew at Salzburg as professor of - the violin in the Royal Chapel, and leader of the orchestra, was withdrawn - in March of this year with the observation that he might remain away as - long as he chose, but that he would not be paid during his absence. - </p> - <p> - He was too proud to use the influence of his patron, Count Schrattenbach, - brother to the Archbishop, in soliciting the continuance of a salary - which, "in the firm opinion of most of the court officials," he did not - deserve. - </p> - <p> - But he could no longer count with certainty on the future security of his - position at Salzburg, and a rumour even reached him that this was - imperilled by the gossip which represented his gains in Vienna as - enormous, and fixed on 2,000 gulden as the sum which had been paid for - Wolfgang's opera. - </p> - <p> - L. Mozart sought to justify himself with the Archbishop by a reference to - Affligio's want of faith, which it had been impossible to foresee; and by - declaring that had the work been an opera seria instead of an opera buffa, - requiring all the strength of the Viennese company, he would not have - hesitated to shake the dust of Vienna from his feet, and lay his son's - first important composition at the feet of his rightful and gracious lord. - The honour of the Archbishop himself Mozart considered to be concerned, - that artists employed <span class="side">THE FIRST OPERA IN VIENNA.</span> - <span class="pagenum"><a href="pgimages/p074.png">[74]</a></span> and - recommended by him should not be treated as "charlatans, liars, and - impostors, who go abroad with his permission to throw dust in people's - eyes like common conjurors"; and the Archbishop was implored to undertake - Wolfgang's cause as identical with his own against people, who "because - they sniff the air of the town where the Emperor happens to reside, look - with disdain on those who serve foreign princes, and speak disrespectfully - of the foreign princes themselves." - </p> - <p> - Nay, he calls upon him as a Christian to convince the unbelievers that the - Almighty has worked a miracle in the birth of this prodigy at Salzburg:— - </p> - <p> - If ever I considered it my duty to convince the world of this miracle I do - so now, at a time when every effort is made to bring miracles into - disrepute and ridicule. What greater joy and triumph could I enjoy than to - hear the astonished exclamation of a follower of Voltaire (Grimm): <i>Now - for once in my life I have seen a miracle; it is the first.</i> But - because this marvel is too patent and too open to be denied, every effort - is made to suppress it, and to deprive the Lord of the glory due to Him. - There is an idea that in a few years the wonder will cease and will fall - back into the natural. So it is to be hidden away from the eyes of the - world; for what could manifest it more openly than a public performance in - a large and populous city? - </p> - <p> - This tone was undoubtedly adopted as an appeal to the Archbishop's bigoted - piety. - </p> - <p> - In spite of all discouragements, L. Mozart never swerved from his main - object. He had an immovable faith in the Providence which had "so often - and so evidently urged him on or held him back, and always led him in the - right way." Just as firm was his confidence in the artistic gifts of his - son, for whose glorious future he considered it his mission to prepare the - way. His conviction that the opera in Vienna would be the pioneer on the - road to Italy made him ready to sacrifice to it even his official position - in Salzburg:— - </p> - <p> - I reckon upon this as a means of extorting permission for the journey to - Italy, a journey which, all things considered, cannot be long delayed, and - for which the Emperor himself has given me every possible assistance in - the imperial towns, and in Florence and Naples. Failing <span class="side">FORTITUDE - OF L. MOZART.</span> <span class="pagenum"><a href="pgimages/p075.png">[75]</a></span> - this, we must pine at Salzburg in the vain hope of better fortune, until I - shall have grown too old to make the journey at all, and until Wolfgang - has grown up, and his performances are deprived of everything marvellous. - Can it be that the first step of this opera in Vienna shall have been made - in vain, and that my son is not to advance with rapid strides along the - path so plainly marked out for him? - </p> - <p> - However bitterly he felt that ill-will and disappointment pursued him in - Vienna as they had never done abroad, and that his opponents were Germans - seeking to oppress a German, whom foreigners had treated with justice and - liberality, yet intrigues and slanders never deprived him of patience and - self-command:— - </p> - <p> - It is just the way of the world; if a man has no talent he is unhappy - enough, but if he has talent, then envy follows him in proportion to his - ability. All we can do is by patience and perseverance to convince the - world that our adversaries are malicious liars, slanderers, and covetous - wretches, who would laugh in their sleeve if we allowed them to frighten - or weary us. - </p> - <p> - It is impossible to withhold our sympathy from L. Mozart's shrewd and - patient endeavours to bring to light his son's work, in the full belief of - its worth; but we must ascertain also how far this belief is justified by - the work itself. The opera is preserved in Mozart's handwriting, and a - detailed examination of it serves to confirm the judgment of contemporary - critics, that it is not only on a level with the numerous comic operas of - the time, but far superior to the majority of them.<a - href="#linknote-40019" name="linknoteref-40019" id="linknoteref-40019">19</a> - </p> - <p> - The text goes far to justify Coltellini's want of success as a librettist. - The poverty of the plot, the unreality of the characters, and the - stupidity of the jokes, all prove the truth of Nicolai's severe criticism - of the "outlandish musical zany in Vienna, whose pieces are as poor as - those of any mountebank."<a href="#linknote-40020" name="linknoteref-40020" - id="linknoteref-40020">20</a> - </p> - <p> - The plot is somewhat as follows:— <span class="side">THE FIRST OPERA - IN VIENNA.</span> <span class="pagenum"><a href="pgimages/p076.png">[76]</a></span> - Fracasso, a Hungarian officer, is quartered with his servant Simone in the - house of two rich bachelors, Cassandro and Polidoro, who have a beautiful - sister Giacinta. Fracasso and Simone are of course carrying on a love - intrigue with Giacinta and her maid, Ninetta, of which the brothers know - nothing. The latter are broad caricatures. Polidoro, the younger of the - two, is simple and timid, but amorous by nature, which he does not dare to - betray to Cassandro, who, by virtue of his wealth, talent, and good looks, - of which he is inordinately vain, tyrannises over his household, and - though not less amorous than his brother, feigns a contempt for women. In - order to outwit the brothers and force them into a consent to their union, - the two pair of lovers plot that Rosine, Fracasso's sister, who is - expected on a visit, shall, under Ninetta's instruction, make both - brothers in love with her. Rosine enters with 'feigned simplicity,' and - with a marvellous show of <i>naïveté</i> throws herself at the head of the - two brothers. Each of them, delighted at her demonstration of love, wishes - to marry her at once. The tricks which she plays on them, the - Complications which ensue when each brother in turn surprises her with the - other, their attempts to ingratiate themselves with her, and their awkward - manners form the main subject of the opera, which is devoid of dramatic - action, and consists of detached burlesque scenes. We will note a few - characteristic traits. At their first meeting, after a very few words, - Polidoro proposes marriage on the spot to Rosine. She shows herself not - averse but <i>"domanda un matrimonio i passi suoi, s' am a da prima, e - poiche qualche visita almeno, qualche gentil biglietto, qualche bel - regalo."</i> He is nothing daunted; as for love he declares, it exists - already; for the visits, he has just paid one. Ninetta shall write a - love-letter for him, and, by way of present, he thrusts a purse of gold - into her hand. In a subsequent scene he is formally instructed in the - duties of a husband. - </p> - <p> - Cassandro fares no better. At their first interview, Rosine begs for a - ring which he wears, and, on his refusal, she teases him into lending it, - whereupon he plainly expresses his doubt of ever receiving it back again. - In the following act he comes in intoxicated and is consequently forced by - Rosine to converse with her from the opposite corner of the stage; she - expresses herself in pantomine, which he misunderstands, and at last goes - to sleep. Then she puts the ring on his finger again and leaves him. - </p> - <p> - Fracasso enters, and Cassandro complains that his sister has kept the - ring; but as it is shown to be on his finger, a duel is the consequence, - in which Cassandro makes full display of his cowardice. To bring matters - to a point the brothers are informed that Giacinta and Ninetta have - decamped with gold and jewels, and are induced to promise the hands of - these young ladies to whomsoever shall bring them back. Fracasso and - Simone are happy enough to accomplish this; Rosine having given her hand - to Cassandro, clears up all misunderstandings, and the piece ends amid - general rejoicings. - </p> - <p> - <span class="side">LA FINTA SEMPLICE.</span> <span class="pagenum"><a - href="pgimages/p077.png">[77]</a></span> - </p> - <p> - The noble and refined genius of young Mozart now, as ever, raising to a - higher sphere all with which it came in contact, was able to transform and - quicken even such miserable trash as this. The jesting is confined to the - dialogue; the songs have a higher tone, and in the finales, which are - unquestionably burlesque in their situations, the poor fun of the text is - made subordinate to the strongly marked individuality of the composer. A - talent for musical delineation of character is clearly visible in this - work, and must be entirely ascribed to the genius of the youthful - composer, who had no help from the poet. The part of Polidoro is the most - favourable instance of dramatic power. It was written for Caribaldi, whose - beautiful voice was very telling in slow movements, but who had a poor - execution, and strove unsuccessfully to imitate Caratoli in his acting.<a - href="#linknote-40021" name="linknoteref-40021" id="linknoteref-40021">21</a> - Mozart has contrived to give a simple, noble expression to the genuine - feeling of love which invests even the poor simple dupe with a certain - dignity; and yet the comic element is never lost sight of. His first air - (7), in which he describes the impression made on him by Rosine, is the - crown of the whole opera. The naïve emotion of a youth, who is as yet - unconscious of the strength of his own passions, is so naturally and - heartily expressed, that we may well ask how the boy had acquired such a - degree of psychological insight. We are reminded of Cherubino in "Figaro," - but Polidoro is not to be compared to the Page in fire and spirit. All - Mozart's later characteristics, the quiet beauty and easy flow of the - melodies and harmonies, the symmetrical blending of the details into a - whole, and the intrinsic unity of style, are already to be traced, and we - may fairly rank this song with those of his maturer works. - </p> - <p> - The instrumentation is carefully and effectively worked out. The first - violins and the voice go together, the second violins have a simple - accompaniment, the basses <span class="side">THE FIRST OPERA IN VIENNA.</span> - <span class="pagenum"><a href="pgimages/p078.png">[78]</a></span> play <i>pizzicato</i>. - Two tenors and bassoons, generally in unison, supply the shadows to this - outline (as it may fairly be termed), and two oboes let in the appropriate - lights; the horns, made use of only in long-drawn notes, keep the whole - together. The skilful employment of these simple means produces an effect - of light and shade which is at once striking and beautiful. - </p> - <p> - As we have already observed, this air was taken, with slight - modifications, and with the omission of the middle movement in G minor, - and of the Da capo, from Mozart's earlier oratorio (p. 55). This species - of borrowing was common enough at the time, but Mozart never made use of - it except in this instance; his having done so here proves how strongly - the young composer himself felt the beauty of his music. - </p> - <p> - Polidoro's air in the second act (17) has far more of dramatic energy. - Rosine, insulted by Cassandro, bursts into tears; Polidoro, indignant with - his brother, but more than half-frightened at his own temerity, seeks to - console her. The contrast between his strong feeling of attraction to - Rosine and the effort which he makes to overcome his fear of his brother - is well marked by modulations of time and measure, and by the - instrumentation; the accelerated part has much of the ordinary buffo - character. - </p> - <p> - Next to Polidoro we may rank Rosine. The part was publicly announced for - Clementine Baglioni, whose voice "had a silvery tone, was as easy and - fluent as could be desired, and carried admirably"; she sang "without - audacity and correctly; her gestures were easy and becoming."<a - href="#linknote-40022" name="linknoteref-40022" id="linknoteref-40022">22</a> - "The same simplicity and truthfulness of expression is observable here as - in the part of Polidoro. The first song (6) in which she undertakes to - show— - </p> -<pre xml:space="preserve"> - Che si puö senza rossore -</pre> - <p> - Gradir tutti ed un solo amar, is fresh and lively, and the passages are so - natural and graceful, that even in the present day it does not sound <span - class="side">ROSINE, CASSANDRO.</span> <span class="pagenum"><a - href="pgimages/p079.png">[79]</a></span> antiquated. The first part of the - second song (9) is especially beautiful, and the principal melody reminds - us, in dignity and expression, of the Countess in "Figaro." The words— - </p> -<pre xml:space="preserve"> - Senti I' eco, ove t' aggiri, - Susurrar tra fiori e fronde - Ma se gridi, o se sospiri - Quello sol 1' eco risponde, - Che ti sente à ragionar. -</pre> - <p> - give opportunity for descriptive music, the <i>susurrar</i> being - expressed by a phrase for the violins, while a solo oboe enacts the part - of Echo, repeating the end of each phrase. - </p> - <p> - But this trifling is kept in the background, and does not in the least - interfere with the tender character of the air. The second part (Allegro - grazioso, 3-4), although light and cheerful, does not approach the first - in originality and depth. The cavatina in the second act (15) expresses a - simple, fervent emotion in a beautiful melody; the whole piece, both in - design and execution, shows Mozart's manner most unmistakably; and is - marked by a certain individuality of conception which transcends all - technical readiness and skill. On the other hand, the song (17) which - Rosine sings in her <i>rôle</i> of affected simplicity, is cheerful and - fresh, but not particularly striking. - </p> - <p> - The part of Cassandro is not on a par with the two we have been - considering. Caratoli, for whom it was written was past his best days as a - singer, but he was an excellent actor, and "knew how to dispense in some - measure with singing"; he generally played old men, and his desire to - please the multitude led him into occasional extravagances.<a - href="#linknote-40023" name="linknoteref-40023" id="linknoteref-40023">23</a> - His part is specially adapted to the peculiarities of the Italian buffo; - it contains rapid declamation, well-applied pauses, strong contrasts, and - other similar conventional effects; but not much original conception of - <span class="side">THE FIRST OPERA IN VIENNA.</span> <span class="pagenum"><a - href="pgimages/p080.png">[80]</a></span> comic character. In one song, - indeed, we have a clever expression given to the not over-refined words:— - </p> -<pre xml:space="preserve"> - E son come un can barbone, - Frà la carne ed il bastone, - Vorrei stender lo zampino - E al baston più m' avvicino - E abbaiando, mugilando - Piglio il porco e me ne vö. -</pre> - <p> - <span class="side">CASSANDRO.</span> <span class="pagenum"><a - href="pgimages/p081.png">[81]</a></span> - </p> - <p> - [See Page Image] - </p> - <p> - We must not indeed compare such jesting as this, however it may have been - applauded at the time, with the delicate humour of Figaro. The composer is - not at his best; but much of the blame lies at the door of the poet who - wrote such trash, and of the performer who would accept only slight - indications of the music to be sung, that he might win applause by his own - elaboration of it. But youthful inexperience and ignorance of the minds of - men must also naturally have narrowed the boy's ideas. It is a sufficient - proof of his thoroughly artistic nature that his fun was exempt from - childish extravagance. - </p> - <p> - The two pairs of lovers are not of equal prominence. The somewhat timid - and indolent Giacinta is a difficult subject for musical representation. - In her first song she declares(3)— - </p> -<pre xml:space="preserve"> - Mari to io vorrei, ma senza fatica, - Averlo, se commoda, lasciarlo, se intrica; -</pre> - <p> - <span class="side">THE FIRST OPERA IN VIENNA.</span> <span class="pagenum"><a - href="pgimages/p082.png">[82]</a></span> - </p> - <p> - the husband is to be— - </p> -<pre xml:space="preserve"> - Un uoroo d' ingegno - Ma fatto di legno. -</pre> - <p> - This is not exactly the state of mind for a prima donna. The music that - she sings is harmonious and pleasing, but, with the exception of a happy - turn here and there, not above the average. Only the song in the third act - (24) expresses dismay at the pretended flight with a tragic pathos, which, - though of course exaggerated, is well sustained, both by the voice and the - accompaniment. The conception of this part was doubtless influenced by the - individuality of the singer for whom it was written. According to - Sonnenfels this was Signora Eberhardi. - </p> - <p> - "She has an agreeable contralto voice, and a style which pleases - universally. Her shakes certainly degenerate sometimes into a quake, and - if the tempo is taken very fast she fails to keep pace with it. In her - acting she suffers the natural to pass into the artificial, and her - conventional gestures are often constrained."<a href="#linknote-40024" - name="linknoteref-40024" id="linknoteref-40024">24</a> - </p> - <p> - Fracasso is a lover of the usual type, rough and impetuous as becomes a - Hungarian officer, quarrelsome with the two brothers, but without marked - individuality. This it was impossible for so young a composer as Mozart to - evolve out of such commonplace and insignificant materials. The part was - cast for Laschi, whom Sonnenfels<a href="#linknote-40025" - name="linknoteref-40025" id="linknoteref-40025">25</a> praises as a - cultivated artist, and a buffo actor of the most refined and intelligent - type. He still played first lover's parts, but was much commiserated on - account of the loss of certain notes of his voice, a defect which he - sought to hide by transposing airs and passages. - </p> - <p> - Simone is an ordinary valet, blunt rather than rude, and merry, all which - is well represented by the music, the part seldom rising, however, above - the ordinary buffo level. Most genial and telling is the song(13)— - </p> -<pre xml:space="preserve"> - Con certe persone Vuol esser bastone— -</pre> - <p> - <span class="side">NINETTA—SOLO SONGS.</span> <span class="pagenum"><a - href="pgimages/p083.png">[83]</a></span> - </p> - <p> - and the concluding refrain "Madama, bastone!" is pretty and comical. - Poggi, who took the servants' and peasants' parts, possessed a fine bass - voice and correct execution, together with a charming style of acting, and - was the favourite of connoisseurs.<a href="#linknote-40026" - name="linknoteref-40026" id="linknoteref-40026">26</a> - </p> - <p> - The character most devoid of colour is that of Ninetta, and we find in it - no foretaste of a Susannah or a Despina. It can only have been intended - for Bemasconi, who had made a great sensation as Sandrina in Piccini's - "Buona Figliola," and in Sacchini's "Contadina in Corte."<a - href="#linknote-40027" name="linknoteref-40027" id="linknoteref-40027">27</a> - It is indicative of the healthiness of Mozart's genius that some of the - songs for these less important personages were rewritten several times, no - doubt at the request of the performers.<a href="#linknote-40028" - name="linknoteref-40028" id="linknoteref-40028">28</a> Where any natural - emotion or characteristic situation is to be represented, his judgment is - at once correct and decided; but in unimportant matters he is ready to - yield to the wishes of the singers and the public, and to attempt various - modes of expression in search of what is pleasing and harmonious. - </p> - <p> - In accordance with the prevailing fashion, solo songs abound in this - opera; each character has two or three, Rosine has four, and the total - number amounts to twenty. The majority are formed on the same model, the - usual one of the day. - </p> - <p> - They have a long ritomello, and consist of two movements, differing in - time, measure, and key, which are generally both repeated; each movement - is woven into one long thread, the motifs being sometimes repeated, but - never really worked out. This clumsy form gives few opportunities for - dramatic effect, and is especially adapted for the singer who is desirous - of displaying his own, - </p> - <p> - As a matter of course, those songs which have most originality disregard - such rules, and their form is rounder, <span class="side">THE FIRST OPERA - IN VIENNA.</span> <span class="pagenum"><a href="pgimages/p084.png">[84]</a></span> - more self-contained and complete. In these, little opportunity is given - for a display of execution; the melodies are simple, ornamental passages - and runs few in number,<a href="#linknote-40029" name="linknoteref-40029" - id="linknoteref-40029">29</a> and little beyond the cadenzas is left to - the singers' discretion. The natural expression of feeling in the songs is - never inconsistent with the style of an opera buffa; all is cheerful, - light, and easy of apprehension. - </p> - <p> - By the side of these numerous airs, there is only one duet between - Fracasso and Cassandro (19), of a purely comic character; Cassandro - assumes an air of arrogant importance, but, terrified in reality, seeks by - any means to escape from the proposed duel. This is animated, and must - have been very effective at the time; but it is in reality a solo for the - bass buffo, for Fracasso has only detached ejaculations, and the two - voices never go together. - </p> - <p> - Each act of the opera ends with a finale, in which the action, increasing - in intensity through the several scenes, is wound up and represented to - the audience in a connected and coherent form. Clearly defined rules left - little scope for originality in the arrangement and composition of these - finales. Changes of time, measure, and key took place according to rule - with every change of situation; and each movement formed a complete and - detached whole. When the action becomes animated, or the dialogue rapid, - the orchestra, by means of retaining and developing a characteristic - motif, supplies a framework from which individual dramatic features can be - detached without risk of the whole falling asunder. - </p> - <p> - The skilful modelling of a composition from its purely musical aspect, is - as important to true artistic workmanship as is the vivid delineation of - individual character; only a consummate master of his art can be expected - to bring both these elements to perfection. The first predominates in - these finales. - </p> - <p> - The design and modelling of each subject is firm and <span class="side">FINALES—OVERTURE.</span> - <span class="pagenum"><a href="pgimages/p085.png">[85]</a></span> flowing. - The voices are not artificially involved, but free and independent - throughout; the orchestra is cleverly handled and treated with due - consideration, whether it comes to the front, or remains as an - accompaniment in the background. - </p> - <p> - The instrumentation is rich, and even where the rapid progress of the - action causes difficulties, it is full of effects of light and shade. - </p> - <p> - The wind instruments are frequently employed independently; and there is - already visible the germ of Mozart's inimitable art of combining orchestra - and voices with mutual independence into perfect unity. The situations and - characters are fitly and dramatically expressed by the orchestra, though - not in so striking a degree as in the airs. Creative power is not so - prominent here as the dexterity with which the various parts are moulded - together. Even with his extraordinary gifts, such a mere boy could not - satisfy in an equal degree the very great and varied demands made upon him - face to face with such a task as this; the only wonder is that Mozart did - not yield to the temptation of producing brilliant effects at the cost of - artistic unity. - </p> - <p> - These finales make a perfectly harmonious effect, and wanting as they are - in depth and vigour, preserve throughout the genuine character of an opera - buffa. The last movement of each finale is for four voices, and is sung by - all the personages present; a similar movement opens the opera. They are - very simple, the voices in harmony, to a varied figure on the violins, - generally only a sort of paraphrase of the principal subject; the other - instruments fill in the harmonies, so that the whole has a rapid, busy - effect. - </p> - <p> - The overture (Sinfonia) is, according to established custom, in three - movements, the two first being in two divisions. It is a symphony, - composed previously on January 16 (45 K.), and prefixed to the opera with - the omission of the minuet. There are a few minor alterations, chiefly in - the instrumentation. The symphony had originally trumpets and drums, which - were omitted in the overture, while flutes and bassoons were added. This - is unquestionably the weakest part of the opera, and the middle movement - is <span class="side">THE FIRST OPERA IN VIENNA.</span> <span - class="pagenum"><a href="pgimages/p086.png">[86]</a></span> especially - poor; but little importance was then attached to the overture, and it is - not worse than others of its day. - </p> - <p> - To sum up our criticism, the opera was a worthy rival to those already in - possession of the stage, and portions of it may fairly be said to surpass - them in nobility and originality both of invention and execution, while it - points unmistakably to a glorious future for its composer. Surely this is - extraordinary praise for the work of a boy! - </p> - <p> - The manuscript score is clearly a fair copy, but not without corrections. - Some of these are of mistakes in the copying; others, although seldom, are - alterations probably demanded by the performers, either curtailments or - additions. The additions are for the most part to the closing phrases, - which Mozart, as a rule, cut very short; the singers, mindful of a good - exit, demanded their prolongation. The hand of L. Mozart is discernible - throughout; the indications of the tempo, of the persons, instruments, - &c., the minute directions as to execution, are almost all in his - handwriting. - </p> - <p> - There are also some indications of his having revised the composition in - unimportant trifles. But this score, being a copy, can offer no evidence - as to the influence of L. Mozart's advice and corrections on the - compositions of his son; we can well understand that at the time this - influence was thought to be overpowering; now that Wolfgang's career and - development lie open before us, we rate it at next to nothing. - </p> - <p> - Although L. Mozart was denied the satisfaction of witnessing the public - recognition of his son's genius by the performance of this opera, yet a - good opportunity was afforded him of asserting his dramatic talent before - a small circle of connoisseurs. The Mozarts became acquainted with a Dr. - Messmer,<a href="#linknote-40030" name="linknoteref-40030" - id="linknoteref-40030">30</a> who had married a rich wife, and who kept - <span class="side">ROUSSEAU'S "DEVIN DU VILLAGE."</span> <span - class="pagenum"><a href="pgimages/p087.png">[87]</a></span> open house for - a select and cultivated circle. Heufeld was among the number of his - friends. Dr. Messmer was musical, and had built an amateur theatre; here - was performed, a little German opera composed by Wolfgang, with the title - "Bastien und Bastienne" (50 K.). - </p> - <p> - We must here revert to J. J. Rousseau's intermezzo, "Le Devin du Village," - the origin of which he describes in the eighth book of his "Confessions."<a - href="#linknote-40031" name="linknoteref-40031" id="linknoteref-40031">31</a> - The pleasure which he had derived during his stay in Italy from the - performances of the opera buffa was revived in 1752 at Passy, where he - encountered a zealous musical friend, Musard, who shared the same tastes. - This suggested to Rousseau the idea of placing something of the same kind - on the French stage; in a few days the plan of the piece, the text, and - some of the music were sketched out, and within six weeks, the poem and - composition were complete. At a private rehearsal, which Duclos arranged, - the operetta made a great sensation, and attracted the attention of the - manager <i>des menus plaisirs</i>, De Cury, who ordered and directed a - performance of it at court. - </p> - <p> - It was twice (on October 18 and 24,1752) performed before the King at - Fontainebleau, Mdlles. Fel and Jeliotte singing Colette and Colin, with - great applause. Then it was given publicly in Paris before the Académie - Royale de Musique on March 1, 1753, and met with great and universal - approbation.<a href="#linknote-40032" name="linknoteref-40032" - id="linknoteref-40032">32</a> From the King, who, "with the worst voice in - his whole kingdom," sang "J'ai perdu mon serviteur," downwards, the - couplets of the operetta were in every one's mouth, and it became popular - to a remarkable degree. In 1774 it received almost as much applause as - Gluck's "Orpheus,"<a href="#linknote-40033" name="linknoteref-40033" - id="linknoteref-40033">33</a> <span class="side">THE FIRST OPERA IN - VIENNA.</span> <span class="pagenum"><a href="pgimages/p088.png">[88]</a></span> - and even in 1819 and 1821 German musicians were astonished at its - popularity. It did not finally disappear from the stage until 1828.<a - href="#linknote-40034" name="linknoteref-40034" id="linknoteref-40034">34</a> - The plot could not be simpler:— - </p> - <p> - Colette, a village maiden, is inconsolable for her faithless swain, Colin, - and goes to a soothsayer for advice and assistance. He informs her that - the lady of the manor has entangled Colin in her toils, but that he is - still faithful at heart, and will return to his first love; she must - punish him by pretended indifference, so as to inflame his desires afresh; - this she promises. Colin then enters; he is healed of his madness, and - returns to his Colette. On being informed by the soothsayer that she loves - another, he, too, begs for help; the soothsayer undertakes to summon - Colette by magic, but Colin must himself do the rest. Colette appears, and - somewhat unsuccessfully plays the prude; her lover thereupon rushes off in - despair, she calls him back, and then follow reconciliation and renewed - assurance of love and constancy. The soothsayer receives thanks and - reward, and the assembled villagers take part in the joy of the lovers. - </p> - <p> - The simplicity and naïve sentiments, which atone for the poverty of the - plot, are also characteristic of the music. A certain inequality in - technical details, and here and there gross errors, betray the amateur;<a - href="#linknote-40035" name="linknoteref-40035" id="linknoteref-40035">35</a> - but there is a natural feeling in the melodies, and a playful tenderness - in the whole composition, which must have had an extraordinary effect at - the time of its production. Rousseau, who aimed at unity of tone before - all things in this little sketch, was not satisfied with furnishing the - couplets with easy flowing melodies, but bestowed great care on the - recitatives, which, in imitation of the Italian, were intended to be - pieces of artistic and studied declamation.<a href="#linknote-40036" - name="linknoteref-40036" id="linknoteref-40036">36</a> The minute care - with which he indicated the smallest detail in the delivery of his - recitatives is almost incredible; it is plain that he gave credit to the - performers for no musical feeling or power of expression whatever. - </p> - <p> - Rousseau's opera coincided in point of time with the first <span - class="side">THE PARODY, "BASTIEN ET BASTIBNNE."</span> <span - class="pagenum"><a href="pgimages/p089.png">[89]</a></span> appearance of - Italian opera buffa in Paris; and though he had avowedly taken, this as - his model, comparison serves only to prove the complete originality of his - work. It bore unmistakable traces of its nationality, and was French in - feeling and tone.<a href="#linknote-40037" name="linknoteref-40037" - id="linknoteref-40037">37</a> The abiding impression created by it is best - shown by the innumerable operas of the same kind, which followed closely - in its rear,<a href="#linknote-40038" name="linknoteref-40038" - id="linknoteref-40038">38</a> such as "Rose et Colas," "Annette et Lubin," - "La Clochette." The Comédie-Italienne ratified the success of the "Devin - du Village" in yet another way. According to the custom, by which every - piece of any importance was parodied as soon as it appeared on the stage, - a parody of Rousseau's intermezzo appeared at the Italiens, September 26, - 1753, with the title: "Les Amours de Bastienet Bastienne."<a - href="#linknote-40039" name="linknoteref-40039" id="linknoteref-40039">39</a> - </p> - <p> - It was composed by the witty and agreeable Madame Favart and Hamy,<a - href="#linknote-40040" name="linknoteref-40040" id="linknoteref-40040">40</a> - and, without attempting to disparage the original, it transforms the - Arcadian idealism of Rousseau's shepherds into the unromantic realism of - country life. Genuine French peasants express appropriate sentiments in - their patois, and the whole piece is rustic and natural. - </p> - <p> - The dialogue is strung together by well-known melodies, as was always the - case in vaudeville. The piece was highly applauded, owing its success in - great measure to the lively and natural acting of Madame Favart. She was - the first actress who ventured to appear in the genuine simple costume of - a peasant woman, and her appearance in sabots created a great sensation. - Her portrait was painted in this <span class="side">THE FIRST OPERA IN - VIENNA.</span> <span class="pagenum"><a href="pgimages/p090.png">[90]</a></span> - character, and it had much to do in laying the foundation of her fame.<a - href="#linknote-40041" name="linknoteref-40041" id="linknoteref-40041">41</a> - </p> - <p> - The parody was elaborated into a German operetta. In Vienna, low comedy - had never entirely renounced the aid of music; Haydn composed his operetta - "Der neue Krumme Teufel" for Kurz-Bemardon. When the more refined comic - opera was introduced by Hiller, it was accepted and imitated in Vienna. In - 1764 Weiskem translated Madame Favart's parody with some slight - alterations,<a href="#linknote-40042" name="linknoteref-40042" - id="linknoteref-40042">42</a> and to this text Mozart composed the music.<a - href="#linknote-40043" name="linknoteref-40043" id="linknoteref-40043">43</a> - The piece is a continuous dialogue, interrupted by isolated songs and - duets at appointed places. These, consisting of eleven solo songs, three - duets, and one terzet do not always correspond to those of Rousseau's - opera, which was unknown to the adapter; many songs have several verses, - of which Mozart has only transcribed the first. - </p> - <p> - The French parody has been most unskilfully travestied, as will be seen by - a comparison of the first song in its various forms. - </p> - <p> - ROUSSEAU. - </p> -<pre xml:space="preserve"> - J'ai perdu tout mon bonheur; - J'ai perdu mon serviteur: - Colin me délaisse. - Hélas! il a pu changer! - Je voudrois n'y plus songer: - J'y songe sans cesse. -</pre> - <p> - MADAME FAVART. - </p> -<pre xml:space="preserve"> - (Air: J'ai perdu mon äne.) - J'ons pardu mon ami! - Depis c' tems-là j'nons point dormi, - Je n' vivons pû qu'à d'mi. - J'ons pardu mon ami, - J'en ons le cour tout transi, - Je m' meurs de souci. -</pre> - <p> - <span class="side">MOZART'S "BASTIEN ET BASTIENNE."</span> <span - class="pagenum"><a href="pgimages/p091.png">[91]</a></span> - </p> - <p> - WEISKERN. - </p> -<pre xml:space="preserve"> - Mein liebster Freund hat mich verlassen, - Mit ihm ist Schlaf und Ruh dahin; - Ich weiss vor Leid mich nicht zu fassen, - Der Kummer schwächt mir Aug' und Sinn. - Vor Gram und Schmerz Erstarrt das Herz, - Und diese Noth Bringt mir den Tod. -</pre> - <p> - The verses are equally tame and clumsy all the way through; and even - taking into account the prevailing low standard of cultivation and taste, - it is difficult to believe that this operetta could have been produced at - a private house of any importance.<a href="#linknote-40044" - name="linknoteref-40044" id="linknoteref-40044">44</a> - </p> - <p> - Mozart has given his music a strictly pastoral character, indicated, - wherever possible, by its outward form. The orchestral introduction - (Intrada) an Allegro (3-4) of about seventy bars, begins with a pastoral - theme— - </p> - <p> - [See Page Image] - </p> - <p> - interrupted by quick passages for oboes and horns, plainly intended to - express a disturbance of the peaceful shepherd's life; this passes into a - tender pianissimo, prefiguring Bastienne's song. Holmes remarks that the - subject reminds one of Beethoven's Sinfonia Eroica, and still more so as - the overture proceeds; but no one, it is to <span class="side">THE FIRST - OPERA IN VIENNA.</span> <span class="pagenum"><a href="pgimages/p092.png">[92]</a></span> - be hoped, would think of an actual reminiscence. Both the melody and its - accompaniment, particularly the holding down of the bass note or the - fifth, often of both, are meant to suggest bagpipes. - </p> - <p> - Only the stringed instruments are employed; and a curious effect is - produced by the first violins giving the fundamental note to the melody on - the open string of G or D. The bagpipes are imitated again in a little - passage, with which Colas enters, playing the bagpipes:— - </p> - <p> - [See Page Image] - </p> - <p> - In this passage Mozart has jokingly introduced a G sharp to imitate the - sound between G and G sharp, which wind instruments sometimes emit, when - unskilfully handled.<a href="#linknote-40045" name="linknoteref-40045" - id="linknoteref-40045">45</a> All these little tricks had already been - brought in to his "Galimathias" (p. 45). - </p> - <p> - Comparing this operetta with the "Finta Semplice," we find that the former - is as distinctively German in execution and colouring as the latter is - Italian. What amount of direct influence Hiller's operas had upon "Bastien - and Bastienne" - </p> - <p> - (Op. 30, 5), and others in Mendelssohn's "Midsummer Night's Dream." <span - class="side">MOZART'S "BASTIEN ET BASTIENNE."</span> <span class="pagenum"><a - href="pgimages/p093.png">[93]</a></span> it is difficult to say, but there - can be no doubt that the intention of both composers was the same. - </p> - <p> - Simplicity and directness of expression being essential, the songs are - destitute both of runs and florid passages, and the fashioning of the - melodies is decidedly German, generally taking the ballad form; where a - more elaborate working is attempted, we may indeed trace Italian - influence, but the style is invariably simplified. - </p> - <p> - The conventional form of the aria in two parts, with the repetition of the - first or both, and the usual variations, is not adhered to: and when an - aria consists of two parts, it has no Da capo.<a href="#linknote-40046" - name="linknoteref-40046" id="linknoteref-40046">46</a> So, too, the - cadence, which had become almost a rule in Italian songs—is employed - only once or twice. - </p> - <p> - [See Page Image] - </p> - <p> - The whole composition displays little inventive faculty,. and there are no - pieces of the same significance as some of those in the Italian opera; - here and there is a slight uncertainty of rhythm or harmony, and - occasionally also obsolete turns of expression. - </p> - <p> - On the other hand', there are not wanting passages full of grace and - tenderness, the harmony is often well chosen and even bold, and the - operetta is so far Mozart's best expression of simple sentiment coming - direct from the heart. - </p> - <p> - His dramatic talent again asserts itself unmistakably; the three - characters are boldly sketched, and many little comic touches are thrown - into relief, as, for instance, the song in which Colas practises - hocus-pocus, the duet in which Bastienne to all Bastien's despairing - resolutions answers only: "Viel Glück!" and others. The technical - working-out is very simple. Neither in the duets nor in the closing terzet - are the voices interwoven; but they <span class="side">THE FIRST OPERA IN - VIENNA.</span> <span class="pagenum"><a href="pgimages/p094.png">[94]</a></span> - alternate with each other, or proceed together in simple harmony; only in - one instance does there occur a short imitative passage. The orchestra - usually goes with the voice, to which a simple, well-arranged bass is - provided, the other parts filling in the harmonies. An accompaniment with - any independent phrasing is rarely met with. The accompaniment is mainly - intrusted to the stringed instruments, strengthened by oboes (on one - occasion by two flutes) and horns, but only to fill in the harmonies. - Horns are also employed obbligato, and with charming effect, in - Bastienne's second song, "Ich geh jetzt auf die Weide." - </p> - <p> - It says much for the artistic feeling and true discrimination of a boy of - twelve years old, that he not only displays a mastery of operatic form, - and a rare dramatic and inventive genius, but that he is able to grasp and - appreciate the essential differences, both artistic and national, between - German and Italian opera. - </p> - <p> - It is noteworthy that his first dramatic attempts should, so to speak, - touch the two extremes, which it was to be his mission to bring together. - One song of Bastien's (10), with slightly altered words and clavier - accompaniment, "Daphne, deine Rosenwangen," and another, "Freude, Königin - der Weisen" (52, 53, K.), were printed in a musical serial,<a - href="#linknote-40047" name="linknoteref-40047" id="linknoteref-40047">47</a> - the editor, no doubt, thinking to make his profit with the name of the - youthful prodigy. - </p> - <p> - Among the occasional compositions, which were numerous during Mozart's - stay in Vienna, two symphonies must be mentioned. The first, in F major - (43 K.), falling within the year 1767, is only noticeable for its middle - movement, which is an elaboration of the duet in "Hyacinthus," already - mentioned (p. 62 ). The second, in D major, dated December 13,1768 (48 - K.), is very animated, and has some striking features. - </p> - <p> - Considerable doubt still exists on the subject of a quintet, in B flat - major (46 K.), which, according to Kochel's unimpeachable authority is - preserved in Mozart's boyish <span class="side">QUINTET IN B FLAT MAJOR, - AND SERENADE.</span> <span class="pagenum"><a href="pgimages/p095.png">[95]</a></span> - hand-writing in the archives of the Austrian Musikverein; it has many - corrections, and the date appended, in a strange hand certainly, but - coinciding with the composition, is "d. 25 Januar (Mozart writes Janner), - 1768." This quintet, for two violins, two tenors, and violoncello, - contains the four principal movements (omitting the second minuet, the - romance, and the variations) of the great serenade for wind instruments - belonging to the year 1780 (361 K); the substance is here in its - integrity, with only the necessary alterations to adapt it for strings. - </p> - <p> - Close examination leaves hardly any doubt that the composition was - originally intended for wind instruments; finer effects are produced in - the serenade, and are obviously not interpolated; the quintet betrays - itself as an arrangement by evident efforts to bring out given effects. - </p> - <p> - Accordingly the serenade must be considered also as a very early work, and - the omission of the three movements in the quintet affords no reason for - ascribing them to a different period. Nevertheless, the conception and - workmanship of these movements, and the scientific mastery of the art - therein displayed, belong to the maturity of manhood, and make it - difficult to give credence to the handwriting of the manuscript rather - than to this internal evidence. - </p> - <p> - L. Mozart's hope of seeing an opera by Wolfgang on the Vienna stage was, - as we have seen, destroyed; but he was not altogether deprived of the - satisfaction to be afforded him by a public display of his son's genius. - They had become acquainted with the celebrated Father Ign. Parhammer, a - Jesuit, who had been especially zealous in purifying the land since the - emigration of the Protestants from Salzburg in 1733; <a - href="#linknote-40048" name="linknoteref-40048" id="linknoteref-40048">48</a> - he took a prominent position in Vienna, and became father confessor to the - Emperor Francis I. in 1758. In the following year he was made director of - the Orphan Asylum, which he extended and reorganised with remarkable - activity, making it at length one of the most noted of such institutions.<a - href="#linknote-40049" name="linknoteref-40049" id="linknoteref-40049">49</a> - In all similar institutions conducted by the Jesuits in Germany, the - musical education of the orphans was <span class="side">THE FIRST OPERA IN - VIENNA.</span> <span class="pagenum"><a href="pgimages/p096.png">[96]</a></span> - considered next in importance to their religious duties,<a - href="#linknote-40050" name="linknoteref-40050" id="linknoteref-40050">50</a> - and in this case the result was so striking that the Emperor intended - employing them in his operatic company.<a href="#linknote-40051" - name="linknoteref-40051" id="linknoteref-40051">51</a> Parhammer sometimes - invited the Mozarts; and when the foundation stone of a new chapel was - laid in the summer they were present and met the Emperor, who conversed - with Wolfgang about his opera. Soon after he was commissioned to prepare - the music for the mass to celebrate the dedication of the chapel, with the - addition of an offertory and a trumpet concerto, to be performed by one of - the boys. The latter is not preserved; the Mass in G major (49 K.), the - first which Mozart had written, betrays, as might be expected, the - uncertainty of boyish workmanship more than any previous work. It is - written for chorus and solos which do not merely alternate with the chorus - in short phrases; "Et in Spiritum Sanctum" is an independent solo for the - bass; Benedictus, a solo quartet. The plan, modelling, and execution of - the music are quite of the conventional type of a Missa brevis; it is - almost devoid of original invention, and bears no signs of those stirrings - of genius which we have remarked in previous works. This want has not been - without influence on the working-out of the music. The imitative phrasing - is stiffer and less free than elsewhere; only the little regulation fugue - "Et vitam" shows the result of study; and the impetuous Osanna— - <span class="side">FIRST MASS IN G MAJOR.</span> <span class="pagenum"><a - href="pgimages/p097.png">[97]</a></span> [See Page Image] is vigorous and - well finished. The Offertory, "Veni, Sancte Spiritus" (47 K.), in C major - is lively and brilliant, with trumpets and drums. The closing "Alleluia" - is almost too gay, but it is pretty and fresh, reminding one of Caldara's - easier pieces. - </p> - <p> - The performance, which Wolfgang conducted, took place on December 7, 1768, - in the presence of the imperial court, and confirmed, as the father writes - home, that which their enemies by opposition to the opera had sought to - disprove; convincing the court and the numerous audience assembled, of - Wolfgang's right to a place of honour among composers. - </p> - <p> - The following is the testimony of a contemporary journal:<a - href="#linknote-40052" name="linknoteref-40052" id="linknoteref-40052">52</a> - </p> - <p> - On Wednesday, the 7th, his Imperial Majesty, with the Archdukes Ferdinand - and Maximilian, and the Archduchesses Maria Elizabeth and Maria Amelia - were pleased to repair to the Orphan Asylum on the Rennweg, in order to be - present at the first festival service and dedication of the newly erected - chapel. - </p> - <p> - On either side of the entrance to the chapel were stationed the companies - of body guards with their bands. The royal party were received by his - Eminence the Cardinal Archbishop of this place with his attendant clergy, - amid the flourish of trumpets and drums, and the discharge of guns and - cannons. The service of the dedication was conducted by his Eminence, and - the mass by the suffragan Bishop Marxer, with repeated discharge of - fire-arms. - </p> - <p> - The entire music, sung by the choir of orphans, was composed for the - occasion by Wolfgang Mozart, son of Dr. L. Mozart, Kapellmeister at - Salzburg, a boy twelve years of age, well known for his extraordinary - talent; it was conducted by the composer with the utmost precision and - accuracy, and was received with universal applause and admiration. - </p> - <div style="height: 4em;"> - <br /><br /><br /> - </div> - <div style="height: 4em;"> - <br /><br /> - <hr /> - <br /> - </div> - <p> - <a name="chap_5" id="chap_5"></a> - </p> - <h2> - CHAPTER V. THE ITALIAN TOUR. - </h2> - <p> - THE Archbishop could not but feel flattered at the accomplishments of the - young Salzburger, and he endeavoured, as far as lay in his power, to - complete the partial success of the visit to Vienna by ordering a - performance of Wolfgang's opera in Salzburg, notwithstanding that it was - "an opera buffa, <span class="side">THE ITALIAN TOUR.</span> <span - class="pagenum"><a href="pgimages/p098.png">[98]</a></span> requiring - performers of a buffo character." The programme, recovered by Köchel -<a href="#linknote-5001" name="linknoteref-5001" id="linknoteref-5001">1</a> -gives the following [See Page Image] -<a href="#linknote-5002" name="linknoteref-5002" id="linknoteref-5002">2</a>cast:— - </p> - <p> - The performance must have taken place on the fête-day of the Archbishop or - some similar festive occasion, and upon a stage specially erected in the - archiepiscopal palace. - </p> - <p> - <span class="side">SALZBURG—MASS IN D MINOR.</span> <span - class="pagenum"><a href="pgimages/p099.png">[99]</a></span> - </p> - <p> - 1748, "La Clemenza di Tito" was given by the Signori Paggi di Corte, who - played even the female parts, or of the chapel. - </p> - <p> - It was the custom on such occasions at the close of the performance to - address the person in whose honour it was given, generally in the form of - an air with recitative, concluding with a chorus; this peroration, which - had no connection with the body of the opera, was called <i>licenza</i>) - Two such, composed by Wolfgang for Archbishop Sigismund, are still - preserved; a tenor air (36 K.) and a soprano air (70 K.), both with long - recitatives, giving testimony to increasing dexterity in the treatment of - form. - </p> - <p> - The performance of the opera was followed on the side of the Archbishop by - the announcement of Wolfgang's appointment as Concertmeister, and he was - accordingly so entered in the Court Calendar of 1770. - </p> - <p> - The greater part of the year 1769 was spent quietly at Salzburg in studies - of which we know but little. The only compositions which can certainly be - ascribed to this year are seven minuets for two violins and bass, composed - January 26, 1769,<a href="#linknote-5003" name="linknoteref-5003" - id="linknoteref-5003">3</a> and two masses; they are all of the nature of - studies. The first of the masses, in D minor, dated January 14, 1769 (65 - K.), noteworthy on account of the minor key, is a missa brevis, and keeps - strictly to that form, both in choruses and solos; in the Credo the words - "Genitum, non factum—consubstantialem Patri—per quem omnia - facta sunt," are distributed to three voices, and sung together. The - different phrases, though well formed, have a certain abruptness, showing - that the skill to continue and develop the suggestions of the mind was - still wanting. But the ordering of the details and the counterpoint are - both excellent, and bear many marks of originality. - </p> - <p> - As an example the fugue— <span class="side">THE ITALIAN TOUR.</span> - <span class="pagenum"><a href="pgimages/p100.png">[100]</a></span> is - unusual, but has a striking effect in this place. Mozart evidently enters - more into the spirit of his work as the mass proceeds, and gives his - impulses freer play. The Benedic-tus apparently gave him some trouble. - First, it was written for all four voices, then for soprano solo, and - lastly as a duet for soprano and alto, this last arrangement being twice - elaborated. The alterations in the details show how precise he was in this - work. [See Page Image] - </p> - <p> - The beginning of the Dona— - </p> - <p> - Do - na, do - na no - bis <span class="side">PATER DOMINICUS MASS.</span> - <span class="pagenum"><a href="pgimages/p101.png">[101]</a></span> - promises well, but fails to maintain the same level to the end. [See Page - Image] - </p> - <p> - The second mass, in C major (66 K.), the "Pater Domini-cus Mass," was - composed in October, 1769, on the occasion of the first celebration of - mass by Hagenauer's son, whose entrance into a monastery had formerly - caused Wolfgang to shed tears (p. 50).<a href="#linknote-5004" - name="linknoteref-5004" id="linknoteref-5004">4</a> The young composer put - forth all his powers to produce a truly grand and brilliant festival mass. - </p> - <p> - Every part is well conceived and worked out, and considerable progress is - observable in the mechanical details of the whole. The subjects are more - important, and the passages for the violins, which are very prominent, - have more distinct character; the different parts, too, have freer play. - But it is at the same time to be noted that the substance of the work is - not yet on a level with its broader scheme. A succession of independent - solos, which evidently served as the special embellishment of the mass, - show a considerable effort to avoid a light operatic tone, and to combine - dignity with easy and attractive grace. - </p> - <p> - Mozart's unequalled talent for pure and noble melody is as discernible - here as elsewhere, though it is crippled by a certain amount of confusion - of ideas. Curiously enough the Benedictus, a solo quartet, is accompanied - only by the first violin, which plays round the voices with a continuous - running passage. There is a good effect in the Dona nobis, where the - chorus answers the short solo phrases— <span class="side">THE - ITALIAN TOUR.</span> <span class="pagenum"><a href="pgimages/p102.png">[102]</a></span> - with changes of lead and harmony. [See Page Image] - </p> - <p> - This mass serves as a proof that L. Mozart did not confine himself to - educating his son as an operatic composer, but that he made him pass - through a course of severe study in every branch of his art, with the just - conviction that his genius, when fully trained and developed, would mark - out a line for itself. - </p> - <p> - L. Mozart's intention of taking Wolfgang to Italy remained firm as ever, - and he considered their stay in Vienna as the first step towards its - accomplishment. At that time, Italy was to musicians what she now is to - painters and sculptors; a residence there was necessary to give the - finishing touches to their education, and <i>éclat</i> to their - reputation. - </p> - <p> - Music in Italy was not only an art universally diffused and esteemed, it - was <i>the</i> Art <i>par excellence</i>. All classes shared the - insatiable desire for music everywhere—in the churches, the - theatres, the streets, and their own homes; and the delicate appreciation - and enthusiasm for what was excellent were increased by practice and - education. So in Italy a national tradition for production as well as for - taste had been gradually formed, a sort of musical climate, in which - artists found it easy to breathe. They knew that they might rely - confidently on the appreciation of the public, whose attention and - intelligence urged them to fresh efforts, while rewarding each success - with sympathetic applause. - </p> - <p> - Opera and church music were almost in equal favour, and afforded mutual - support to each other. It was accordant with the brilliancy of royal - courts and rich cities to give operatic performances either at Carnival - time or on special festive occasions; no expense was spared to engage the - most famous singers, male and female, and for every season (<i>stagione</i>) - new operas were written, if possible by famous and favourite composers. - Again, the dignity of the Church required, at least on great holy days, - that the musical part of the worship should be grand and imposing; and the - more <span class="side">MUSIC IN ITALY.</span> <span class="pagenum"><a - href="pgimages/p103.png">[103]</a></span> richly endowed churches and - monasteries were quite able to rival the theatres. There was on every side - a steady demand for musical production and execution, which offered - abundant opportunity for the exercise of every kind of talent. - </p> - <p> - The musical education of youth was principally intrusted to the Church. - Monasteries and religious institutions were careful to train the musical - strength, which was later to be at their disposal; special institutions - were founded, which were in part the origin of the future Conservatoires, - whose mission it was to train their scholars as singers, instrumentalists, - or composers, and in every case as thoroughly cultivated musicians. In - Venice there were four such foundations in which boys, and more especially - girls, received musical instruction, preparatory to devoting themselves to - the service of the Church: the Ospidale della Pietà, intended for - foundlings; Ospedaletto, where Sacchini was kapellmeister at this time; - Gli Mendicanti, and Gli Incurabili, then under Galuppi's direction.<a - href="#linknote-5005" name="linknoteref-5005" id="linknoteref-5005">5</a> - In Naples were similar establishments, De Poveridi Gesù-Christo; Della - Pietà de' Turchini; S. Onofrio; Loretto. Though all were originally - intended as nurseries for church music, yet they were of almost equal - service to music of a secular nature; indeed, the most highly gifted among - the scholars were likely to prefer the more brilliant and profitable - career of the opera stage. But the separation was never complete; operatic - composers for the most part worked also for the churches, where opera - singers and even professional instrumentalists were often heard. - Ecclesiastics, too, practised music in various branches, often with zeal - and success. Although this union of musical forces, through the - overpowering influence of the opera, worked in time prejudicially on the - dignity and purity of church music, yet there can be no doubt of its good - effect on the study of form and musical science. The result was all the - greater, since the almost instinctive steadfastness of the national taste - preserved musicians from aberrations which are only to be checked by rigid - limitations as to style and form. An art so formed, <span class="side">THE - ITALIAN TOUR.</span> <span class="pagenum"><a href="pgimages/p104.png">[104]</a></span> - with so one-sided a cultivation, must of course die out in the end; but - the extraordinary accomplishments of numerous Italian masters cannot fail - to impress us with admiration of the share which Italian music, in its - fulness of life and activity, had in producing a true musical atmosphere. - It was indeed, this firm foundation of scientific knowledge which made - possible a liberation of music from its confined Italian limits without - abandoning the laws of artistic formation. - </p> - <p> - Under these circumstances Italy enjoyed undisputed and unlimited - sovereignty in all matters relating to music. Spain and England - acknowledged it almost without reserve; in France, where the impulse - proceeding originally from Italy, had been modified by national - characteristics, the influence of Italy was now beginning to reassert - itself. In Germany alone, the works of great masters (we need only remind - our readers of the Bach family as representatives of German church music; - of Keiser, the creator of German opera in Hamburg) bore witness to an - independent development of music. Even here it was not as "German as the - German oaks," and bore many traces of Italian or French influences; but - the comprehension and cultivation of form, the substance and spirit of the - music, are purely German. This German music, however, was principally - confined to Protestant North Germany; it was nourished by no favour from - the great, and the colder artistic mind of North Germany hindered it from - attaining the popularity which was enjoyed by music in Italy. At all the - German courts, Protestant as well as Catholic, the opera was Italian; the - Catholic church music was under the exclusive sway of Italian composers; - all singers, male and female, were either born or educated in Italy, and - so, for the most part, were the instrumentalists, although it was in - instrumental music that Germany first challenged the supremacy of Italy. - </p> - <p> - The curious attraction of Germans to Italy, which has existed in all ages - under different manifestations, must have worked with peculiar power on - musicians.<a href="#linknote-5006" name="linknoteref-5006" - id="linknoteref-5006">6</a> The German <span class="side">LEOPOLD' - MOZART'S HOPES.</span> <span class="pagenum"><a href="pgimages/p105.png">[105]</a></span> - composers of the last century (with the exception of the North German - Protestant church composers) all studied and laid the foundation of their - fame in Italy, even those who, like Handel and Gluck, possessed original - power enough to enable them later to strike out a path for themselves.<a - href="#linknote-5007" name="linknoteref-5007" id="linknoteref-5007">7</a> - </p> - <p> - It may be said that, in this sense, Mozart's pilgrimage to Rome was the - last of its kind; to him it was accorded, not, only to attain to the - highest aim of Italian opera but to break the bonds of nationality, by - lending depth and substance to the Italian perfection of form, while, with - the wealth of knowledge acquired in Italy, he furnished artistic form and - expression to the national opera of Germany. - </p> - <p> - In taking his son to Italy, L. Mozart had a twofold end in view. Wolfgang - was not so much to continue his scholastic training (that he could have - done at home) as to emerge from a narrow provincial existence into the - great world of art, and by extended experiences to gain the refined taste - of a cultivated man of the world. He was also to gain fresh laurels, and - to prepare the way for a prosperous and glorious future. L. Mozart - expected from the excitable Italians special interest and applause on - account of Wolfgang's youth; and in this he was not disappointed. But he - soon found that no pecuniary gain was to be expected from this journey, - since all concerts (<i>accademie</i>) were given by exclusive companies, - or by a public institute without entrance money; so that the artist could - count on no receipts but a voluntary fee from the <i>entrepreneur</i>, - which was not usually large. Soon after his arrival in Italy L. Mozart - remarks to his wife, a remark often repeated, that although not rich he - has "always a little more than is absolutely necessary"; and so bearing - his main object in view, he is quite content. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p106.png">[106]</a></span> - </p> - <p> - Considering the constant fulfilment of duty as the most important factor - in education, he insisted on Wolfgang's continuing his regular studies - during their journey. A long list of compositions, partly suggested by - passing events, partly set studies, bear witness to this. Wolfgang, who - was very fond of arithmetic (p. 22), asks his sister to send his - arithmetic book after him, so that he may go on with his sums. In Rome he - had a present of an Italian translation of the "Arabian Nights," which - amused him very much. Soon after we find him reading "Telemachus." L. - Mozart was too well informed himself to look upon this journey as - instructive merely from a musical point of view. His letters show that he - took interest in politics and social life, in nature, art, and antiquity; - he sends home long descriptions of the journey, which are to serve as - preliminaries to future conversations over the books and engravings he is - collecting. Wolfgang evinced the same fresh interest in everything he saw, - and offered no opposition to the care his father took of his health. "You - know that he can be moderate," writes L. Mozart (February 17,1770), and I - can assure you that I have never seen him so careful of his health as in - this country. He leaves alone all that he does not think good for him, and - many days he eats but little; yet he is always fat and well, and merry and - happy the whole day long. And from Rome he writes (April 14, 1770), that - Wolfgang "takes as much care of his health as if he were a grown man." - </p> - <p> - Neither the honours with which he was everywhere overwhelmed, nor his - performances as a musician, had any effect in spoiling the unsophisticated - nature of the boy; he was always bright and animated, full of jokes and - merry absurdities, and retaining a strong attachment to home and the home - circle amid all the distractions of the journey. In his letters to his - sister, he falls into a ludicrous jargon, composed of any number of - different languages, and of childish jokes and teasings, after the manner - of brothers and sisters who have grown up together and are under no sort - of restraint in their intercourse. - </p> - <p> - But whenever the subject is connected with music, through all the joking - tone can be traced a lively interest and a <span class="side">INSPRUCK—ROVEREDO, - 1770.</span> <span class="pagenum"><a href="pgimages/p107.png">[107]</a></span> - decided and impartial judgment; and the whole tone of his letters breathes - hearty sympathy and amiability. Fortunate circumstances and a sensible - education had combined with the happiest result; and there can be no doubt - that the concentration of Mozart's early training on one object had the - indirect effect of keeping at a safe distance much that might have been - hurtful to his disposition. - </p> - <p> - The father and son left Salzburg at the beginning of December, 1769.<a - href="#linknote-5008" name="linknoteref-5008" id="linknoteref-5008">8</a> - Many threads of personal recommendation stretched thence into the Tyrol - and upper Italy, partly from mercantile connections, partly through the - noble families belonging to the Cathedral Chapter, and the travellers had - introductions which gained them admittance into widely different circles. - Their first stay was at Inspruck, where they were well received by Count - Spaur, brother to the Salzburg Capitular. On December 14, at a concert - given by the nobility at the house of Count Künigl, Wolfgang played a - concerto at sight, which had been put before him as a test of his skill; - at the close he was presented with it, and twelve ducats in addition. The - Inspruck newspaper testified (December 18) that "Herr Wolfgang Mozart, - whose extraordinary musical attainments have made him famous alike in the - imperial court, in England, France, Holland, and throughout the Holy Roman - Empire," had given in this performance the most convincing proofs of his - marvellous skill. "This youthful musician, who is just thirteen years old, - has added fresh brilliancy to his fame, and has commanded the unanimous - approbation of all musical connoisseurs." - </p> - <p> - As soon as they entered Italy the marks of honour with which the young - artist was received became more animated and enthusiastic. At Roveredo the - nobles arranged a concert at the house of Baron Todeschi, who had known - Mozart at Vienna. "There is no need to say how Wolfgang is received," - writes his father. When he wanted to play the organ at the principal - church, the report of it spread through <span class="side">THE ITALIAN - TOUR.</span> <span class="pagenum"><a href="pgimages/p108.png">[108]</a></span> - the town, and the church was so full that it took two strong men to clear - the way to the choir, and then it was a quarter of an hour before they - could get to the organ, they were so besieged by the audience. - </p> - <p> - The enthusiasm in Verona was still greater. As there was an opera every - evening, a week elapsed before a concert could be arranged; but in the - meantime invitations poured in from the Marchese Carlotti, Count Giusti - del Giardino, Locatelli, &c. - </p> - <p> - Wolfgang performed a symphony of his own composition before a select - assembly of connoisseurs, besides playing difficult pieces at sight, and - composing a song to some dictated words, which he afterwards sang. The - scene at Roveredo was repeated when he went to play the organ at St. - Thomas's Church. The press was so great that they were obliged to get into - the church through the monastery, and even then they could hardly have - reached the organ had not the monks formed a ring round them, and so made - a way through the crowd. "When it was over, the noise was still greater, - for every one wanted to see the little organist." - </p> - <p> - Newspapers and poets vied with each other in extolling the marvellous - apparition. The Receiver-General, Pietro Lugiati, chief among intellectual - dilettanti, caused a life-size portrait of Wolfgang at the clavier to be - painted in oils, and acquainted his mother with this honour in a long - letter which contained warm expressions of admiration for the "raro e - portentoso giovane."<a href="#linknote-5009" name="linknoteref-5009" - id="linknoteref-5009">9</a> - </p> - <p> - On January 10 they entered Mantua well and hearty in spite of the cold; - but Wolfgangerl looked, his father said, owing to the fresh air and the - heat of the stove, "as if he had gone through a campaign, a sort of - reddish brown, particularly round the eyes and mouth, something like his - Majesty the Emperor." Here too, they were warmly received by all the - distinguished dilettanti of the place; Signora Bettinelli in especial - lavished all a mother's care on <span class="side">PROGRAMME OF CONCERT AT - MANTUA, 1770.</span> <span class="pagenum"><a href="pgimages/p109.png">[109]</a></span> - the boy, and wept at parting from him. A Signora Sartoretti invited them - to dine with her, and sent by her servants a vase with a beautiful bouquet - tied with red ribbon, and in the middle of the ribbon a piece of four - ducats folded in a poem addressed by the Signora to Wolfgang. - </p> - <p> - On January 16, the concert of the Philharmonic Society was given in their - capital hall, Wolfgang being the principal performer. The programme, which - we append, gives some idea of Wolfgang's performances in Italy. - </p> - <p> - Serie delle composizione musicali da eseguirsi nell' accademia pubblica - filarmonica di Mantova la sera del di 16 del corrente Gennajo, 1770. - </p> - <p> - In occasione della venuta del espertissimo giovanetto - </p> - <p> - Sign. Amadeo Mozart. - </p> - <p> - 1. Sinfonia di composizione del Sign. Amadeo. - </p> - <p> - 2. Concerto di Gravecembalo esibitogli e da lui eseguito all im prowiso. - </p> - <p> - 3. Aria d'un Professore. - </p> - <p> - 4. Sonata di Cembalo all improwiso eseguita dal giovine con variazioni - analoghe d'invenzione sua e replicata poi in tuono diverso da quello in - cui è scritta. - </p> - <p> - 5. Concerto di Violino d'un Professore. - </p> - <p> - 6. Aria composta e cantata nell' atto stesso dal Sign. Amadeo all' - </p> - <p> - improwiso, co' debiti accompagnamenti eseguiti sul Cembalo, sopra parole - fatte espressamente; ma da lui non vedute in prima. - </p> - <p> - 7. Altra sonata di Cembalo, composta insieme ed eseguita dal medesimo - sopra un motivo musicale propostogli improwissamente dal primo Violino. - </p> - <p> - 8. Aria d'un Professore. - </p> - <p> - 9. Concerto d'Oboè d'un Professore. - </p> - <p> - 10. Fuga musicale, composta ed eseguita dal. Sign. Amadeo gul Cembalo; - </p> - <p> - e condotta a compiuto termine secondo le leggi del contrappunto, sopra un - semplice tema per la medesima presentatogli all' im-prowiso. - </p> - <p> - 11. Sinfonia dal medesimo, concertata con tutte le parte sul Cembalo sopra - una sola parte di Violino postagli dinanzi improwisamente. - </p> - <p> - 12. Duetto di Professori. - </p> - <p> - 13. Trio in cui il Sign. Amadeo ne suonerà col Violino una parte all - improwiso. - </p> - <p> - 14. Sinfonia ultima di composizione del Suddetto. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p110.png">[110]</a></span> - </p> - <p> - The result was brilliant, the applause indescribable, and, according to a - newspaper account, the musicians in Mantua were unanimous in declaring - that this youth was born to surpass the most accomplished masters of the - art. - </p> - <p> - This notice and others dwell chiefly on the precocious performances of the - youthful prodigy. But wonderful as were Wolfgang's accomplishments as a - clavier-player, violinist, and vocalist, they were thrown into the shade - by his talents as a composer. Even in his public performances the - prominence given to improvisation is remarkable, and the readiness with - which he adapted the most varied subjects, always fulfilling the - conditions of musical art, presupposes not only great liveliness of - imagination, but a perfect mastery of mechanical form. In estimating - Mozart's early acquirements, the most impressive fact to be noticed is the - absence of any exaggeration of feeling or over-cultivation; all is natural - and unstrained. His talent was no forced exotic, which springs up quickly - and as quickly withers away; it was a plant of healthy growth, coming - gradually to maturity; and the mechanical skill acquired in youth was the - best foundation for the free creative power of manhood. - </p> - <p> - Father and son arrived at Milan before the end of January, and found a - safe and comfortable lodging in the Augustine monastery of San Marco. A - lay brother was appointed to wait on them, even to the warming of their - beds, which attention caused Wolfgang to be "delighted when bedtime came." - Their warm friend and patron was the Governor-General, Count Carl Joseph - von Firmian (b. 1716). He had been partly educated at Salzburg (where his - elder brother Joh. Bapt. Anton was Archbishop until 1740), and had there - founded a literary society, whose earnest endeavours after a freer method - of scientific inquiry had led to many hard struggles with authority.<a - href="#linknote-50010" name="linknoteref-50010" id="linknoteref-50010">10</a> - He afterwards studied at Leyden, and acquired cultivation and taste by - frequent travels in France and Italy. As Ambassador at Naples, he won the - heart of Winckelmann, who speaks of <span class="side">MILAN, 1770.</span> - <span class="pagenum"><a href="pgimages/p111.png">[111]</a></span> him as - one of the greatest, wisest, most humane, and most learned men of his time - and country.<a href="#linknote-50011" name="linknoteref-50011" - id="linknoteref-50011">11</a> Count Firmian was appointed Govemor-General - of Lombardy in 1759, and spared no efforts to promote the material - well-being as well as the intellectual and artistic improvement of his - province. - </p> - <p> - Like Münchhausen,<a href="#linknote-50012" name="linknoteref-50012" - id="linknoteref-50012">12</a> he was not only a patron, but an - accomplished judge of science and of the arts, and his support and - hospitality were freely bestowed on artists and scholars. The Mozarts - found a ready sympathiser in him, and his introduction to families of rank - obtained for them all the pleasures of the Carnival; they were invited to - balls and masquerades, and were obliged to follow the fashion, and order - dominos and <i>bajuti</i> (caps, which covered the face to the chin and - fell back over the shoulders).<a href="#linknote-50013" - name="linknoteref-50013" id="linknoteref-50013">13</a> L. Mozart thought - they were exceedingly becoming to Wolfgang, but shook his head over his - own "playing the fool in his old age," and consoled himself with the - thought that the things "could be used for linings afterwards." - </p> - <p> - At the opera, where they were often present, they made the acquaintance of - the Maestro Piccinni, who was producing his "Cesare in Egitto." Wolfgang's - performances at a public concert excited here as elsewhere the wondering - admiration of artists and amateurs. "It is the same in this place as in - others," writes L. Mozart, "I need not particularise."<a - href="#linknote-50014" name="linknoteref-50014" id="linknoteref-50014">14</a> - The friendship which Wolfgang struck up with two clever young singers, of - fourteen and fifteen years old, led to his composing for them two Latin - motetts. - </p> - <p> - But Count Firmian imposed a severer task on the young musician. He gave a - brilliant soirée at his Palace, graced by the presence of the Duke of - Modena and his daughter, and the Cardinal Archbishop of Milan. Wolfgang - was commissioned to prepare for this soirée three songs to Metastasio's - words as a proof of his power to produce serious dramatic music. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p112.png">[112]</a></span> - </p> - <p> - The principal piece was a grand aria with an accompanied recitative from - "Demofoonte," the celebrated and often-composed "Misero pargoletto" (77 - K.). The recitative is very elaborate, in high tragic style; its forcible - character is rendered chiefly by the orchestra. - </p> - <p> - The air consists of an Adagio with a Poco allegro interposed in the same - tone throughout. The two other songs (78, 79 K.) from Metastasio's - "Artaserse," "Per pietà bel idol mio" and "Per quel paterne amplesso," - have each only one movement; the last song has a short introductory - recitative. In the two latter songs the simple Cantabile is embellished by - bravura passages, which are wanting altogether in the first. They are all - written for a soprano voice,<a href="#linknote-50015" - name="linknoteref-50015" id="linknoteref-50015">15</a> and stood the test - as representative of the dramatic song of the time. Count Firmian - presented Wolfgang with a snuff-box and 20 gigliati,<a - href="#linknote-50016" name="linknoteref-50016" id="linknoteref-50016">16</a> - together with a copy of Metastasio's works. But the most important result - of this soirée, and of their stay in Milan, was that Wolfgang was - commissioned to write the new opera for the next season; the first singers—Gabrielli, - with her sister and Ettore—were to be engaged for it, and the - remuneration was fixed at 100 gigliati and free quarters in Milan during - their stay. The libretto was to be sent after them, so that Wolfgang might - make himself familiar with it, the recitative was to be forwarded to Milan - in October, and the composer to be there himself at the beginning of - November, to complete the opera in the neighbourhood of the singers, and - to rehearse it for production at Christmas. These conditions were both - agreeable and convenient, as they did not interfere with the journey - through Italy, and allowed Wolfgang ample time to complete the opera - quietly. - </p> - <p> - Mozart's first quartet was composed on the way from Milan to Parma, and - dated Lodi, March 15, 7 o'clock in the evening (80 K.). At Parma the - celebrated singer Lucrezia Agujari, called "la Bastardella," invited them - to sup with her, and sang so as to justify the reports they had heard of - <span class="side">"LA BASTARDELLA"—BOLOGNA, 1770.</span> <span - class="pagenum"><a href="pgimages/p113.png">[113]</a></span> her execution - and the fabulous compass of her voice. "I could not have believed that she - could sing to C in altissimo," writes L. Mozart, "had I not heard it with - my own ears. The passages which Wolfgang has written were in her song, and - she sang them somewhat softer than the deeper notes, but as clearly as an - octave pipe in an organ. In fact, the trills and all were note for note - just as Wolfgang has written them down. Besides this she has good alto - notes, as low as G. She is not handsome, but certainly not ugly; has a - wild look in her eyes at times, like people who are subject to fits, and - she limps with one leg. She has always conducted herself well, and has - therefore a good name and reputation." - </p> - <p> - On March 24 they arrived at Bologna. Here they were received by Field - Marshal Count Pallavicini in a way that reminded them of Count Firmian. - "They are two noblemen," writes L. Mozart, "who possess identical tastes - and modes of thought, and are equally amiable, generous, and dignified." - The Count arranged a brilliant concert in his own house, attended by 150 - persons of the high nobility, among them the Cardinal Legate Antonio - Colonna Branci-forte, and the chief of connoisseurs—Padre Martini. - The company assembled at 8 o'clock, and did not disperse until near - midnight. - </p> - <p> - L.. Mozart considered that Wolfgang made a greater effect in Bologna than - elsewhere, that city being the seat of so many artists and learned men. - Here they met the celebrated Spagnoletta (Gius. Useda), from Milan, the - kapellmeister, Vincenzo Manfredini, known also as an author, who had - visited them at Salzburg, on his journey from St. Petersburg in 1769, and - the famous alto, Gius. Aprile.<a href="#linknote-50017" - name="linknoteref-50017" id="linknoteref-50017">17</a> Bologna, the father - thought, and thought rightly, was the best centre whence Wolfgang's fame - could spread over Italy, since he had there to stand the severest tests - from Padre Martini, the idol of the Italians, and the acknowledged arbiter - in all matters of art. The Franciscan Giambattista Martini<a - href="#linknote-50018" name="linknoteref-50018" id="linknoteref-50018">18</a> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p114.png">[114]</a></span> (born 1760) was esteemed not - only as the composer of short, concise, artistically worked-out sacred - pieces, but, from his thorough and comprehensive researches, as - unquestionably the most learned theoretical musician of his day. Only one - volume of his pedantic "Storia della Musica" had as yet appeared, and his - classical work on counterpoint was only in preparation;<a - href="#linknote-50019" name="linknoteref-50019" id="linknoteref-50019">19</a> - but he was already considered infallible on all musical questions, both in - Italy and abroad. His possession of an unequalled musical library<a - href="#linknote-50020" name="linknoteref-50020" id="linknoteref-50020">20</a> - placed him in correspondence with numerous musicians, scholars, and - princes. Disputed points were submitted to his arbitration, and his advice - was sought in the bestowal of official places. A recommendation from Padre - Martini was the best possible key to success. His authority was the more - readily acknowledged, since he united to his rare attainments a singular - degree of modesty, and a ready alacrity to afford instruction, counsel, or - assistance whenever required. He preserved, even in his learned disputes, - invariable dignity and amiability,<a href="#linknote-50021" - name="linknoteref-50021" id="linknoteref-50021">21</a> with a certain - amount of cautious reserve. L. Mozart might well be anxious to win the - favour of such a man for his son. Whenever they visited him Padre Martini - gave Wolfgang a fugue to work out, which was always done to the great - contrapuntist's entire satisfaction. - </p> - <p> - The companion figure to this learned monk was a musical celebrity of quite - another kind, whose acquaintance Mozart also made in Bologna. Farinelli - (Carlo Broschi, b. 1705), a pupil of Porpora, first appeared in 1722 in - Metastasio's "Angelica," and an intimacy resulted between the singer and - the poet (who called him his <i>caro gemello</i>) which had an important - effect on the development of Italian opera. Farinelli's career in Italy - was an unbroken success, and he was enthusiastically received in Vienna - and London.<a href="#linknote-50022" name="linknoteref-50022" - id="linknoteref-50022">22</a> Arriving in Spain in 1736, his singing had - power to dispel the <span class="side">FARINELLI—FLORENCE, 1770.</span> - <span class="pagenum"><a href="pgimages/p115.png">[115]</a></span> - melancholy of Philip V.; he was summoned daily to the king's presence, and - became his acknowledged favourite, a position which he retained under - Ferdinand VI. and Queen Barbara. On the accession of Charles III., in - 1761, Farinelli was obliged to leave Spain, and living in wealthy ease at - Bologna, indulged his tastes for art and science. He practised the amiable - and refined hospitality of a cultivated man of the world in his beautiful - villa, and took peculiar interest in his fellow-artists, who never failed - even in his old age to be charmed with his singing.<a - href="#linknote-50023" name="linknoteref-50023" id="linknoteref-50023">23</a> - </p> - <p> - The reports that have come down to us concerning the compass and beauty of - his voice, concerning his way of taking breath, his <i>portamento</i>, his - declamation,<a href="#linknote-50024" name="linknoteref-50024" - id="linknoteref-50024">24</a> are as wonderful as was the success of this - king of artists both in public and at court. He appears almost as a - personification of the greatness and power of song in the last century, of - which we can scarcely form a true conception, and which cause the history - of music in that age to be mainly a history of song and singers. The - period of Mozart's musical education was still under this influence, and, - although the absolute sovereignty of song was soon to decline, the - impression made on him in his youth by Farinelli and other great singers - was not likely to be forgotten.<a href="#linknote-50025" - name="linknoteref-50025" id="linknoteref-50025">25</a> - </p> - <p> - On March 30 the travellers reached Florence. Their Austrian introductions - secured them a most favourable reception in this city. The imperial - ambassador, Count Rosenberg, immediately made known their arrival at - court, where they were very graciously received by the Archduke Leopold, - He recollected their former stay at Vienna, and inquired after Nannerl. - Wolfgang played at court on April 2, accompanied by Nardini, the - celebrated violinist; the Marquis de Ligniville, director of music, laid - the most difficult fugues before Wolfgang to work out; he accomplished - everything "with as much ease as eating a piece of bread." - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p116.png">[116]</a></span> - </p> - <p> - The Marquis de Ligniville, Duca di Conca, &c., was considered one of - the most thorough masters of counterpoint in Italy. As a proof of his - skill he had written a "Salve Regina"<a href="#linknote-50026" - name="linknoteref-50026" id="linknoteref-50026">26</a> and "Stabat Mater" - for three parts, in the form of different kinds of canon. To the latter - work is prefixed a long treatise (dated April 11, 1767) for the - Philharmonic Society in Bologna, of which he was a member; the object of - the treatise was to show that in accurate contrapuntal works the - traditions of the old Roman school were preserved. In accordance with this - view Ligniville apologises ironically to followers of the gusto moderno - for the disuse of drums and trumpets, and for the simple old modulations - to which he confines himself as being ignorant of the new lights. He - allowed Wolfgang to study his works; and the latter copied neatly nine - movements of the thirty canons of the "Stabat Mater." (Anh. 238 K.) Not - satisfied with this, Wolfgang aimed at himself becoming a master of - counterpoint. A "Kyrie a cinque con diversi canoni" in three five-part - canons in unison was evidently an imitation of Ligniville's compositions, - and was only one of many studies in the same difficult art.<a - href="#linknote-50027" name="linknoteref-50027" id="linknoteref-50027">27</a> - A loose sheet contains besides the first canon of the Kyrie, a design for - a four-part canon, and five close canons or riddle canons, the first part - and the number of parts only being given, [See Page Image] expressly noted - di Mozart:— - </p> - <p> - <span class="side">STUDIES IN CANON-WRITING, 1770.</span> <span - class="pagenum"><a href="pgimages/p117.png">[117]</a></span> - </p> - <p> - 2. Canon.—Ter temis canite vocibus. [See Page Image] - </p> - <p> - 3. Canon.—Ad duodecimam: clama ne cesses. - </p> - <p> - Con - fi - te - bor ti bi Do - mi-ne in gen - ti -bus et no -mi - ni to - - o can - ta -. - - - - - bo. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p118.png">[118]</a></span> - </p> - <p> - 4. Canon.—Tertia pars si placet. - </p> - <p> - Con - fi - te.. bor ti-biDo - - - - - mi-ne in gen- ti-bu« et no -mi-ne tu - - o can - ta bo. - </p> - <p> - 5. Canon.—Ter voce ciemus. - </p> - <p> - [See Page Image] Nos. 1, 3, 4 of these are copied from the vignettes with - which Padre Martini's "Storia Universale" is adorned. <a - href="#linknote-50028" name="linknoteref-50028" id="linknoteref-50028">28</a> - He had made Wolfgang a present of his book, and the latter probably set to - work at once to find out the knack of writing canons. We can see the ease - with which he mastered his task. - </p> - <p> - At Florence, they fell in with their old London acquaintance Manzuoli, and - Wolfgang was rejoiced to hear that there was a probability of his being - engaged to sing in his opera at Milan. - </p> - <p> - In order to incite Manzuoli's ardour, Wolfgang gave him all his songs to - sing, including those he had composed in Milan. - </p> - <p> - At Florence, too, Wolfgang formed a tender friendship with Thomas Linley, - a boy of fourteen, the son of an English composer; he was a pupil of the - celebrated violin-player Nardini, and played so exquisitely as almost to - surpass his teacher. The two boys met at the house of Signora Maddalena - Morelli, who was famous as an improvisatrice, under the name of Corilla,<a - href="#linknote-50029" name="linknoteref-50029" id="linknoteref-50029">29</a> - and had been crowned as a poetess on the capitol in 1776;<a - href="#linknote-50030" name="linknoteref-50030" id="linknoteref-50030">30</a> - during the <span class="side">ROME, 1770—ALLEGRI'S MISERERE.</span> - <span class="pagenum"><a href="pgimages/p119.png">[119]</a></span> few - days that the Mozarts stayed in Florence the boys were inseparable, and - performed together or by turns, "more like men than boys." They parted - with many tears, and Tommasino, as Linley was called in Italy, brought to - Wolfgang, as a parting gift, a poem which Corilla had written for him. - </p> - <p> - According to Burney,<a href="#linknote-50031" name="linknoteref-50031" - id="linknoteref-50031">31</a> Tommasino and little Mozart were talked of - throughout Italy as two geniuses of the greatest promise, and in later - life at Vienna, Mozart spoke with warmth of Linley,<a - href="#linknote-50032" name="linknoteref-50032" id="linknoteref-50032">32</a> - and the hopes which had been frustrated by his early death.<a - href="#linknote-50033" name="linknoteref-50033" id="linknoteref-50033">33</a> - </p> - <p> - It was with regret that they left Florence; Leopold Mozart wrote to his - wife: "I wish that you could see Florence, its neighbourhood, and the - situation of the city; I am sure you would say that it is a place to live - and die in." But time pressed, if they were to be in Rome for the - carnival. - </p> - <p> - They had a fatiguing journey, in dreadful weather, that reminded them of - Salzburg rather than of Rome, and passed through uncultivated country with - wretched inns containing plenty of filth but little to eat, except perhaps - a couple of eggs and some cabbage. They arrived in Rome about midday on - Wednesday in Holy Week, amidst a storm of thunder and lightning, "received - like grand people with a discharge of artillery." There was just time to - hurry to the Sistine Chapel and hear Allegri's Miserere. It was here that - Wolfgang accomplished his celebrated feat of musical ear and memory.<a - href="#linknote-50034" name="linknoteref-50034" id="linknoteref-50034">34</a> - </p> - <p> - It was the custom on Wednesday and Friday in Holy Week for the choir of - the Pope's household to sing the Miserere (Ps. 50), composed by Dom. - Allegri, which was arranged alternately for a four and five-part chorus, - having a final <span class="side">THE ITALIAN TOUR.</span> <span - class="pagenum"><a href="pgimages/p120.png">[120]</a></span> chorus in - nine parts.<a href="#linknote-50035" name="linknoteref-50035" - id="linknoteref-50035">35</a> This performance was universally considered - as one of the most wonderful in Rome; the impression made by it in - conjunction with the solemn rites it accompanied was always described as - overpowering.<a href="#linknote-50036" name="linknoteref-50036" - id="linknoteref-50036">36</a> "You know," writes L. Mozart, "that this - celebrated Miserere is so jealously guarded, that members of the chapel - are forbidden, under pain of excommunication, to take their parts out of - the chapel, or to copy or allow it to be copied.<a href="#linknote-50037" - name="linknoteref-50037" id="linknoteref-50037">37</a> We have got it, - notwithstanding. Wolfgang has written it down, and I should have sent it - to Salzburg in this letter, were not our presence necessary for its - production. More depends on the performance than even on the composition.<a - href="#linknote-50038" name="linknoteref-50038" id="linknoteref-50038">38</a> - Besides, we must not let our secret fall into other hands, <i>ut non - incurramus mediate vel immediate in censuram ecclesiæ</i>." When the - performance was repeated on Good Friday, Wolfgang took his manuscript with - him into the chapel, and holding it in his hat, corrected some passages - where his memory had not been quite true. The affair became known, and - naturally made a great sensation; Wolfgang was called upon to execute the - Miserere in presence of the Papal singer Christofori, who was amazed at - its correctness. L. Mozart's news excited consternation in Salzburg, - mother and daughter believing that Wolfgang had sinned in transcribing the - Miserere, and fearing unpleasant consequences if it should become known. - "When we read your ideas about the <span class="side">MOZART'S RECEPTION - IN ROME.</span> <span class="pagenum"><a href="pgimages/p121.png">[121]</a></span> - Miserere," answered the father, "we both laughed loud and long. You need - not be in the least afraid. It is taken in quite another way. All Rome, - and the Pope himself, know that Wolfgang has written the Miserere, and - instead of punishment it has brought him honour. You must not fail to show - my letter everywhere, and let his Grace the Archbishop know of it." - </p> - <p> - The Mozarts prepared at once to take part in all the festivities of Holy - and Easter weeks. "Our handsome dress," writes L. Mozart, "our German - speech, and the want of ceremony with which I call to our servant to order - the Swiss guard to make way for us, help us through everywhere." He - appears to have been flattered that Wolfgang was sometimes taken for a - German nobleman or prince, and he for his tutor. At the cardinals' table - Wolfgang stood near the seat of Cardinal Pallavicini, who asked him his - name. On hearing it he inquired in surprise, "What! are you the famous boy - of whom I have heard so much?" talked to him kindly, praised his Italian, - and spoke broken German to him. - </p> - <p> - At the conclusion of the Easter festivities they set to work to present - their numerous letters of introduction, and were warmly received by the - noble families of Chigi, Barberini, Bracciano, Altemps, and others: one - assembly followed another, all in Wolfgang's honour. The astonishment at - his performances increased, according to L. Mozart, the farther they - proceeded into Italy; "but Wolfgang," he adds, "does not remain - stationary; his acquirements increase day by day, so that the greatest - masters and connoisseurs cannot find words for their astonishment." For - the Academies he appears to have written a Symphony (81, K.) and two - soprano songs (82, 83, K.)from Metastasio's "Demo-foonte,"<a - href="#linknote-50039" name="linknoteref-50039" id="linknoteref-50039">39</a> - "Se ardire e speranfca" and "Se tutti i mali miei." In the midst of more - serious study he found time to send his sister a new country dance, in - return for which she was to send him some new minuets by Haydn. About this - time they fell in with Meissner, who was on his way from Naples to - Salzburg; Wolfgang appeared with him at the German Jesuit College, where - Herr v. Mölk, of Salzburg, was studying. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p122.png">[122]</a></span> - </p> - <p> - On May 8, they quitted Rome, where their stay had been in every way - agreeable; they had been comfortably lodged in the house of the Papal - courier Uslinghi, on the Piazza del Clementino; their hostess and her - daughter treated them with every attention and kindness, making them feel - quite at home in the house, and refusing to hear of payment when they - left. The journey to Naples was one not to be undertaken without some - apprehension. The roads were unsafe, a merchant had lately been - assassinated, and "sbirri and bloodthirsty Papal soldiers" were in pursuit - of the murderer; L. Mozart hoped that similar measures would be taken in - Naples. He thought it well, therefore, to travel with four Augustine - monks, which was further an advantage, as it assured them a friendly - welcome and hospitality in all the monasteries which lay on their way. In - Capua, they were allowed to be present as guests at the taking of the veil - by a nun of high rank. - </p> - <p> - Naples, where they remained from the middle of May to the middle of June, - impressed our travellers with the irresistible charm of beautiful nature. - </p> - <p> - At first they suffered from cold, but this soon turned to excessive heat, - and Wolfgang, who had always longed to look brown, saw his wish in a fair - way to be accomplished. They had good recommendations to the court from - Vienna. Queen Caroline, whom Wolfgang had lately seen in Vienna, received - them graciously, accosting them whenever they met; but Wolfgang was not - summoned to play at court. The King, although not unmusical, cared for - nothing that required any cultivation; "what he is," writes L. Mozart, - "can be better told than written." The all-powerful minister Tanucci, - placed his major-domo at their service, to show them all that was worth - seeing. Other nobles followed this example; and every evening a - magnificent equipage was placed at their service, in which they joined the - brilliant <i>passeggio</i> of the nobility on the Strada Nuova or on the - quay, clad in elegant summer costumes. L. Mozart had ordered for himself a - coat of maroon-coloured watered silk with sky blue velvet facings, and - Wolfgang rejoiced in an apple-green coat with rose-coloured facings and - silver <span class="side">NAPLES, 1770—LADY HAMILTON.</span> <span - class="pagenum"><a href="pgimages/p123.png">[123]</a></span> buttons. - Among Wolfgang's patrons was the old Princess Belmonte, the friend of - Metastasio, and interesting to musicians as having been roused from deep - melancholy by the singing of the tenor Raff. - </p> - <p> - The rendezvous of artists and scholars was the house of the British - ambassador, Sir Wm. Hamilton, whose acquaintance the Mozarts had made in - London. He himself was a violin-player, and pupil of Giardini; and his - charming first wife was not only a cultivated judge of music, but was - considered the best pianoforte-player in Naples; her "brilliant shakes and - turns" were not less admired than the touching expression of her playing, - which was in accord with her gentle nature.<a href="#linknote-50040" - name="linknoteref-50040" id="linknoteref-50040">40</a> It was not without - triumph that L. Mozart narrated her having trembled at playing before - Wolfgang. - </p> - <p> - They found other old friends in the Swiss Tschudi, from Salzburg, and in a - Dutchman named Doncker, who had been kind to them in Amsterdam; every one - pressed forward to offer hospitality and assistance. Under these - favourable circumstances, a public concert was given on May 28, with the - most brilliant success; a success the more welcome, as they were not - likely to find their tour a profitable one for some time to come. L. - Mozart was delighted with the situation, fertility, animation, and - curiosity of Naples; but he was shocked by the wretchedness of the - population, and above all by the superstition which prevailed not only - among the lazaroni, but also in the higher ranks of society. He witnessed - an example of it when Wolfgang played at the Conservatorio della Pietà; - the skill with which he used his left hand suggested to the audience that - there was magic in a ring he wore; when he drew it off and played without - it the wonder and applause were redoubled. - </p> - <p> - The time of their stay in Naples was favourable to musical interests. - Simultaneously with the excellent representations of comic opera in the - Teatro Nuovo, there was opened on May 30, the King's fête-day, the Grand - Opera in San Carlo, <span class="side">THE ITALIAN TOUR.</span> <span - class="pagenum"><a href="pgimages/p124.png">[124]</a></span> for which - Jomelli, Caffaro, and Ciccio di Majo were engaged; Anna de Amicis was - prima donna, Aprile principal male singer. By a curious coincidence, - Wolfgang was a witness of the first attempt made by Jomelli, who had left - Stuttgart for Naples in 1768, to regain the favour of his countrymen. De - Rogatis' opera "Armida Abbandonata," in which he made his reappearance, - was designed to satisfy the higher claims of dramatic music, and to bring - the results of his studies in Germany before the Italians, who were, - however, slow to appreciate them. Wolfgang thought the opera fine, but too - pedantic and old-fashioned for the theatre. This seems to have been the - universal opinion; and later the increasing distaste to Jomelli's operas - obliged the withdrawal of his "Iphigenia in Aulide," and the substitution - of "Demofoonte" (November 4, 1770).<a href="#linknote-50041" - name="linknoteref-50041" id="linknoteref-50041">41</a> - </p> - <p> - The Mozarts found Jomelli polite and friendly. Through him they became - acquainted with the impresario Amadori, who offered Wolfgang a <i>libretto</i> - for San Carlo; but this, owing to his previous engagement in Milan, he was - obliged to refuse, together with similar offers which had been made to him - in Bologna and Rome. - </p> - <p> - On June 25, they travelled with post-horses back to Rome. Through the - fault of a clumsy postilion their carriage was upset; Leopold saved his - son by springing out before the danger came; he himself sustained - considerable injury to his leg. Wolfgang was so tired by the journey (they - had driven twenty-seven hours without a stop), that after he had eaten a - little he fell asleep in his chair and was undressed and put to bed by his - father, without waking. - </p> - <p> - This stay in Rome, during which they were present at the illumination of - St. Peter's, at the delivery of Neapolitan tribute, and other ceremonies, - brought Wolfgang a new distinction; he was invested by the Pope, in an - <span class="side">"RITTER MOZART"—BOLOGNA, 1770.</span> <span - class="pagenum"><a href="pgimages/p125.png">[125]</a></span> audience of - July 8, with the order of the Golden Spur, which the father announces, not - without pride, as "a piece of good luck."<a href="#linknote-50042" - name="linknoteref-50042" id="linknoteref-50042">42</a> "You may imagine - how I laugh," he writes, "to hear him called <i>Signor Cavaliere</i>." - </p> - <p> - The honour apparently made little impression on Wolfgang. For some years - his father insisted on his signing his compositions "Del Sign. Cavaliere - W. A. Mozart," and advised him to wear his order in Paris; but later he - let it drop, and one never hears of <i>Ritter Mozart</i>, whereas Gluck, - who like Klopstock, wished to be outwardly recognised as the prophet of - higher culture, was very tenacious of his dignity as a <i>Ritter</i>. - Mozart was too simple-natured, and too essentially a musician, to set any - store by outward distinctions. - </p> - <p> - On July 10, they left Rome, where Pomp. Battoni had painted a fine - portrait of the young maestro, and travelled by way of Cività Castellana, - Loretto, and Sini-gaglia to Bologna. They arrived on July 20, intending to - remain here quietly until the completion and rehearsal of his opera should - render Wolfgang's presence in Milan indispensable. L. Mozart's injured leg - was still troublesome, and he was otherwise unwell, so that the friendly - invitation of Count Pallavicini, to pass the hot season at his - country-house in the neighbourhood of Bologna, was joyfully accepted. They - found the coolest, best-appointed rooms prepared for them; couriers and - servants were placed at their disposal, and their intercourse with the - noble family was pleasant and unrestrained. The father was most carefully - tended, and Wolfgang struck up a firm friendship with the young Count, who - was just his own age, played the piano, spoke three languages, had six - tutors, and was already a chamberlain. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p126.png">[126]</a></span> - </p> - <p> - Wolfgang composed industriously, and writes to his sister about four - Italian symphonies, five or six songs, and a motett, which he had written. - His only distress was that he had lost his singing voice; he had not five - clear notes left, either high or low, and could no longer sing his own - compositions. At Bologna they made the acquaintance of the operatic - composer, Joh. Misliweczeck (1737-1781), who was finishing an oratorio for - Padua, and was to write the opera in Milan for 1772. "He is an honest - man," writes L. Mozart, "and we have become great friends." But their - principal intercourse was with Padre Martini, with whom they became very - intimate, visiting him daily, and holding long musical discussions. The - discourse and instruction of the great contrapuntist could not be without - influence on Wolfgang's work. A list of sketches in difficult contrapuntal - forms, which according to the handwriting belong to this time, must have - been studies suggested by Padre Martini. Of peculiar interest is a - three-part Miserere for alto, tenor, and bass, with figured Continuo, - superscribed <i>Del Sigr. Caval. W. A. Mozart, in Bologna</i>, 1770 (85 - K.). It is evidently written under the influence of Allegri's Roman - Miserere, generally harmonic, with some few imitative introductory - passages, simple and very beautiful. The three last movements, Quoniam, - Benigne, Tunc acceptabis, are written by another hand, and evidently not - composed by Mozart; the subjects are severer and more simple. Probably - Padre Martini wound up the youth's exercises by these movements of his own - composition.<a href="#linknote-50043" name="linknoteref-50043" - id="linknoteref-50043">43</a> - </p> - <p> - The Philharmonic Society of Naples, whose festival performance Mozart had - attended in company with Burney,<a href="#linknote-50044" - name="linknoteref-50044" id="linknoteref-50044">44</a> <span class="side">ELECTION - TO THE ÀCCÀDEMIA FILARMONICA.</span> <span class="pagenum"><a - href="pgimages/p127.png">[127]</a></span> honoured him with a signal proof - of admiration and esteem. This famous society, founded in 1666, upon the - presentation by Wolfgang of a memorial, and his accomplishment of a - prescribed task, elected him a member of their body as <i>Compositore</i>. - This honour was eagerly sought after by the most distinguished composers. - For composers of church music it was important, since Benedict XIV., in a - bull of 1749, had given a kind of overseership to the Philharmonic - Society; only its members could become kapellmeisters to churches in - Bologna, and by a Papal decree this membership was allowed to take the - place of any examination.<a href="#linknote-50045" name="linknoteref-50045" - id="linknoteref-50045">45</a> The distinction was the greater since - members were required<a href="#linknote-50046" name="linknoteref-50046" - id="linknoteref-50046">46</a> to be twenty years old, to have been - admitted into the first class of compositore, and to have been a year in - the second class of cantori and sonatori. Leopold describes the election - as follows:— - </p> - <p> - At 4 o'clock in the afternoon of October 9 Wolfgang was required to appear - at the hall of the society. There the Princeps Academiæ and the two - censors (who are old kapellmeisters) gave him an antiphon from the - Antiphonary; he was then conducted by the verger to a neighbouring - apartment and locked in, there to set it in three parts. When it was ready - it was examined by the censor, and all the kapellmeistem and composers, - who voted on it by means of black and white balls. All the balls being - white he was called in, and amid clapping of hands and congratulations the - Princeps Academiæ in the name of the society announced his election. He - returned thanks, and the thing was over. I was all the time on the other - side of the hall cooped up in the Academical Library. Every one was - astonished that he was ready so soon, for many have spent three hours over - an antiphon of three lines. N.B.—You must know that it was not an - easy task, for this kind of composition excludes many things of which he - had been told beforehand. He finished it in exactly half an hour. - </p> - <p> - The task was, according to the old statute, a Cantus firmus from the - Gregorian Antiphonary, to be elaborated contrapuntally for four, five, or - eight voices <i>a capella</i> (in duple time); it was to be executed - strictly according to rule, adhering to the singular treatment of the - harmonies belonging to the old <span class="side">THE ITALIAN TOUR.</span> - <span class="pagenum"><a href="pgimages/p128.png">[128]</a></span> style - of church music. After 1773, the examination became more severe,<a - href="#linknote-50047" name="linknoteref-50047" id="linknoteref-50047">47</a> - and an Italian who stood the test at the beginning of this century, speaks - of it as consisting of three separate compositions. First, the given - subject was to be arranged for four voices in <i>falsobordone</i>, i.e., - in plain harmonics, after the fashion of our congregational chorales. The - second test consisted of a <i>disposizione di parte</i>. One voice - retained the Cantus firmus, the others were to be set to it in canonic or - imitative mode. The motifs were often taken from the Cantus firmus itself, - in a rhythmical, diminished form. Strict imitation was not enjoined; it - sufficed that the voices should follow each other with similar passages. - The third task was a <i>fuga reale</i>, a perfect fugue, according to the - rules of the church mode of the Cantus firmus, in which one phrase is - carried through as a theme, the other parts serving as intermediate - phrases. - </p> - <p> - Wolfgang did not go through this examination without preparation. An - elaboration in his boyish handwriting of the Cantus firmus "Cibavit eos in - adipe" (44 K.) is probably an exercise made under Padre Martini's - directions. His trial work was a Cantus firmus from the Roman Antiphonary, - a freely imitative contrapuntal arrangement of the accompanying parts - overlying the Cantus firmus of the bass, which is only to be adhered to in - its melodic progressions, and may be modified in its rhythmical divisions. - The original from Mozart's hand is in the archives of the Philharmonic - Society, where it was found by Gaspari in a volume of various test works - chiefly by Martini's pupils.<a href="#linknote-50048" - name="linknoteref-50048" id="linknoteref-50048">48</a> Next to it among - the documents was a second elaboration written by Padre Martini, and - copied by Wolfgang. Of this a second copy is in the Mozarteum, from - Wolfgang's hand, with his father's subscription: <i>Dal Sigr. Cavaliere - Amadeo Wolfgango Mozart di Salisburgo, Scritto nella sala dell' accademia - filarmonica in Bologna li 10 d' Ottobre, 1770</i>. This was published as - Wolfgang's own test work (86 K.).<a href="#linknote-50049" - name="linknoteref-50049" id="linknoteref-50049">49</a> Probably Padre - Martini went <span class="side">MILAN—"MITRIDATE."</span> <span - class="pagenum"><a href="pgimages/p129.png">[129]</a></span> through the - boy's work, which was not free from faults, and was entered in the - protocol as "satisfying the conditions," and showed him how the task might - have been executed; he took the copy of the corrected exercise to Salzburg - when he returned there. - </p> - <p> - On October 18 they arrived at Milan, and set vigorously to work on the - completion of the opera. The subject chosen was "Mitridate, Re di Ponto," - opera seria in three acts, versified by Vittorio Amadeo Cigna-Santi of - Turin, where it had already been produced in 1767 with the music of the - kapellmeister Quirico Gasparini. It was first necessary to finish the - recitatives begun in Bologna, and Wolfgang worked so hard at them that he - excused himself to his mother for not writing: "His fingers ached so from - writing recitatives." Every air in the opera was written after - consultation with the singers, male and female, as to what was best suited - to their voice and style. By studying the taste of the vocalists and so - engaging their zeal, the composer found the best security for the - favourable reception of his work. If he were not fortunate enough to - please his singers, either the whole must be rewritten to suit them, or he - must be prepared to hear his music fall flat before the audience, if - indeed something quite different were not substituted by the performer. - When the composer possessed true talent and judgment, this co-operation - was less detrimental to the work than if it had been left altogether to - the discretion of the performers; nevertheless, the danger of undignified - subjection to their caprices was considerable. - </p> - <p> - Wolfgang strove to extricate himself, as best he might, from the - difficulties and intrigues which hindered his work. These were the more - vexatious, as the singers arrived in Milan so late as to give him little - time for composition. His father was careful not to allow him to overtax - his strength, and especially insisted on his not working immediately after - eating, unless under the pressure of great necessity; they usually went - for a walk first. The mental strain of so important a task had a sobering - effect on the boy's spirits, and he repeatedly enjoins his mother and - sister to pray for the success of the opera, "so that we may all live - happily <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p130.png">[130]</a></span> together again." Leopold begs - his friends in Salzburg to be charitable enough to write them cheerful, - jocular letters, to distract Wolfgang's mind, There was, of course, the - usual petty spite of the "Virtuosen canaille" to combat; they were not - likely to leave unmolested a kapellmeister at once "a youth and a - foreigner"; but the father shrank from no difficulties which could be - overcome by "presence of mind and good sense," and declared they would - gnaw through them all, "as the Hanswurst did through the Dreckberg." - </p> - <p> - The prima donna was not Gabrielli, but Antonia Bernasconi, daughter of a - valet of the Duke of Wurtemberg, who had been educated as a singer by her - stepfather, Andrea Bernasconi (kapellmeister at Munich since 1754).<a - href="#linknote-50050" name="linknoteref-50050" id="linknoteref-50050">50</a> - With her was "the first battle to fight," for it was through her that the - envious cabal sought to overthrow the young composer. An unknown opponent - of Wolfgang tried to persuade her to reject the songs and duets which he - had composed for her, and to substitute those of Gasparini. But Bernasconi - withstood this infamous proposal. She declared, on the contrary, that she - was "beside herself with joy" at the songs which Wolfgang had written - "according to her will and desire"; and the experienced old maestro - Lampugnani, who rehearsed her part with her, was never tired of praising - the compositions. Another cloud in the theatrical heavens appeared in the - person of the tenor, the Cavalier Guglielmo d' Ettore, who had performed - with great success at Munich and Padua.<a href="#linknote-50051" - name="linknoteref-50051" id="linknoteref-50051">51</a> This storm, too, - was happily allayed, but it must have been a threatening one, for L. - Mozart reminds his son of it later, to encourage him, in Paris. The last - arrival was the primo uomo—not Manzuoli, but Santorini, who had - lately been singing at Turin, and had known them in Bologna. He was not at - Milan till December 1, and the representation was to take place on the - 26th. - </p> - <p> - The rehearsals began under favourable circumstances; even the copyist had - performed his task so well that he <span class="side">"MITRIDATE"—HOPES - AND FEARS.</span> <span class="pagenum"><a href="pgimages/p131.png">[131]</a></span> - had made only one mistake in the recitatives, and the singers proved - excellent. "As far as I can judge, without fatherly partiality," wrote L. - Mozart on December 8, "I believe that Wolfgang has written the opera well - and with spirit." On December 17 the first rehearsal with full orchestra<a - href="#linknote-50052" name="linknoteref-50052" id="linknoteref-50052">52</a> - took place in the Redoutensaal, and the second two days later in the - theatre; the verdict was altogether in favour of the new opera:— - </p> - <p> - Before the first rehearsal with the small orchestra, there were not - wanting people who condemned the music beforehand as youthful and poor; - they prophesied, as it were, declaring it impossible that so young a boy, - and a German to boot, could write an Italian opera;<a - href="#linknote-50053" name="linknoteref-50053" id="linknoteref-50053">53</a> - they acknowledged him to be a great performer, but denied that he could by - any means understand the <i>chiaro ed oscuro</i> needed in the drama. But - since the first rehearsal these people are all dumbfoundered, and have not - another word to say. The copyist is delighted, which is a good sign in - Italy, for when the music pleases, the copyist often gains more by - distributing and selling the songs than the kapellmeister by composing - them;<a href="#linknote-50054" name="linknoteref-50054" - id="linknoteref-50054">54</a> the singers, male and female, are highly - satisfied, and the duet between the primo uomo and prima donna is - especially praised." - </p> - <p> - The <i>professori</i> (instrumentalists) in the orchestra were pleased, - and declared that the music was clear, distinct, and easy to play. - Mozart's friends were as cheerful as his detractors were gloomy, and the - most noted musicians, such as Fioroni, Sammartini, Lampugnani, and Piazza - Colombo were decidedly in favour of the opera. Under these circumstances - (although the first opera of the season was usually <span class="side">THE - ITALIAN TOUR.</span> <span class="pagenum"><a href="pgimages/p132.png">[132]</a></span> - the least esteemed) they could look forward with calmness to the - representation. This took place on December 26, under Wolfgang's - conductorship, and the result surpassed all expectation. Every song, - except those of the subordinate personages, was received with deafening - applause, and with the cry "Evviva il maestro! evviva il maestrino!" - Contrary to all custom at a first representation a song of the prima - donna's was encored. At the second performance the applause was still - greater, two songs and a duet being encored; but as it was Thursday, and - the audience wished to go home to supper before midnight, so as not to - encroach on Friday (fast day) the performance was cut short; it lasted, - however, including the ballets at the end of each act, six good hours. On - January 5, 1771, L. Mozart wrote home to his wife:— - </p> - <p> - Our son's opera is received with general approbation, and may be - considered, as the Italians say, <i>dalle stelle</i>. Since the third - performance we are alternately in the pit and the boxes, hearing or - seeing, and every one is curious to talk with or look closely at the - Signor Maestro, for the maestro is only bound to conduct the opera three - evenings; Lampugnani accompanied at the second pianoforte, and now that - Wolfgang does not play, he takes the first, and Melchior Chiesa the - second. If any one had told me fifteen or eighteen years ago, when I heard - so much of the opera songs and symphonies of Lampugnani in England, and - Melchior Chiesa in Italy, that these two men would perform your son's - music, and take his place at the piano to accompany his opera, I should - probably have directed such a person to the madhouse as an idiot. We see - by this how the power of God works in us men when we do not bury the - talents that He has graciously bestowed on us. - </p> - <p> - The opera was repeated twenty times, and always with growing applause and - a full house. The "Milan News," (January 2, 1771) assures its readers, - that the youthful composer "studia il bello della natura e ce lo - rappressenta adomo delle più rare grazie musicali." Wolfgang received from - the public the appellation of the "Cavaliere Filarmonico," which was - confirmed by the Accademia Filarmonica at Verona, who elected him as their - kapellmeister on January 5, 1771. - </p> - <p> - Professional cares <a href="#linknote-50055" name="linknoteref-50055" - id="linknoteref-50055">55</a>did not engross all Mozart's time and - attention. They became on intimate terms with the young <span class="side">VENICE—PADUA—SALZBURG, - 1771.</span> <span class="pagenum"><a href="pgimages/p133.png">[133]</a></span> - difficult concerto at sight. They had a trip to Turin, saw a splendid - opera, and were back in Milan on January 31,<a href="#linknote-50056" - name="linknoteref-50056" id="linknoteref-50056">56</a> leaving again - shortly for Venice, where they arrived on the Monday in Carnival week. - They were hospitably received by a merchant, Wider, a business friend of - Hagenauer's. - </p> - <p> - They enjoyed in all comfort the pleasures of a Venetian carnival, and, - having introductions to all the nobility, splendidly appointed gondoliers - were always at their service; one invitation followed another, and almost - every evening was passed at the opera, or at some other place of - amusement. A concert was given by Mozart with brilliant success. - </p> - <p> - On the return journey, undertaken on March 13, they stayed one day in - Padua, visiting the musical celebrities Franc. Ant. Ballotti (1697-1780), - one of the first organ-players in Italy, and almost as good a theorist and - contrapuntist as Padre Martini himself,<a href="#linknote-50057" - name="linknoteref-50057" id="linknoteref-50057">57</a> and the composer - and Munich kapellmeister, Giov. Ferrandini<a href="#linknote-50058" - name="linknoteref-50058" id="linknoteref-50058">58</a>—Tartini had - died the year before. Wolfgang played on the excellent organ in Santa - Giustina. At Padua, too, he received a commission to write an oratorio to - be completed at home as opportunity offered. At Vicenza they remained some - days at the request of the Bishop, a Cornero, who had made their - acquaintance at Venice; and at Verona they stayed with their old friend - Luggiati, who gave a brilliant reception in Wolfgang's honour. - </p> - <p> - On March 28, 1771, Wolfgang was in Salzburg again, enriched with many - experiences and loaded with honours, his talents matured and his tastes - improved; but his nature as simple, modest, and childlike as when he had - set out. The most direct result of the great success of his opera was a - commission from the impresario in Milan for the first opera of the - Carnival of 1773, with an increased remuneration of 130 gigliati. - </p> - <p> - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p134.png">[134]</a></span> - </p> - <p> - At Verona, L. Mozart had already heard rumours of a document on its way - from Vienna to Salzburg, which was to bring his son "immortal honour." - They had scarcely arrived in Salzburg, when Count Firmian commissioned - Wolfgang, in the name of the Empress Maria Theresa, to compose a - theatrical serenade or cantata in celebration of the marriage of the - Archduke Ferdinand with the Princess Maria Ricciarda Beatrice, daughter of - the hereditary Prince Ercole Rainaldo, of Modena. As the marriage was to - take place in October of the year 1771, it follows that the stay in - Salzburg was not of long duration. During this interval he composed, - principally no doubt to satisfy the demands of his official position, a - "Litany" (109 K.), and a "Regina Coeli" (108 K.) in May, and a Symphony - (110 K.) in July. Leopold Mozart had little hope that even Wolfgang's - success in Milan would serve to advance his cause with the Archbishop in - case of any more lucrative post becoming vacant. Such considerations did - not trouble Wolfgang himself so much as his father; he took advantage of - this interval to fall in love for the first time. His letters to his - sister are full of hints of a nameless beauty, of unspeakable emotions; - and the fact that the young lady married about the same time makes the - picture complete of the first love of a boy of sixteen, which had, as - might be expected, no lasting effect on his natural good spirits. - </p> - <p> - On August 13 they left Salzburg, and after a short stay in Verona arrived - at Milan on August 21. The marriage was fixed for October 15, but the - libretto had not yet been returned from Vienna, where it had been sent on - approbation; in those days it was considered that a maestro should be so - sure of his art that it should stand him in stead at all times and - seasons.<a href="#linknote-50059" name="linknoteref-50059" - id="linknoteref-50059">59</a> Wolfgang was under no apprehension on this - score; he was delighted with his gracious reception by the royal bride, - and enjoyed the delicious fruit, eating a double share of it, as he says, - out of brotherly love to his <span class="side">MILAN, 1771—GABRIELLI.</span> - <span class="pagenum"><a href="pgimages/p135.png">[135]</a></span> sister. - When at last the book arrived at the end of August it was detained some - days longer by the poet to make the numerous alterations required, and not - until the beginning of September was it finally delivered over to - Wolfgang. Then he set to work, composing so vigorously that on September - 13 the recitatives and choruses were finished, and his father was of - opinion that the whole opera with the ballet would be ready in twelve - days, which indeed it was; and no wonder that Wolfgang complained that his - fingers ached. In the room above that where he wrote was a violinist, in - the room below another; a singing master lived next door, and an oboist - opposite. "It is capital for composing," says Wolfgang; "it gives one new - ideas." - </p> - <p> - During this visit to Milan they made the acquaintance of the great - soprano, Catarina Gabrielli, famed for her intrigues no less than for her - musical genius. The impression made by her on Wolfgang may be gathered - from a letter to his father written later from Mannheim (February 19, - 1778):— - </p> - <p> - Those who have heard Gabrielli must and will acknowledge that she is a - mere executant; her peculiar style of delivery excites admiration, but - only for the first three or four times of hearing her. In the long run she - is not pleasing; one gets tired of passages, and she has the misfortune of - not being able to sing. She cannot sustain a note in tune; she has no <i>messa - di voce</i>; in a word, she sings with art, but no understanding. - </p> - <p> - The intercourse of the Mozarts with their fellow-artists, "really good and - famous singers, and sensible people," was cordial, and undisturbed either - by intrigues or cabals. Wolfgang's assured position with regard to the - public, as well as the favour in which he was held at the imperial court, - doubtless contributed to preserve harmony. The tenor Tibaldi and Manzuoli, - who was really engaged this time, came almost daily at 11 o'clock, and - remained sitting at the table till one; Wolfgang composing all the time. - </p> - <p> - But the most satisfactory connection was that with Hasse, who was - composing an opera on Metastasio's "Ruggiero," for the same festive - occasion.<a href="#linknote-50060" name="linknoteref-50060" - id="linknoteref-50060">60</a> It was of no small significance <span - class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p136.png">[136]</a></span> that men like Hasse and - Metastasio, who had brought Italian opera to its highest point, and a - famous poet, such as Gius. Parini, in Milan,<a href="#linknote-50061" - name="linknoteref-50061" id="linknoteref-50061">61</a> should have been - content to place themselves on a level with young Mozart. It was momentous - in the history of music, this handing over of the sceptre by the man who - had ruled the Italian stage throughout his long career to the youth, who - was not indeed destined to acquire equal fame living, but to whom - posterity was to allot a far more glorious place. Hasse himself is said to - have exclaimed: "This boy will throw us all into the shade."<a - href="#linknote-50062" name="linknoteref-50062" id="linknoteref-50062">62</a> - It was like him to recognise without envy the artistic greatness of - Mozart; all young artists<a href="#linknote-50063" name="linknoteref-50063" - id="linknoteref-50063">63</a> found him ready to appreciate and help - forward their efforts,<a href="#linknote-50064" name="linknoteref-50064" - id="linknoteref-50064">64</a> and Mozart himself had been grateful for his - support when fighting with the musical cabal in Vienna.<a - href="#linknote-50065" name="linknoteref-50065" id="linknoteref-50065">65</a> - </p> - <p> - The festivities<a href="#linknote-50066" name="linknoteref-50066" - id="linknoteref-50066">66</a> which had attracted a crowd of strangers to - Milan began with the triumphant entry of the Duke, followed by the - marriage ceremony in the cathedral; then came a concert and reception at - court. On the 16th a public banquet was given to more than four hundred - bridal couples, to whom the Empress had given dowries, and in the evening - Hasse's opera "Ruggiero" was performed in the newly decorated theatre, - with two gorgeous ballets in the <i>entr'actes</i>, "La Corona della - gloria," by Pick, and "Pico e Canente," by Favier. - </p> - <p> - On the 17th, after a splendid procession on the Corso, Wolfgang's serenata - "Ascanio in Alba" (111 K.), an allegorical pastoral play in two acts, with - choruses and dances, (by Favier) was produced. After the first rehearsal, - L. Mozart had been able to predict to his wife that the success of the - work was assured. "Because, to begin with, <span class="side">"ASCANIO IN - ALBA."</span> <span class="pagenum"><a href="pgimages/p137.png">[137]</a></span> - not only are Signor Manzuoli and the other vocalists in the highest degree - pleased with their songs, but they are as anxious as ourselves to hear the - serenata with the full orchestra; secondly, because I know what he has - written, and the effect it will have, and am quite convinced that it is - excellent, both for the singers and the orchestra." He had not deceived - himself, the applause was extraordinary; the serenata was repeated the - next day, and until the close of the festivities was more frequently given - than "Ruggiero." "I am sorry," writes L. Mozart, "that Wolfgang's serenata - should have so entirely eclipsed Hasse's opera." - </p> - <p> - He refers his home circle to the judgment of a young Salzburg merchant, - Kerschbaumer, "who, on the 24th, was a witness how the Archduke and - Archduchess not only applauded two of the songs until they were repeated, - but leaning from their box, both during and after the performance, they - bowed towards Wolfgang, and testified their approval by cries of - </p> - <p> - 'Bravissimo! maestro,' and clapping of hands, an example followed by all - present." This time, too, Wolfgang received more substantial marks of - favour; besides the stipulated fee, the Empress presented him with a gold - watch set with diamonds, having on its back an admirably executed - miniature of herself in enamel.<a href="#linknote-50067" - name="linknoteref-50067" id="linknoteref-50067">67</a> - </p> - <p> - Among the festivities, which lasted until the end of the month, were a - splendidly appointed masked procession of <i>facchini</i>, in the costume - of the surrounding peasantry, on the 19th; races for horses (barberi) on - che 27th, for chariots (calessetti) on the 28th, and the <i>cuccagna</i> - on the 24th, when masses of viands were given up to the plunder of the - people, and fountains of wine were opened.<a href="#linknote-50068" - name="linknoteref-50068" id="linknoteref-50068">68</a> On this occasion - the Mozarts narrowly escaped a great danger. One of the great scaffoldings - erected for spectators fell, and more than fifty persons were killed or - injured. It was only an accidental delay which had prevented Wolfgang and - his father from taking the seats which had been allotted them on this - <span class="side">THE ITALIAN TOUR.</span> <span class="pagenum"><a - href="pgimages/p138.png">[138]</a></span> erection, and had caused them to - seat themselves in the court gallery. - </p> - <p> - After the close of the opera, Mozart wrote a symphony (112 K.) and a - divertimento (113 K.), probably for a concert, but at all events to order. - During this stay in Milan a contract was entered into with the theatre of - S. Benedetto in Venice, by which Wolfgang was commissioned to write the - second opera of the Carnival of 1773. How this was possible, since the - contract stipulates for residence in Venice at the same time as it had - been already promised in Milan, it is not easy to see, unless some - indulgence on the part of the Venetian impresario was looked for, perhaps - even promised.<a href="#linknote-50069" name="linknoteref-50069" - id="linknoteref-50069">69</a> The contract, however, was never fulfilled; - Nau-mann became Mozart's substitute, arriving in Vienna just in time to - undertake the opera. He produced his "Soliman" with very remarkable - success.<a href="#linknote-50070" name="linknoteref-50070" - id="linknoteref-50070">70</a> - </p> - <p> - The return of the Mozarts to Salzburg was delayed until the middle of - December, on the 30th of which month Wolfgang composed a symphony (114 - K,), and was soon after seized with severe illness.<a - href="#linknote-50071" name="linknoteref-50071" id="linknoteref-50071">71</a> - </p> - <p> - Their arrival at home coincided with the death of Archbishop Sigismund, - which took place after a lingering illness on December 16,1771. His - successor was elected on March 14, 1772, in the person of Hieronymus - Joseph Franz v. Paula, Count of Colloredo, Bishop of Gurk; to the - universal surprise and grief of the populace, who had little prosperity to - hope for under his rule.<a href="#linknote-50072" name="linknoteref-50072" - id="linknoteref-50072">72</a> An opera was required to form <span - class="side">"IL SOGNO DI SCIPIONE"—SALZBURG, 1772.</span> <span - class="pagenum"><a href="pgimages/p139.png">[139]</a></span> part of the - festivities accompanying his installation, and this Wolfgang was - commissioned to compose.<a href="#linknote-50073" name="linknoteref-50073" - id="linknoteref-50073">73</a> The subject chosen was "Il Sogno di - Scipione" (126 K.), an allegorical <i>azione teatrale</i>, by Metastasio, - which had been performed with music by Predieri on the birthday of the - Empress Elizabeth, October 1, 1735. It was written with reference to the - unfortunate military events in Italy, and stress was laid on the bravery - and steadfastness of a great general, even in defeat. How far this subject - was applicable to the circumstances of Bishop Hieronymus does not seem to - have been inquired; even the words of the Licenza were left unaltered, - except that the name of Girolamo was substituted for Carlo. It is amusing - to note that Mozart composing from his Metastasio, writes the words under - his score: "Ma Scipio esalta il labbro e <i>Carlo</i> il cuore," then - effaces the name and writes <i>Girolamo</i>. - </p> - <p> - We do not know how far indifference towards the person of the new - Archbishop is responsible for the fact that this opera betrays more of the - character of an occasional piece written to order than any other - composition by Mozart. It was probably produced in the beginning of May, - 1772.<a href="#linknote-50074" name="linknoteref-50074" - id="linknoteref-50074">74</a> - </p> - <p> - The remaining compositions which fall authentically within this period are - a symphony (124 K.), composed on February 21, and a litany, "De - Venerabile" a very important work (125 K.), in March. January was lost by - illness, and in April, Mozart was busy with his opera; but in May, a - "Regina Coeli" (127 K.) and no fewer than three symphonies (128-130 K.) - were ready; in June, a great divertimento (131 K); in July and August - three more symphonies (132-135 K.); three quartets, or divertimenti - (136-138 K.), fall also within the year 1772. These clearly identified - compositions can scarcely be all that belong to this period. If the fact - surprises us that Mozart, instead of <span class="side">THE ITALIAN TOUR.</span> - <span class="pagenum"><a href="pgimages/p140.png">[140]</a></span> making - studies for the new opera which he was to produce in the autumn, employed - this interval almost entirely on church and instrumental music, we must - look for an explanation of it in his position at Salzburg, from which we - cannot doubt that he felt an intense longing to free himself. - </p> - <p> - A correspondent of Burney who was at Salzburg in the summer of 1772 - informs him that he has visited Mozart the father, and heard Wolfgang and - his sister play duets together; Wolfgang, he says, is undoubtedly a master - of his instrument, but he appears to have reached his climax, and, judging - from his orchestral music, he affords another proof that premature fruits - are more rare than excellent.<a href="#linknote-50075" - name="linknoteref-50075" id="linknoteref-50075">75</a> It would be - unreasonable to take this false prophecy amiss, for it no doubt reflects - something of the state of opinion in Salzburg at the time. - </p> - <p> - On October 24 they set forth once more on the journey to Milan, in order - to be there in good time for the new opera. On the way, "to make time - pass," Wolfgang composed a pianoforte duet; his fête-day was merrily kept - with the brothers Piccini, in Ala (October 31); and after the usual stay - with Luggiati in Verona, they arrived at Milan on November 4. L. Mozart, - who had lately been very well, appeared to profit by the change and - irregularity of a travelling life, but at Milan the old complaint - reappeared. Giddiness and numbness in the head, attributable to a bad - fall, seized him more especially when he had been composing, and he could - not free himself from "Salzburg thoughts," in which he would be - unconsciously plunged for some time, and only with an effort banish them - from his mind "like the wicked thoughts with which the devil used to tempt - him in his youth." They were no doubt the reflection of his almost - unendurable relations with the new Archbishop. He foresaw a troubled - future, unless he could succeed in extricating Wolfgang from his undefined - position in Salzburg, and placing him on a secure footing; and to this end - he bent all his endeavours. - </p> - <p> - The opera which Wolfgang was to compose was "Lucio <span class="side">"LUCIO - SILLA"—MILAN, 1772.</span> <span class="pagenum"><a - href="pgimages/p141.png">[141]</a></span> Silla," the words by Giovanni da - Camera, a poet of Milan. This time Wolfgang brought part of the recitative - with him, but he did not gain by so doing; for the poet had in the - meantime submitted his text to Metastasio, who made many alterations, and - added a new scene. - </p> - <p> - He had plenty of time, however, to rewrite the recitatives and to compose - the choruses and the overtures, for of the singers only Signora Félicita - Suarti (who sang in Parma in 1769, and now took the part of secondo uomo), - and the ultimo tenore had appeared. They found Milan very empty, every one - still in the country; only the D'Aste family received them into the same - intimacy as before. - </p> - <p> - Next arrived the primo uomo Venanzio Rauzzini (b. 1752), an excellent - singer, an accomplished pianist, and a not inconsiderable composer. He had - been in Munich since 1776, when Burney made his acquaintance, and learned - that he was to sing in Mozart's opera.<a href="#linknote-50076" - name="linknoteref-50076" id="linknoteref-50076">76</a> His first song was - soon ready; L. Mozart thought it incomparably beautiful, and that Rauzzini - sang it "like an angel."<a href="#linknote-50077" name="linknoteref-50077" - id="linknoteref-50077">77</a> At last the prima donna De Amicis arrived, - after a tedious journey from Venice. It was time, for the representation - was fixed for the 26th December, and there were still fourteen pieces to - be composed, among them the terzet and the duet, "which might be reckoned - as four." - </p> - <p> - "I cannot possibly write you a long letter," wrote Wolfgang on the 5th - December, "for I have nothing to say, and do not know what I am writing; - my thoughts are always in my opera, and I am in danger of writing you a - whole song instead of words." - </p> - <p> - Maria Anna de Amicis (born about 1740), a pupil of Tesi, had been brought - from the opera buffa as prima donna to the opera seria by Chr. Bach in - London (1762). She had been married five years to Buonsolazzi, an official - in Naples, <span class="side">THE ITALIAN TOUR.</span> <span - class="pagenum"><a href="pgimages/p142.png">[142]</a></span> and she - brought her little daughter Sepperl with her to Milan.<a - href="#linknote-50078" name="linknoteref-50078" id="linknoteref-50078">78</a> - Although the Mozarts had made her acquaintance during their Parisian tour, - she was at first a little inclined to create difficulties; but the most - friendly relations were soon established between them. - </p> - <p> - When she had mastered her three songs she was "in high delight, because - Wolfgang had suited her so wonderfully well." He had furnished the - principal song with some new and marvellously difficult passages.<a - href="#linknote-50079" name="linknoteref-50079" id="linknoteref-50079">79</a> - L. Mozart wrote after the rehearsals, that she both sang and acted like an - angel, and all Salzburg would be amazed to hear her. - </p> - <p> - There was still wanting the tenor Cardoni, and news at length arrived that - he was so seriously ill he could not appear. Suitable messengers were at - once despatched to Turin and Bologna, to seek for another good tenor, who - was to be not only a good singer, "but especially a good actor, and a - person of presence, to represent Lucio Silla with proper dignity." But - such an one was not to be procured, and there was nothing for it at last - but to take a church singer from Lodi, Bassano Morgnoni, who had - occasionally sung in the theatre there, but never on a larger stage. He - arrived on December 17, when the rehearsals were going on, and the - following day Wolfgang wrote two of the four songs allotted to him. On - December 21, 22, and 23 there were large parties of the nobility at Count - Firmian's, at which vocal and instrumental music was performed from five - o'clock in the evening until eleven. Wolfgang played each time, and was - favourably noticed by all the great people. - </p> - <p> - The grand rehearsal passed off well; and the first representation on - December 26, in spite of some drawbacks, was a great success. The opera - began, according to custom, an hour after Ave Maria, and at half-past five - the theatre was <span class="side">PERFORMANCE OF "LUCIO SILLA."</span> - <span class="pagenum"><a href="pgimages/p143.png">[143]</a></span> quite - full. Just before Ave Maria the Archduke had risen from table, and retired - to despatch five autograph congratulations on the New Year to Vienna; as - might be expected, this took some time. The performers, male and female, - in all the agitation of a first performance, and the hot impatient public - were obliged to wait the arrival of the court until past eight o'clock. - Unhappily the Lodi tenor had to express his anger by gestures during the - prima donna's first song; in his efforts to surpass himself he - gesticulated so wildly, "that he appeared to wish to box her ears, or hit - her in the face with his clenched fist." Thereupon a laugh broke out; this - confused De Amicis, who did not know for whom it was intended, and she - sang ill the whole evening, especially after Rauzzini had been received on - his first entry with applause from the Archduchess. Rauzzini had contrived - to inform the Archduchess that he should be nervous at singing before her, - and so had assured himself of the applause of the court. De Amicis was - consoled by an invitation to court the next day, and then the opera went - altogether well. - </p> - <p> - It was given more than twenty times to houses so full "that one could - scarcely squeeze in." Each time some of the songs were encored, generally - the prima donna's, which had "the upper hand."<a href="#linknote-50080" - name="linknoteref-50080" id="linknoteref-50080">80</a> - </p> - <p> - Wolfgang wrote a motett, "Exultate," for Rauzzini, (165 K.), which was - performed before the actors on January, 1773. It is on the plan of a great - dramatic scene, and maintains that style throughout. To a long and - elaborate allegro succeeds a short recitative leading to a long, simple - slow movement. The finale is an animated "Alleluia," cheerful and - brilliant. Later (February 6) his father says he is busy with a quartet. - </p> - <p> - L. Mozart continually postponed their departure, at first with the - expectation of seeing the second opera, which was much later than usual, - owing to the many representations of "Lucio Silla," and afterwards under - the pretext of an attack <span - class="pagenum"><a href="pgimages/p144.png">[144]</a></span> of - rheumatism, which confined him to bed. In point of fact he had, with the - powerful support of Count Firmian, proferred a request to the Grand Duke - Leopold at Florence that the latter would attach Wolfgang to his court. - The Grand Duke at first showed gracious dispositions, and L. Mozart must - have wished to continue the negotiations from Milan. Even after their - ultimate failure he thought he might count on powerful recommendations - from Florence, and his thoughts turned again on a great professional tour. - "Only be economical," he wrote, "for we must have money if we are to - undertake a tour; I grudge every penny spent in Salzburg." - </p> - <p> - Towards the close of their stay a colleague from the Salzburg chapel, the - horn-player Leutgeb, came to Milan, and was well received there. - </p> - <p> - At the beginning of March they really set out; for they might not be - absent from their places on the anniversary of the Archbishop's election - (March 14). - </p> - <p> - The remarkable success of the opera, and the lively interest excited by - Wolfgang's person, leaves scarcely any doubt that further overtures were - made to him in Italy; their non-acceptance must have been owing to the - Archbishop's refusal of an extended leave of absence. - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_6" id="chap_6"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER VI. WORKS IN GERMANY. - </h2> -<p> -<span class="pagenum"><a href="pgimages/p144.png">[144]</a></span> -</p> - <p> - AT Salzburg during May, 1773, Wolfgang composed a symphony (181 K.), a - concertone for two violins (190 K.), and a mass (167 K.) in June. - </p> - <p> - In the summer of this year the Archbishop repaired to Vienna, and Leopold - Mozart seized the opportunity of following him thither with Wolfgang. He - looked forward only to a short absence, but when they presented themselves - before the Archbishop in Vienna he gave them permission to extend their - stay, as he intended himself to go into the mountains and to Gmünd. - </p> - <p> - Of the precise object of this tour we know nothing, only that L. Mozart - hints mysteriously that he cannot tell his <span class="side">VISIT TO - VIENNA, 1773</span> <span class="pagenum"><a href="pgimages/p145.png">[145]</a></span> - plans to every one, and that he must avoid anything that would excite - attention either at Vienna or Salzburg, and cause obstacles to be thrown - in their way. When the good people of Salzburg connected the illness of - the kapellmeister Gassmann with his journey, he answered indignantly: - "Herr Gassmann was ill, but is now better. I do not know what connection - this may have with our journey to Vienna; but fools will be fools, all the - world over."<a href="#linknote-6001" name="linknoteref-6001" - id="linknoteref-6001">1</a> There can be no doubt, however, that he was - anxious that Wolfgang should be permanently attached to the court, either - at Vienna or elsewhere. The Empress, of whom they immediately sought an - audience, was very gracious, but that was all. The Emperor only returned - from Poland towards the end of their stay, and they do not appear to have - spoken to him at all. - </p> - <p> - They arrived on the 18th of July, and went straight to their old lodgings, - where they surprised old Frau Fischer at supper; she was delighted to see - them, and to provide them once more with comfortable apartments. Many old - friendships were renewed: L'Augier, Martinez, Novarre, honest old Bono, - Stephanie and his lovely wife, Dr. Auerbrugger and his two daughters, - Franziska and Mariane, "who played charmingly and were thorough - musicians,"<a href="#linknote-6002" name="linknoteref-6002" - id="linknoteref-6002">2</a> all welcomed the Mozarts eagerly; Wolfgang had - grown so as never to be recognised unless his father were with him. - </p> - <p> - But their warmest welcome was from the Messmers, who only regretted that - they had come without Frau Mozart and Marianne. Since the Mozarts' last - visit, they had decorated their garden with statues, &c., and had - built a theatre, an aviary, a dovecot, a summer-house looking over the - Prater, and they were now turning their house into a comfortable winter - residence. The whole family were together, including Fräulein Franzl, who - was seriously ill, and Fräulein Sepperl, an inveterate match-maker, - interesting herself in the love affairs even of the cook and the footman. - Here they met their old friends Heufeld, Greiner, Steigentesch, <span - class="side">WORKS IN GERMANY.</span> <span class="pagenum"><a - href="pgimages/p146.png">[146]</a></span> Grill, Bono, &c.; and music - was the invariable theme of conversation. Messmer had learned to play the - harmonica from Miss Davis, and had an instrument made at a cost of 50 - ducats, which was finer than that used by Miss Davis. He played it very - well, and so did his little son, who showed considerable talent; Wolfgang - tried the harmonica, and "wished he had one too." The Messmers soon after - went farther into the country to Rothmühl, which interrupted this pleasant - intercourse. - </p> - <p> - The great public event of the day during their stay in Vienna was the - suppression of the order of Jesuits. L. Mozart, who followed their - expulsion with great interest, thought that many good Christians would - consider the Pope had only jurisdiction in matters of faith, and that the - Jesuits would probably have been left unmolested if they had been as poor - as the Capucines. In Rome the property of the Jesuits had been seized ad - pias causas, which was easily done, since all that the Pope appropriated - was ad pias causas; the Emperor thought differently, and had reserved to - himself the right of dispensing the property of the Jesuits. Mozart - thinks, too, that the millions taken from the Jesuits will awaken the - appetite for more of such confiscations.<a href="#linknote-6003" - name="linknoteref-6003" id="linknoteref-6003">3</a> - </p> - <p> - Wolfgang had taken some work with him. A grand serenata for some fête in - the family of their friend Andretter was sent from Vienna and performed at - Salzburg in the beginning of August under Meissner's conductorship (145 - K.). Then he set to work to write six quartets (168-173 K.), whether by - order or not is uncertain; nothing more important, however, came to hand. - The Jesuits performed the P. Dominicus Mass (66 K.) at court during the - Octave of S. Ignatius' day; L. Mozart conducted, and the applause was - great. The Theatin monks invited them to their service and banquet on the - feast of S. Cajetan, and, the organ not being available, Wolfgang had the - boldness to execute a concerto on a violin borrowed from his young friend - Teyber. This made such an impression that in 1782 a lay brother, to whom - Wolfgang <span class="side">COMPOSITIONS IN SALZBURG, 1773-74.</span> - <span class="pagenum"><a href="pgimages/p147.png">[147]</a></span> - remarked that he had eight years before played a violin concerto in the - choir, at once addressed him by his name. Of money receipts during this - visit to Vienna we hear little or nothing; on the contrary, L. Mozart - writes to his wife that his body grows fat in proportion as his purse - grows thin; and he consoles her for the fact that he has had to borrow - money by declaring that it only proves his having need of money, but not - of a doctor. Notwithstanding, he considered he had good reasons for - remaining in Vienna. "Things must and will mend; take courage, God will - help us!" - </p> - <p> - With the end of September they were again in Salzburg, and in December - Wolfgang wrote a quintet for stringed instruments (174 K.) and a - pianoforte Concerto in D major (175 K.), the first of the long list after - his early attempts. Almost the whole of the year 1774 was passed quietly - at home; Wolfgang wrote some important church music, two Masses in F and D - major (192,194, K.), a great litany (195 K.), two psalms for a Vesper (193 - K.), various symphonies (199-202 K.), two complete serenatas (203, 204, - K.), and an interesting divertimento (205 K.). Then came a commission from - Munich to write a comic opera for the Carnival of 1775. It is probable - that the influence of the Prince Bishop of Chiemsee, Count Ferdinand von - Zeil, an enthusiastic patron of Mozart, had been exerted on his behalf. - The Elector Maximilian III. had also shown great interest in Mozart in - former years, and on this account it was impossible for the Archbishop of - Salzburg to refuse Wolfgang leave of absence. The Elector had a decided - talent for music, which he had cultivated by study; he composed church - music, and played the bass-viol, as Naumaun wrote to a friend, "divinely"; - Burney declared he had heard no such bass-viol-player since the celebrated - Abel. The Elector's sister also, the widowed Electress of Saxony Maria - Antonia Walburga, known as a poetess, was then on a visit to Munich; she - both composed and sang operas for which she had written the verses.<a - href="#linknote-6004" name="linknoteref-6004" id="linknoteref-6004">4</a> - It followed, therefore, <span class="side">WORKS IN GERMANY.</span> <span - class="pagenum"><a href="pgimages/p148.png">[148]</a></span> that much was - done in Munich for orchestra and singers both in the opera and the - churches, although the performances fell short of those in Mannheim.<a - href="#linknote-6005" name="linknoteref-6005" id="linknoteref-6005">5</a> - </p> - <p> - On December 6 Wolfgang set out with his father for Munich, where they - found a small but comfortable lodging with a <i>Chanoine et grand custos - de Notre Dame</i>; this good man showed them honour and hospitality above - their deserts, as they considered, and often sacrificed his own - convenience to theirs from sheer friendliness. The intense cold of the - journey had, in spite of precautions, brought on Wolfgang's habitual - malady, severe toothache, and he was confined to his room with a swelled - face for several days. As soon as possible they made the acquaintance of - those with whom they were to be associated, and were well received - everywhere. - </p> - <p> - The opera "La Finta Giardiniera" is very rich in airs, and Mozart, finding - a wealth of resources in Munich ready to hand, went to work more - seriously, both with the voices and the orchestra, than was customary with - an opera buffa. It is impossible to ascertain how much of the opera he - brought with him, or how much was altered or composed in Munich. The first - rehearsal did not take place till near the end of December, and the - performance was consequently postponed to January 5, 1775, so that the - singers might be more sure of their parts than could have been the case - had they played, as intended, on December 29. - </p> - <p> - "You must know," writes L. Mozart, "that the maestro Tozi, who is this - year writing the opera seria ('Orfeo ed Euridice'), wrote last year at - this time an opera buffa, and exerted himself to the utmost in order that - it might surpass the opera seria of Sales (of Trier): he succeeded in - quite eclipsing Maestro Sales' opera.<a href="#linknote-6006" - name="linknoteref-6006" id="linknoteref-6006">6</a> Now it so turns out - that Wolfgang's opera is ready just before Tozi's, and all those who heard - the first rehearsal are saying that Tozi is paid back in his own coin, - since Wolfgang's opera will <span class="side">"LA FINTA GIARDINIERA"—MUNICH, - 1775.</span> <span class="pagenum"><a href="pgimages/p149.png">[149]</a></span> - throw his quite into the shade.<a href="#linknote-6007" - name="linknoteref-6007" id="linknoteref-6007">7</a> I do not like this - sort of thing, and have tried all I can to put an end to the gossip; but - the whole orchestra, and all who heard the rehearsal, declare that they - never heard more beautiful music; all the songs are beautiful." The - performance on January 13,1775, was a brilliant success; the court and the - public overwhelmed the composer with applause and honours, as he himself - informs his mother. - </p> - <p> - The Secretary of Legation, Unger, notes in his journal (January 15, 1775): - "<i>Vendredi L.A.R.E., assistèrent à la première représentation de Vopera - buffa, 'La Finta Giardiniera'; la musique fut applaudie généralement; elle - est du jeune Mozart de Saltzbourg qui se trouve actuellement ici. C'est le - même qui à l'äge de huit ans a été en Angleterre et ailleurs pour se faire - entendre sur le clavecin, qu'il touche supérieurement bien</i>."<a - href="#linknote-6008" name="linknoteref-6008" id="linknoteref-6008">8</a> - And Schubart writes in the "Teutsche Chronik" (1775, p. 267): "I also - heard an opera buffa by the wonderful genius Mozart; it is called "La - Finta Giardiniera." Sparks of genius flash out here and there, but it is - not yet the calm flame from the altar, rising to heaven in clouds of - incense—a perfume meet for the gods. If Mozart does not turn out to - be a hothouse-reared plant, he will undoubtedly be one of the greatest - composers that has ever lived." - </p> - <p> - It was said of the performers that Rossi and Rosa Manservisi were - specially suited for opera buffa. Rossi was as good as his brother in - Stuttgart in merry, waggish parts; Manservisi was above the average of - singers in voice, execution, and personal appearance.<a - href="#linknote-6009" name="linknoteref-6009" id="linknoteref-6009">9</a> - </p> - <p> - This time Wolfgang's sister enjoyed the pleasure of witnessing his - triumph. During her visit to Munich she was placed under the care of a - certain Frau v. Durst, a sensible well-educated widow, who provided - Marianne with a room to herself and a piano, on which her father took care - she should practise diligently. Other Salzburg friends arrived for the - <span class="side">WORKS IN GERMANY.</span> <span class="pagenum"><a - href="pgimages/p150.png">[150]</a></span> Carnival, Eberlin Waberl, - Fräulein v. Schiedenhofen, And-retter, and young Molk, who went into such - raptures over the opera seria, it was plain that he had heard nothing - outside Salzburg and Inspruck. - </p> - <p> - Another involuntary witness of Mozart's triumph was the Archbishop of - Salzburg. He had occasion to pay a visit to the Elector of Bavaria in - January, 1775,<a href="#linknote-60010" name="linknoteref-60010" - id="linknoteref-60010">10</a> and though he arrived in Munich after the - representation of the opera, and had left before its repetition, he was - forced, as L. Mozart remarks with satisfaction, to listen to the eulogies - pronounced by the electoral suite and all the nobility, and to receive the - congratulations which were poured on him. He was so taken aback that he - could only answer by shaking his head and shrugging his shoulders. It was - little likely that such a scene should have raised Mozart in the favour of - a man like Hieronymus. - </p> - <p> - The repetition of the opera, which could only be given on Fridays, brought - difficulties, inasmuch as the seconda donna, who was wretched even at her - best, fell seriously ill, and the opera had to be considerably curtailed, - in order to dispense with her. It took place on Wolfgang's birthday, and - he thought it indispensable that he should be present at the performance, - as otherwise his opera might not be recognised. The orchestra was in great - confusion, since it was shamefully neglected by the director Tozi, who was - at that time enacting the romance in real life with the Countess - Törring-Seefeld, of which L. Mozart writes to his wife:— - </p> - <p> - Signor Tozi has gone. He had an old-standing love intrigue with the - Countess v. Seefeld, in which her brother, Count Sedlizky, was implicated, - as well as a certain tenor, Signor Guerrieri. The Countess left Munich six - weeks ago on pretence of visiting her estates, but she has quite deserted - her husband and children, and carried off money and jewels. The complicity - of her brother and the two Italians was discovered by a letter; Count - Sedlizky was placed under arrest, Guerrieri thrown into prison, and Tozi - took refuge with the Theatin monks. The Elector sent him an assurance that - he should not be imprisoned if he would submit to an examination. He - issued from his hiding-place, but <span class="side">MUNICH, 1775.</span> - <span class="pagenum"><a href="pgimages/p151.png">[151]</a></span> - immediately took flight to Italy. Count Sedlizky confessed everything; - Guerrieri denied everything, but to little avail, since the jewels were - found in Guerrieri's lodgings, sewed up in an old cushion. It is suspected - that the Countess is in Holland; there she sits forlorn, since her - projected escort has not joined her. - </p> - <p> - L. Mozart writes to his wife to tell this story, "just to show people that - Italians are rascals all the world over."<a href="#linknote-60011" - name="linknoteref-60011" id="linknoteref-60011">11</a> - </p> - <p> - The opera did not put a stop to Wolfgang's church music. His Grand Litany - (125 K.) in B major was performed at the court chapel on New Year's day, - as well as one of his father's; and later on two small Masses, no doubt - those in F and D major (192, 194 K.). A few days before their departure, - as Wolfgang writes to Padre Martini, the Elector expressed a wish to hear - an offertory, contrapuntally worked out, which was to be composed, copied, - and practised before the following Sunday. It was the "Misericordias - Domini," to which Padre Martini accorded great praise.<a - href="#linknote-60012" name="linknoteref-60012" id="linknoteref-60012">12</a> - As a matter of course, Wolfgang made his mark also as a clavier-player; - with this object he had taken his concerto with him, and his sister was to - bring some of his sonatas and variations. Schubart writes in his "Teutsche - Chronik" (1776, p. 267): "Only think, my friends, what a treat! Last - winter, in Munich, I heard two of the greatest clavier-players, Herr - Mozart and Herr v. Beecke. My host, Herr Albert, who is enthusiastic for - all that is great and beautiful, has an excellent pianoforte in his house. - So these two giants strove together. Mozart can play any difficulties, and - whatever is laid before him at sight. But nevertheless, Beecke far - surpasses him—winged speed, grace, melting sweetness, and a - marvellous amount of taste, are weapons which none can wrest from the - grasp of this Hercules." - </p> - <p> - The great and universal applause bestowed on Wolfgang inspired his father - with the hope that he would be intrusted <span class="side">WORKS IN - GERMANY.</span> <span class="pagenum"><a href="pgimages/p152.png">[152]</a></span> - with the opera seria for the next year; why this was not the case we are - not aware. The rumour current in Salzburg that Wolfgang was about to enter - the Elector's service, L. Mozart ascribes to his enemies, and to those - whose consciences told them what good cause he had for taking such a step; - he was used to such childish folly, and did not allow it to trouble him in - the least. Nevertheless, there is no doubt that nothing would have pleased - him more; but, as a prudent man, he did not wish to cut himself adrift - from Salzburg before having secured a safe anchorage at Munich. - </p> - <p> - After enjoying to their close the pleasures of the Carnival, which lasted - too long for the father, they returned to Salzburg on March 7,1775. In - April the Archbishop of Salzburg was honoured by a visit from the Archduke - Maximilian, youngest son of Maria Theresa (b. 1749), afterwards Archbishop - of Cologne; he had been spending the Carnival in Paris, where his want of - tact had placed the Queen in considerable embarrassment,<a - href="#linknote-60013" name="linknoteref-60013" id="linknoteref-60013">13</a> - and had also paid a short visit to Munich. Court festivities were - arranged, chiefly consisting of musical performances, for which the singer - Consuoli and Becke, the flautist, were summoned from Munich. A serenata by - Fischietti was performed on April 22, and on the following day Mozart's - "Re Pastore," which had been very hurriedly composed. On April 24, - according to the report of one of the Archduke's suite, "Music was the - entertainment provided, as on the preceding days; at the conclusion of the - performance, young Mozart placed himself at the piano and played various - pieces from his head, with equal skill and grace." Whether he appeared as - a violinist we do not know; he had, at any rate, composed his first violin - concerto on April 14 (207 K.), and the fact that this was followed by four - others in the same year (211, 216, 218, 219, K.) is a proof that he was - applying himself energetically to the violin; possibly because it would be - easier to find a good situation if he were an accomplished violin-player. - </p> - <p> - The next two years passed quietly and busily at Salzburg. Extracts from a - diary kept by young Schiedenhofen show how <span class="side">CHURCH MUSIC—"HAFFNER-MUSIK," - 1776.</span> <span class="pagenum"><a href="pgimages/p153.png">[153]</a></span> - limited their circle of friendly intercourse was, and Wolfgang's - authentically dated compositions afford proofs of his activity and - progress. - </p> - <p> - The year 1776 was especially rich in church music; four masses (257, 258, - 259,261, K.) fall in this year, three of them in its last quarter, while - in March a Grand Litany in E flat major (243 K.) was written, besides an - Offertory, "Venite populi," for two choirs (260 K.). To 1777 belong a Mass - (275 K.), and a Graduale, "Sancta Maria" (273 K.). A series of organ - sonatas were furnished for the services of the church, and for the court a - number of divertimenti for wind instruments, probably as table music. In - other respects, doubtless in consequence of the ill-will of the - Archbishop, Wolfgang appears to have held aloof from the court concerts; - no symphonies belong to this time. The serenatas were written for other - occasions. On wedding-days, fête-days, or the like, these nocturnal pieces - were usually performed in the street, not excepting the solos;<a - href="#linknote-60014" name="linknoteref-60014" id="linknoteref-60014">14</a> - they were introduced by a march, in which any of the company who could - handle a bow might take part; the rest listened from the windows above. - Such music was either ordered and paid for, or offered as a tribute of - esteem. - </p> - <p> - On the wedding-day of the Salzburg citizen F. X. Spath with Elise Haffher, - daughter of the worthy merchant and Bürgermeister Sigmund Haffner<a - href="#linknote-60015" name="linknoteref-60015" id="linknoteref-60015">15</a> - (July 22,1776), a serenata by Mozart was performed, afterwards known as - the "Haffner-musik" (249, 250, K.). Another opportunity offered in the - fête-day of the Countess Antonia Lodron, for whom in 1776 and 1777 - Wolfgang wrote several specified nocturnes;<a href="#linknote-60016" - name="linknoteref-60016" id="linknoteref-60016">16</a> Schiedenhofen was - present at the rehearsal of one of them, and he tells us also that on July - 25, 1777, there was a <span class="pagenum"> - <a href="pgimages/p154.png">[154]</a></span> rehearsal of - a serenata at the house of the grocer Gusetti, composed by Wolfgang for - his sister's fête-day; it consisted of a symphony, a violin concerto - played by himself, and a flute concerto played by Cosel. Probably the - divertimento composed in July, 1776 (251 K.) was also intended for his - sister's fête-day. A Finalmusik (185, 215, K.) produced on August 23, - 1775, and a "Serenata Nottuma" (239 K.) in January, 1776, are both for - unknown occasions. - </p> - <p> - The clavier compositions were also mainly written for pupils or amateurs; - for example, the Concerto in C major (246 K.) for the Countess Litzow or - Lützow, wife of the Commandant of Hohen-Salzburg; that in E flat major - (271 K.) for a Madame Jenomy (January, 1777), whom Wolfgang had met in - Paris; the Concerto for three pianofortes for the Countesses Antonie, - Luise, and Josepha Lodron (242 K.), February, 1776. While the Mozarts were - at Munich, in 1775, a landed proprietor, Buron Dümitz, had ordered some - pianoforte sonatas, which were duly forwarded (279-284 K.); but he - altogether forgot to send the promised payment in return. Two four-hand - sonatas, mentioned by his father (December 8, 1777), were probably - intended for Wolfgang and his sister; Schiedenhofen heard them play a duet - on August 15, 1777. - </p> - <p> - Having taken this biograpical survey, it is now time to bestow a closer - inspection on Wolfgang's compositions. - </p> - - <p> - <br /><br /> - <a name="chap_7" id="chap_7"> </a> - </p> - <div style="height: 4em;"> - <br /> - <hr /> - <br /><br /> - </div> - <h2> - CHAPTER VII. OPERA SERIA. - </h2> -<p> -<span class="pagenum"><a href="pgimages/p154.png">[154]</a></span> -</p> - <p> - THE OPERA<a href="#linknote-7001" name="linknoteref-7001" - id="linknoteref-7001">1</a> owes its rise to the attempt which was made in - Florence at the beginning of the sixteenth century to discover the musical - method of ancient tragedy and to reproduce it in conformity to the spirit - of the Renaissance.<a href="#linknote-7002" name="linknoteref-7002" - id="linknoteref-7002">2</a> <span class="side">GRADUAL RISE OF OPERA.</span> - <span class="pagenum"><a href="pgimages/p155.png">[155]</a></span> In - opposition to the predominant madrigal style of part-singing, worked out - in counterpoint, there arose strivings after a method which should give - freedom and independence to the solo singer, and which should render the - poet's words comprehensible and sympathetic to the hearer. The conviction - that this was accomplished to perfection in ancient tragedy led to a - search after lost musical traditions, traces of which are observable in - the opera seria, even in its latest development. First, recitative was - introduced as a middle course between song and ordinary speech, - distinguished by accent and rhythm, and sustained by a simple harmony, - which emphasised the dialogue. Time and effort were needed to establish - this compromise between song and speech, and to convert recitative into - the pliable, expressive instrument of musical dialogue. - </p> - <p> - The first attempt to place an opera in this <i>stilo rappresentativo</i> - on the stage was made by Jac. Peri with Ottavio Rinuccini's "Dafne," - performed in 1594 at the Palazzo Corsi;<a href="#linknote-7003" - name="linknoteref-7003" id="linknoteref-7003">3</a> the same poet's - "Euridice" followed in 1600, publicly performed on the occasion of the - marriage of Henry IV. with Marie de Medicis. The whole dialogue is - rendered in a simply accompanied recitative, without the introduction of - anything resembling an air; to this are added choruses, after the example - of the old tragedies, not worked out in contrapuntal form like madrigals, - as was already the custom with the intermedii of spoken tragedies, but in - simple harmonies, and in a key corresponding to the recitatives. - </p> - <p> - A similar experiment was made in Rome in 1600 by Emilio de' Cavalieri with - his oratorio "Dell' Anima e del Corpo," and in Florence the same year by - Giulio Caccini with another, "Euridice," which displayed the art of the - singers by its numerous embellishments and passages. - </p> - <p> - Musical language, however, could only attain its full effect when the more - elevated sentiments received their due expression in an air, independent - in character and <span class="side">OPERA SERIA.</span> <span - class="pagenum"><a href="pgimages/p156.png">[156]</a></span> perfect in - form. The development of solo singing released from its contrapuntal - bondage, and made expressive by melody, was largely due to Caccini. The - merit of connecting the air with the recitative in opera—for which a - precedent was found in the monody of ancient tragedy—belongs to - Claudio Monteverde, who also made use of the whole available instrumental - wealth of the time. His operas of "Orfeo," composed in Mantua (1607), and - "Arianna" (1608) were followed in Venice, where he was appointed - kapellmeister (1613), by "Proserpina rapita" (1630), "Adone" (1639), &c. - Here, then, were the elements of the opera seria. To follow its continuous - development step by step would require such a searching study of details - as has not yet been undertaken. The majority of existing accounts are made - apparently at random, and without any idea of connection or dependence. A - sketch of the leading points in the progress of this development will - suffice for our purpose.<a href="#linknote-7004" name="linknoteref-7004" - id="linknoteref-7004">4</a> - </p> - <p> - Ancient tragedy being taken as a model, it followed that the stories of - ancient mythology or history (they were always considered on the same - level) were almost exclusively chosen, although treated for the most part - in a widely different spirit. - </p> - <p> - Opera soon formed an important feature in court festivals, and it became - customary to give the text a reference to the festival or person honoured - by turning it into an allegory, in which poetical fancy vied with personal - flattery.<a href="#linknote-7005" name="linknoteref-7005" - id="linknoteref-7005">5</a> In imitation of ancient tragedy mimic dances - were connected with the singing, but the union of the arts tended more to - sensual enjoyment than to poetical effect. The naïve freedom with which - the ancient myths were handled gave ample license for gaudy costumes, - scenery, and decorations, and the same taste was carried into the - fantastic outcome of these festival representations known as the German - magic opera. - </p> - <p> - The courts of Italy and France vied with each other in <span class="side">DEVELOPMENT - OF OPERA—SCARLATTI.</span> <span class="pagenum"><a - href="pgimages/p157.png">[157]</a></span> the costly splendour lavished on - the opera by scene-painters, decorators, and costumiers; and Vienna, - Munich, Dresden, and Stuttgart were not slow to follow their example. The - elegantly printed books of the words, adorned with careful copper-plate - engravings, which were distributed for these performances, give some idea - of the style in which they were put on the stage, and of the dazzle and - glitter in the midst of which the music became a very secondary - consideration. - </p> - <p> - Such operas as we have described could, on account of the expense, only be - given at royal courts on special occasions; but the general public soon - began to demand a share in the entertainment and a regular repetition of - it. It became the established custom to make the opera the main festivity - of the Carnival, and although generous patrons were not wanting, prepared - to support the managers (<i>impresarii</i>), yet the latter, who naturally - wished to make a profit by the opera, generally found it necessary to - reduce the cost of the representations. The libretti, which sought to - excite interest by showy scenery, and a mixture of pathetic and burlesque - situations, without the least regard to consistency or psychological - accuracy, were far from satisfactory to any cultivated taste. But the - cultivation of the art of song exercised the highest of all influences on - operatic music. It had reached a height from which it was able to govern - the musical public, and to render the pleasure of the eye subservient to - that of the ear. In proportion as the vocal art asserted its superiority, - it exacted a simplification of all other means of attraction, and the - universal striving after regularity was materially assisted by the - necessity for clear and decided forms in vocal music. - </p> - <p> - This transformation of the opera, which took its final form from poet and - composer under the quickening influence of great singers, is commonly - ascribed to Alessandro Scarlatti (1659-1725). He was the disciple, - although perhaps not the pupil, of the Roman kapellmeister, Giacomo - Carissimi (who was nearly ninety in 1672), who did such good service to - the development of recitative and dramatic solo singing, that he may be - considered the founder of modern song. - </p> - <p> - Scarlatti, excellent alike from his thorough musical <span class="side">OPERA - SERIA.</span> <span class="pagenum"><a href="pgimages/p158.png">[158]</a></span> - knowledge, and from the wealth and grace of his invention, displayed - astonishing fertility in the different departments of musical art. In the - year 1715, according to his own account, he had composed 106 operas.<a - href="#linknote-7006" name="linknoteref-7006" id="linknoteref-7006">6</a> - At Naples, where he passed the greater part of his life, he founded the - school from which (more especially under his successor Francesco Durante, - 1693-1755) a long list of composers issued, who for the most part wrote - admirable church music, but whose chief mission it was to maintain - throughout the last century an uninterrupted succession of operatic music. - If we glance down the long list of the more famous—Nic. Porpora - (1685 or 1687-1767), Dom. Sarri (1688-1732), Leon. Vinci (1690-1734), - Franc. Feo (1694-1740), Leon. Leo (1694-1756?), Ad. Hasse (1699-1783), - Terradeglias (17...-1754), Nic. Logroscino (17...-1763), Pergolese - (1707-1739), Pasq. Cafaro (1708-1787), Duni (1709-1775), Dav. Perez - (1711-1778), Nic. Jomelli (1714-1774), Rinaldo da Capua (b. 1715), Tom. - Traetta (1727-1779), Guglielmi (1727-1804), Nic. Piccinni (1728-1800), - Sacchini (1735-1786), Pasq. Anfossi (1736-1797), Giac. Paisiello - (1741-1816), Franc, de Majo (1745-1774), Dom. Cimarosa (1754-1801)—we - shall be astonished to find that of the numerous members of the Neapolitan - school only four were born out of the kingdom of Naples,<a - href="#linknote-7007" name="linknoteref-7007" id="linknoteref-7007">7</a> - viz., Hasse, Terradeglias, Pergolese, and Guglielmi. The rest of Italy was - quite unable to compete with this wealth. - </p> - <p> - Venice, however, took an important place in the development of Italian - opera, both by the splendour of the performances given in the theatre, - which was erected in 1637,<a href="#linknote-7008" name="linknoteref-7008" - id="linknoteref-7008">8</a> and by excellent institutions for musical - education. The fame of the Venetian school was upheld by many celebrated - composers, among them Carlo Pallavicini (16...-1688), Agost. Steffani - (1655-1730). Franc. Gasparini (1665-1737), Ant. Lotti <span class="side">ITALIAN - INFLUENCES ON OPERA.</span> <span class="pagenum"><a - href="pgimages/p159.png">[159]</a></span> (1667-1740), Giov. Porta - (16...-1740), Ant. Caldara (1678-1763), Buranello (1703-1785), Ferd. - Bertoni (1725-1813). - </p> - <p> - Bologna too had its share in the history of the opera, maintaining a firm - tradition of careful performances,<a href="#linknote-7009" - name="linknoteref-7009" id="linknoteref-7009">9</a> and excellent schools - for singing and composition; Giov. Buonon-cini (1672-1752) and Gius. Sarti - (1729-1802) were trained here. - </p> - <p> - Rome was looked upon as the city where the keenest enthusiasm either of - applause or adverse criticism was to be expected, consequently where - artistic reputations were most often made or destroyed;<a - href="#linknote-70010" name="linknoteref-70010" id="linknoteref-70010">10</a> - but Rome was neither the birthplace nor the seminary of any famous - operatic masters. - </p> - <p> - It is not necessary here to inquire into the details of the part taken by - Scarlatti in the erection of Italian opera as it now exists. His operas - are truly epitomes of the history of musical development, and his many - imitators and successors pass before us like the shadows of the Homeric - shades; but we have only to do with him or with them in so far as concerns - the main features of that form of operatic composition which Mozart found - ready to hand.<a href="#linknote-70011" name="linknoteref-70011" - id="linknoteref-70011">11</a> - </p> - <p> - The stability with which operatic development kept close to the path which - had at first been marked out was due partly to circumstances and the - influence of public opinion, partly to the character of the Italian - people. Beauty, appealing immediately and directly to their lightly - kindled imaginations, required that its sensual charm should be clearly - and unreservedly expressed; and for this they were willing to sacrifice - novelty and characterisation. Again, the art of music was developed in - accordance with natural laws; and having once acquired forms indicative of - its essential elements, it grasped these firmly, and refused to abandon - them until they had become completely obsolete. It was the task of the - great masters of the eighteenth century to <span class="side">OPERA SERIA.</span> - <span class="pagenum"><a href="pgimages/p160.png">[160]</a></span> - maintain this course of steady imperceptible progress, and, by raising to - successive stages each hardly won step towards perfection, to establish in - the end a new and more admirable whole. - </p> - <p> - The chief component parts of the opera were the recitative and the song, - or aria.<a href="#linknote-70012" name="linknoteref-70012" - id="linknoteref-70012">12</a> Recitative, intended for the rendering of - conversation, approaches in rhythm and intervals as near as possible to - ordinary speech, and leaves the singer ample scope for an animated and - expressive delivery. This is assisted by a simple harmonious - accompaniment, the basses giving the fundamental, the clavier the harmony. - The simplicity of the musical treatment lends itself to characteristic - declamation, and impressive situations are thrown into relief generally by - sudden changes of harmony; numerous instances show the importance that was - attached to this mode of delivery. But very soon it became the fashion to - treat this <i>recitativo secco</i> as subordinate, and the composer strove - to do away with it as far as possible. Certain turns, certain harmonic - progressions and interrupted cadences, were as indispensable to recitative - as many turns of speech are to social intercourse. As the course and - development of the action of the piece depend almost entirely on the - recitative, it follows that any neglect of the latter must affect one of - the most important elements of the opera. The need for attaining the power - of expressing a momentary passion or inspiration which would not admit of - an elaborate representation led to the introduction of the so-called - accompanied (obligate) recitative. For this the orchestra (at first only - the whole body of stringed instruments) was made use of, and accompanied - the alternations of emotion with corresponding musical phrases or - interludes. Recitative, without abandoning its distinctive - characteristics, became more strongly accentuated, and in process of time - passed over into song. Such vocal melodies as seemed thus to be called - forth by the emotions of the situations were called <i>cavata</i> or <i>cavatina</i>. - At first they were <span class="side">RECITATIVE—THE ARIA.</span> - <span class="pagenum"><a href="pgimages/p161.png">[161]</a></span> - considered as an ingredient or embellishment of the recitative, but later - on they were treated independently. <i>Arioso</i> in the recitative - indicates an interpolated passage of vocal melody. A rapid alternation of - varied or contending emotions in monologue or dialogue called for - accompanied recitative, which generally passed into a song, where a - definite emotion might find its due expression. It was here that singers - and composers sought to accomplish the highest degree of dramatic - expression, and although in the aria they might be tempted to an undue - regard for musical display, to the neglect of dramatic effect, here at - least they strove for a faithful portrayal of human sentiment. - </p> - <p> - The aria was the almost exclusive form given to regular artistic song. - Choruses, which formerly concluded every act, were afterwards only - exceptionally employed, generally when the occasion, being a court - festivity, required additional outward show; they very seldom formed an - integral part of the performance.<a href="#linknote-70013" - name="linknoteref-70013" id="linknoteref-70013">13</a> Ballets, which were - originally combined with the choruses, became by degrees quite distinct, - and were given between the acts of the opera. Concerted vocal pieces were - confined within limits more and more strictly defined, until the rule came - to be that in every opera there should be a duet for the prima donna and - the primo uomo, and a terzet in which the primo tenore also took part; - even the places for these, at the end of the second and third acts, were - appointed. Further restrictions were imposed on the character of these - concerted pieces by the necessity of giving all possible effect to the - voices. They do not pretend to represent a conflict of struggling - passions, pressing onward to the catastrophe; rather does some definite - mood, the natural result of the situations which have preceded it, find - its fitting expression in their regular concerted form, which affords - ample scope for the display of varieties in quality and style of the - individual voices. - </p> - <p> - The aria, which gave expression to a fixed lyrical mood, was seldom the - culminating point of a dramatic situation; its connection with the action - of the piece was, for the most <span class="side">OPERA SERIA.</span> - <span class="pagenum"><a href="pgimages/p162.png">[162]</a></span> part, - only sufficient to give it a certain local colour. It was the task of both - composer and singer to make the aria fit in to the drama; but the claims - of the vocalist were paramount in its composition. As the canons of - operatic construction became more and more strictly defined, distinctions - arose between different kinds of arie, each having its own character and - form; the <i>aria cantabile</i> was for sentimental declamation, <i>di - portamento</i> for long drawn-out tones, <i>di mezzo carattere</i> for - dramatic expression, <i>aria parlante</i> or <i>agitata</i> for the - expression of passion, <i>aria di bravura (agilità)</i> for the display of - artistic skill of every kind.<a href="#linknote-70014" - name="linknoteref-70014" id="linknoteref-70014">14</a> The poet and - composer had only to be careful to suit the arie to the performers, and so - to distribute them through the opera that their variety should place the - performances of each character in their most favourable light.<a - href="#linknote-70015" name="linknoteref-70015" id="linknoteref-70015">15</a> - But a certain fixed form served as a groundwork to all arie, and kept them - within well-defined bounds. It is easy to trace the simple expressive - phrase as it is extended and rounded into a well-formed melody, and then - to follow the different subjects so obtained until, by progressions and - interludes, they are welded into a whole. But this led to a petrifying - formalism, and to a tedious lengthening of the aria, which sacrificed - character to vocal display. - </p> - <p> - An aria regularly consists of two parts differing in key, time, and - measure. An allegro in common time usually begins, introduced by a slower - passage in triple time; but as to this there is no fixed rule, and free - scope as to details is given to the composer. The first movement is - broadly conceived, always with a view to the skill of the performer; he - repeats one or more of the principal melodies in different positions, but - without thematic elaboration, and inserts runs and passages. - </p> - <p> - In the second part the composer, granting some repose to the singer, made - a display of his own art by selected harmonies, elaborate accompaniments, - and so forth. It was <span class="side">THE ARIA.</span> <span - class="pagenum"><a href="pgimages/p163.png">[163]</a></span> essential to - the singer's reputation as an artist that he should be able to vary the - modulation and embellishment of the melody each time it recurred, the - composer supplying a mere outline, and leaving the execution of the - cadenzas entirely to the discretion of the performer. This task became - more difficult as the custom grew of repeating the whole of the first part - at the close of the second, thus turning the latter into a middle - movement; for no singer would be deterred from enhancing the interest of - each repetition by a fresh mode of delivery. So that the public performers - of that day displayed their taste and cultivation not only, as at present, - by execution and declamation; they worked of necessity side by side with - the composer, whose special glory it was to inspire his singers with a - spark of his own creative genius. - </p> - <p> - The influence thus exerted by the executive artist could not fail to - determine, to a great extent, the path of development in operatic - composition. The great names of the more celebrated singers are to us - indeed but names, for contemporary notices give us no clear idea of their - performances,<a href="#linknote-70016" name="linknoteref-70016" - id="linknoteref-70016">16</a> and the music written for them, deprived of - the direct charm of their personal impression, affords a most imperfect - standard of judgment. - </p> - <p> - From the middle of the last century the tendency to sacrifice all - consideration to execution (bravura) became more and more marked; until at - last, dramatic propriety, and the soul-inspiring calm of beautiful song, - were alike buried beneath the weight of ornamentation and exaggerated - flourishes,<a href="#linknote-70017" name="linknoteref-70017" - id="linknoteref-70017">17</a> serving only to display the pretensions of - the vocalist and the dexterity of the composer. In this way the dramatic - element of the opera became more and more neglected, until at last it was - regarded as a superfluous and disturbing adjunct to the vocalisation.<a - href="#linknote-70018" name="linknoteref-70018" id="linknoteref-70018">18</a> - </p> - <p> - <span class="side">OPERA SERIA.</span> <span class="pagenum"><a - href="pgimages/p164.png">[164]</a></span> - </p> - <p> - The public too grew accustomed to confine their attention to the - individual exploits of their favourites;<a href="#linknote-70019" - name="linknoteref-70019" id="linknoteref-70019">19</a> and the composer, - unwilling to waste his energy on thankless parts, followed the example, - and devoted his whole powers to a few individuals.<a href="#linknote-70020" - name="linknoteref-70020" id="linknoteref-70020">20</a> - </p> - <p> - The enormous salary paid to celebrated singers, male and female, had the - effect of limiting the number of principal parts to three or four, each - distinguished as primo.<a href="#linknote-70021" name="linknoteref-70021" - id="linknoteref-70021">21</a> The remaining parts were treated by both the - poet and the composer as subordinate, not only on account of the mediocre - powers available for their representation, but also and chiefly because it - would have been against the interests of the great singers that secondary - characters should attract notice or applause. They controlled all - secondary parts, suppressing or appropriating any song which they - considered too brilliant, and leaving the author to arrange the piece as - best he might.<a href="#linknote-70022" name="linknoteref-70022" - id="linknoteref-70022">22</a> There was a fixed code of etiquette in all - stage arrangements. The prima donna, for instance, was entitled to have - her train borne by one, or if a princess, by two pages; she took the place - of honour at the right of the stage, being, as a rule, the most important - personage of the piece. When Faustina Hasse played Dircea, in "Demofoonte" - (1748), who is not recognised as a princess until late in the piece, she - claimed precedence over the acknowledged Princess Creusa, and Metastasio - himself was obliged to interfere in order to induce her to yield the - point.<a href="#linknote-70023" name="linknoteref-70023" - id="linknoteref-70023">23</a> - </p> - <p> - Thus all influences combined to mould the opera seria into a narrow - conventional form, in which all other considerations were sacrificed to - executive effect, and the display of skill and sensibility in the - rendering of the music. - </p> - <p> - We can form no clear conception whatever of the operatic <span class="side">INSTRUMENTATION—THE - OVERTURE.</span> <span class="pagenum"><a href="pgimages/p165.png">[165]</a></span> - orchestra in its earliest form; both the use and the effect of various - instruments are very imperfectly known, and the instrumentation is - consequently more or less incomprehensible. But here too development - proceeded in the way of simplification, and at the time of Scarlatti the - treatment of instrumental accompaniment and the disposal of the orchestra - was determined as to essentials for all future times. - </p> - <p> - In the plain recitative of the dialogue, the fundamental note was given by - the bass, and the chord was struck on the piano (at which the composer or - kapellmeister conducted) and repeated as often as necessary. In the songs - and <i>ensembles</i> the instruments came in as accompaniments, freed from - the obligation of following a given melody step by step with a given bass, - according to the rules of thoroughbass for filling up harmonies. Scarlatti - and the earlier masters kept this accompaniment very simple, seldom - introducing more than one part in addition to the bass and the voice. But, - as practised contrapuntists, they could handle the accompanying parts - broadly and freely, and could give animation by simple means. This art - gradually decreased, and the accompaniment, although fuller, became more - mechanical and dependent, Only here and there suggesting contrapuntal - elaboration. The orchestra was used independently only in the symphonies - which repeated the motifs of the songs, in the short interludes of - accompanied recitative, and finally in the introductory overture or - sinfonia. - </p> - <p> - Italian operatic composers began by making use of the form of overture - which Lully had established in France, beginning with an adagio, followed - by a quick movement, often in the form of a fugue, and passing again into - an adagio, which concludes the overture. Later, the form was determined - which has remained ever since, of three movements: an allegro, a slower, - shorter movement contrasting in time, instrumentation, and expression, and - a concluding allegro, animated and often noisy. - </p> - <p> - These main features were capable of rich and varied development, were it - not that in Italy little importance was attached to the overture, which - was commonly regarded as a <span class="side">OPERA SERIA.</span> <span - class="pagenum"><a href="pgimages/p166.png">[166]</a></span> means of - reducing the audience to silence and attention. The three movements, - therefore, generally preserved their gradations without marked - characteristics, and the attempt to express the effect of the first scene - by means of the overture was soon abandoned.<a href="#linknote-70024" - name="linknoteref-70024" id="linknoteref-70024">24</a> - </p> - <p> - The grouping of Scarlatti's orchestra was in its main points identical - with that of the present day. The stringed instruments, violins, tenors, - and basses formed its main strength; but their application was very - simple. The violon-celli go regularly with the double-basses, and the - tenors serve generally only to strengthen the bass; where they are - independent they are often divided, like the violins, which however - frequently go together. The oboe has the chief part among the wind - instruments, the flutes serving mainly for variety and special - characteristics; the bassoons strengthen the bass, and are rarely used - independently. Soon horns were employed, and drums and trumpets when - special splendour was required; trombones were used in the churches, never - in the opera. - </p> - <p> - In this manner even the largest orchestras were arranged down to the close - of the last century; an example is afforded by the construction and - arrangement of the Dresden orchestra by Hasse, which was considered as a - model.<a href="#linknote-70025" name="linknoteref-70025" - id="linknoteref-70025">25</a> [See Page Image] <span class="side">THE - ORCHESTRA—INSTRUMENTALISTS.</span> <span class="pagenum"><a - href="pgimages/p167.png">[167]</a></span> The well-appointed bass parts - are the most striking, intended as a firm foundation for the vocal melody, - which is not seldom strengthened by the violins and oboes or flutes. But - to avoid any effect of poverty, it must not be forgotten that the - accompanist at the piano filled in the harmony. To strengthen this, and to - give variety to the intonation, was the task of the wind instruments. But - when the orchestra was treated as a whole there was seldom any attempt to - render lights and shades by alternations of the instruments; to attain - this end, concerted solo instruments were employed. - </p> - <p> - Italy was, during the eighteenth century, at once the mother and the nurse - of instrumental musicians. A succession of first-rate violinists—Arcang. - Corelli (1653-1713), Franc. Geminiani (1680-1762), Ant. Vivaldi - (16...-1743), Gius. Tartini (1692-1770), Pietro Nardini (1722-1793), Gaet. - Pugnani (1727-1803), Ant. Lolli (1733-1802)—established the glory of - violin-playing, and raised it to an extraordinary height of excellence; - while as oboists the brothers Besozzi, Alessandro (1700-1775), Antonio - (1707-1781), Gaetano (1727-1793) were performers of the first merit. - Trumpets were at that time more especially considered as solo instruments. - </p> - <p> - Not until later could Germany compete successfully with Italy, as far as - the orchestra was concerned; in France, although the precision of Parisian - orchestras was always remarkable, the development of instrumental music - was longest delayed. Scarlatti introduced instrumental soloists in the - operatic orchestra, and the effect was the same as on the stage; it worked - against the careful striving after a perfect whole, and the tendency of - the instrumental artists to enter into competition with the vocalists led - in no small degree to that treatment of the voice as a mere instrument - which was so much to be deplored. Notably Farinelli in 1722 established - his reputation in Rome by a contest with a wonderful trumpeter, whom he - twice vanquished in the sustenance and artistic delivery of a long note, - and in the execution of difficult passages.<a href="#linknote-70026" - name="linknoteref-70026" id="linknoteref-70026">26</a> - </p> - <p> - <span class="side">OPERA SERIA.</span> <span class="pagenum"><a - href="pgimages/p168.png">[168]</a></span> - </p> - <p> - The first step towards simplifying opera seria in its new form was made in - the diction and treatment of the plot. The subject-matter continued to be - taken from the stories of mythology or ancient history; but effects of - magic and show were abolished, and a connected well-developed plot was - substituted, simple in action, and confined to a small number of - personages. Next, the previous mixture of the tragic and comic elements - was abolished, and everything approaching to burlesque strictly - interdicted. The chief efforts in this direction were made by the Roman - Silvio Stampiglia (d. 1722), to whom Apostolo Zeno awards more of genius - and spirit than thorough cultivation,<a href="#linknote-70027" - name="linknoteref-70027" id="linknoteref-70027">27</a> and whom Arteaga - calls dry and unmusical.<a href="#linknote-70028" name="linknoteref-70028" - id="linknoteref-70028">28</a> Apostolo Zeno himself (1688-1750) followed - in the same path as court poet to Charles VI. He was a man of education - and learning, and as such sought to model the opera on ancient tragedy in - its best and most manly form, and strove for a naturally developed plot, - correct delineation of character, and simplicity of language. He proved, - said Metastasio,<a href="#linknote-70029" name="linknoteref-70029" - id="linknoteref-70029">29</a> that the opera and good sense are not - absolutely contradictory terms. The fact that his operas were often and - successfully performed during the first half of the century bears - testimony to the simplicity and earnestness of the musical taste of the - time; later on, as the field of music extended its limits, his text was - found pedantic.<a href="#linknote-70030" name="linknoteref-70030" - id="linknoteref-70030">30</a> His indisputable merit<a - href="#linknote-70031" name="linknoteref-70031" id="linknoteref-70031">31</a> - was thrown into the shade by Metastasio's works;<a href="#linknote-70032" - name="linknoteref-70032" id="linknoteref-70032">32</a> these denote in a - remarkable degree the spirit of the time which produced them, a spirit - that they themselves fostered and encouraged. - </p> - <p> - Metastasio (Pietro Trapassi, 1698-1782) distinguished himself as a boy by - his talent for improvisation; he received a thorough learned education - from the celebrated Roman <span class="side">METASTASIO.</span> <span - class="pagenum"><a href="pgimages/p169.png">[169]</a></span> jurist - Gravina, which led to his adoption of classical antiquity as his model; - while his connection with the singer Marianna Bulgarini early gave him an - insight into the technical requirements of the opera. He began his career - as a librettist in 1724 with "Didone" at Naples; in 1730 he went to Vienna - as court poet, where he lived on the best of terms with the Imperial - family,<a href="#linknote-70033" name="linknoteref-70033" - id="linknoteref-70033">33</a> and highly esteemed by the cultivated - public. Following Apostolo Zeno, he sought to supply his operas with a - true dramatic form, and he made it his chief aim to portray the effect of - different characters and passions upon the development of the action. - Metastasio had no large or powerful conceptions, nor could he grasp strong - passions; his psychological vision is clear and cool, but limited, just as - his sentiments are correct and good, but neither wide nor free. In his - dramas, therefore, the representation of character and the plot are - well-considered, suitable, and consistent, but with a certain mediocrity - running through the whole; he chiefly concerns himself with the - exemplification of principles and experiences, and individualises but - little.<a href="#linknote-70034" name="linknoteref-70034" - id="linknoteref-70034">34</a> He makes love the animating element of his - drama, and the starting point of his psychological study of motives. His - characters want neither life nor passion, but softness and veiled - sensuality are the characteristic features of what he endeavoured to make - an imitation of actual life. The public were gratified at recognising - themselves and their love affairs glorified on the stage, and were - grateful to Metastasio for allowing them to enjoy themselves in their own - way, and not preaching moderation and self-control. They admired his - language too, which is correct, and charmingly melodious and natural in - expression, not more rhetorical than the Italian language and poetry - demands, and never overlaid with conceits. - </p> - <p> - To these qualities of a dramatic poet, Metastasio joined that of an - operatic composer; he was a musician. He had cultivated his musical talent - by intercourse with singers and <span class="side">OPERA SERIA.</span> - <span class="pagenum"><a href="pgimages/p170.png">[170]</a></span> - composers, and had a ready perception of what was necessary to a work - written for composition. He sang "come un serafino" (as he writes jokingly - to Farinelli),<a href="#linknote-70035" name="linknoteref-70035" - id="linknoteref-70035">35</a> played the clavier, and composed a little - himself;<a href="#linknote-70036" name="linknoteref-70036" - id="linknoteref-70036">36</a> he found it a pleasant incitement to - poetical activity to seat himself at the clavier and improvise. He said - himself he had never written a song without composing it himself, - according to his own conception of its musical character.<a - href="#linknote-70037" name="linknoteref-70037" id="linknoteref-70037">37</a> - </p> - <p> - Metastasio confines the development of the plot as a rule to the - recitative and the arie (or duet, or terzet), expressing at the close of - each scene the sentiment which is the result of the previous action. This - they always did so clearly and precisely that the composer had both - incentive and scope for musical treatment. - </p> - <p> - The too numerous figures and metaphors (which he was fond of borrowing - from the sea) express the taste of the time, and so far from troubling the - musician, gave him opportunities for musical painting which was sure to be - admired. The melodious language met the music half way, while the simple - yet varied rhythm, the contrast of ideas, and the construction of the - verse, aided the composer, without fettering him, in the musical phrasing - of his work. - </p> - <p> - It was no wonder that Metastasio reigned supreme over the stage and its - composers, and that he was the model of the later operatic poets; they - succeeded best in imitating his defects, and gave Naumann occasion to say - with justice, "The oldest of Metastasio's operas is more pleasing to me - than any written by our present poets." - </p> - <p> - Metastasio was well aware that the poet only supplies a stem to the opera, - which the composer clothes with foliage and blossom;<a - href="#linknote-70038" name="linknoteref-70038" id="linknoteref-70038">38</a> - but he was far from allowing the composer absolute dominion over the poet, - and prided himself on the <span class="side">CONDITIONS OF - LIBRETTO-WRITING.</span> <span class="pagenum"><a href="pgimages/p171.png">[171]</a></span> - fact that his operas had been played with applause as tragedies without - music both in France and Germany.<a href="#linknote-70039" - name="linknoteref-70039" id="linknoteref-70039">39</a> - </p> - <p> - He chose to consider the composer as the interpreter of the poet, and - bound to follow his indications of character and style.<a - href="#linknote-70040" name="linknoteref-70040" id="linknoteref-70040">40</a> - This was in his opinion the chief merit of the old composers, and in his - later years he was never weary of deploring the decline of music, which - was the consequence of the license taken by vocalists, destroying alike - truth and beauty of expression.<a href="#linknote-70041" - name="linknoteref-70041" id="linknoteref-70041">41</a> - </p> - <p> - The poet not less than the composer found himself hemmed in by conditions - as well as by traditional formulas. He too performed his task to order, - and was hampered by circumstances, and by the limited means at his command - in his choice of subject and characters. - </p> - <p> - It was in no way favourable to Zeno and Metastasio that they received - their commissions from the court;<a href="#linknote-70042" - name="linknoteref-70042" id="linknoteref-70042">42</a> besides the direct - influence of the taste of the <i>somme padrone</i>, the whole atmosphere - tended to effeminacy and a uniform level in style. The impresarii chose - the libretti for the composers they had engaged, partly according to the - applause the subjects had already received, but more to suit the singers - they had at command. They were altered to suit the occasion sometimes by - the poet himself, but more often some local poet undertook the necessary - curtailments and additions, whereby the work seldom profited.<a - href="#linknote-70043" name="linknoteref-70043" id="linknoteref-70043">43</a> - </p> - <p> - The absolute monarchy of Zeno and Metastasio, whom all other poets - slavishly imitated, would alone suffice to explain the fact that in the - course of the last century opera seria received the fixed and unalterable - form it still retains; we have seen that the tendency was the same as - regards the music. This makes it comprehensible that in reading the text - or the scores in the present day we have so lively an impression that they - are but copies of one original. In no art does the feeling for what is - enduring pass so easily and quickly into the taste for what pleases the - age as in music. What affords most delight to the present often expresses - only a transitory mood with a momentary truth, and when the smoke and the - fragrance which surrounded it have disappeared, only an empty form - remains; just as a mask keeps the impression of the features without the - play of the muscles, which alone give life and expression. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <a name="chap_8" id="chap_8"> </a> - </p> - <div style="height: 4em;"> - <br /> - <hr /> - <br /><br /> - </div> - <h2> - CHAPTER VIII. MOZART'S EARLY OPERAS. - </h2> - <p> - <span class="pagenum"><a href="pgimages/p172.png">[172]</a></span> - </p> - <p> - MOZART found rules as to the form and technicalities of the opera <a - href="#linknote-8001" name="linknoteref-8001" id="linknoteref-8001"> 1 - </a> seria rigidly laid down even to the minutest details, and he was the - less tempted to disregard these, since the extraordinary ease of his - invention prevented his ever finding a prescribed form to be a burdensome - restriction. Mozart's mission was not to overstep the bounds of custom, - but quietly and gradually to bring to perfection all that was genuine and - true in the diverse elements of his time. He found the opera already in - the hands of the vocalists, and execution had by this time asserted its - victory over characterisation. He did not attempt to enter the lists - against singers and public, but contented himself with striving for fair - conditions. He was willing to write to the satisfaction of the singers, - and for the display of their powers, but he saw no necessity for <span - class="side">"MITRIDATE."</span> <span class="pagenum"><a - href="pgimages/p173.png">[173]</a></span> sacrificing to this object - either musical beauty or dramatic force. At times the dramatic situations - in Mozart's early operas are true and even striking; but the dramatic - element yields on the whole to execution and euphony. It must not be - overlooked that the apprehension of dramatic truth and character varies - with different times and different nations, and that the genius of - first-rate artists could inspire life into what now appears a lifeless - assemblage of notes. But it must at the same time be allowed that Mozart's - operas of this period come under the influence of a taste perverted in - many respects, which the youthful master had not yet overcome; and his - forced compliance with many purely conventional demands must of necessity - have left traces on his work as deep and lasting as those of his creative - genius. - </p> - <p> - The opera of "Mitridate, Re di Ponto" (87 K.) was first adapted from - Racine by the Abbé Parini, and revised by Vitt. Am. Cigna-Santi. The - dramatis persona are as follows:—[See Page Image] - </p> - <p> - On the news of the death of Mithridates the inhabitants of Nymphæa deliver - up the keys of the town to his son Sifares. Aspasia seeks his protection - against the suit of his brother Pharaaces, thereby betraying her - partiality for Sifares, which he secretly returns. Pharaaces attempts to - force his hand on Aspasia, whereupon Sifares throws himself between them; - Arbates separates the contending brothers with <span class="side">MOZART'S - EARLY OPERAS.</span> <span class="pagenum"><a href="pgimages/p174.png">[174]</a></span> - the news of the landing of Mithridates; they are reconciled, and agree to - keep secret from their father what has passed. Marzio promises to the - ambitious Phamaces the help of the Romans against his father. - </p> - <p> - Mithridates enters, proud and courageous in spite of the defeat he has - just suffered, and is received by his sons; he introduces to Pharnaces his - destined bride Ismene, who regards Pharnaces with little favour. The - demeanour of his sons awakens the suspicions of Mithridates, and on - Arbates revealing to him the passion of Pharnaces for Aspasia, he falls - into an extravagant rage. Pharnaces acknowledges to Ismene that he no - longer loves her; whereat, wounded alike in her pride and her love, she - complains to Mithridates. The latter resolves to punish him, and - suspecting from Aspasia's cold demeanour towards himself that she returns - the love of Pharnaces, he sets Sifares to watch her. The lovers of course - now come to an understanding, but Aspasia virtuously commands Sifares to - leave her for ever to the fulfilment of her duty. - </p> - <p> - Mithridates, in order to test the fidelity of his sons, consults with them - on the prosecution of the war; he discovers the complicity of Pharnaces - with the Romans, and orders his imprisonment; Pharnaces acknowledges his - çuilt, but accuses Sifares of the greater guilt of complicity with - Aspasia. In order to try her, Mithridates offers generously to resign her - hand to Pharnaces, which draws from her the confession of her love for - Sifares; this so infuriates Mithridates that he resolves to slay his two - sons and Aspasia. This is the crisis at which the second act is brought to - a conclusion by a duet, in which the lovers declare death preferable to - separation. - </p> - <p> - In the third act, Ismene, repenting her resentment, strives to soften - Mithridates, and Aspasia solicits Sifares' life with an assurance of his - innocence; but, as she refuses to give her hand to Mithridates, he - maintains his resolve, and the triple execution is to take place during a - sally which he makes on the Roman host besieging the city. Aspasia is on - the point of emptying the fatal bowl, when Sifares, who has been set free - by Ismene, snatches it from her, and rushes against the enemy. Pharnaces, - who has been released from his dungeon by the besieging Romans, is seized - with compunction and returns to his obedience, setting fire to the Roman - fleet. The Romans are defeated, but Mithridates is mortally wounded; - before he dies he unites Aspasia and Sifares, and pardons Pharnaces, who - has made his peace with Ismene. - </p> - <p> - The opera consists of twenty-four numbers without counting the overture; - they are all solo songs, except one duet and the concluding quintet.<a - href="#linknote-8002" name="linknoteref-8002" id="linknoteref-8002"> 2 - </a> The original score appears to be lost; but several detached numbers - of this opera are <span class="side">ANALYSIS OP "MITRIDATE."</span> <span - class="pagenum"><a href="pgimages/p175.png">[175]</a></span> preserved in - different forms of composition, showing that Mozart had made various - experiments, more, doubtless, to please the singers than himself. Of the - first air of Mithridates (7), "Se di lauri il crino adomo," there are four - different sketched studies; Aspasia's song (13), "Nel grave tormento," is - begun in a different form, but breaks off at once; five other numbers are - completely worked out, but have given place to later arrangements.<a - href="#linknote-8003" name="linknoteref-8003" id="linknoteref-8003"> 3 - </a> - </p> - <p> - This opera comes in all respects within the rules of the existing opera - seria. Musical etiquette is strictly adhered to; the principal and - secondary parts are divided in the usual way; the secondary parts are - easier (not always simpler), and their character is tamer and less - important, so that they may act as foils and connecting links to the - principal parts. The chief singers had to be furnished with opportunities - for making effect as soon as they appeared; and must have at least one - great aria in each act. All this is carefully provided for. The compass - and executive skill of the artists, more especially of Bernasconi and d' - Ettore, must have been extraordinary. The division of the aria into two - movements, which prevails here as elsewhere, favours the elaboration of - details by affording more than one principal subject. We must not expect - to find a uniform florid song, the ornamental passages growing out of and - entwining the chief melody, like an architectural ornamentation; they form - an integral part of the composition. The taste in such passages is - essentially <span class="side">MOZART'S EARLY OPERAS.</span> <span - class="pagenum"><a href="pgimages/p176.png">[176]</a></span> fleeting, for - it depended chiefly on the skill of the individual performer; what is most - admired in one age is least pleasing to the next. The same dismemberment - made itself apparent too, in the cantilene. The various vocal tricks, long - notes, sustained melodies, long jumps, syncopated passages, &c., to - which due effect had to be given, could not be thrown together without - some connecting principle. For this the subjects of the songs were made - use of, but the effect was still disjointed and inartistic. The detached - phrases were usually still further separated by a full or a half cadenza, - to which an instrumental interlude was often attached. No doubt this - wealth of variety was then considered a great charm; now we miss unity of - form and conception. The turns of harmony are generally monotonous and - poor, the form of the cadenza with its trills is just as stereotyped as - that of the present day with its suspended sixth, and both the singer and - the public expected and required that this should be so. No doubt the - freedom which was allowed to the singer in delivery often gave quite a - different form to the cadenza, but the want of conception could at best - but be concealed. - </p> - <p> - These shortcomings are not to be ascribed in Mozart's case to youthful - immaturity, but to the musical conditions of the time at which he wrote; - they are equally observable in the works of the most experienced - contemporary musicians, and were indeed hardly regarded as blemishes. The - question involuntarily arises what there was in these early operas which - could so enchant the public and draw from a master like Hasse the - prediction that this youth would eclipse them all. A witty artist once - declared that the public always requires novelty, but it must be novelty - that they are acquainted with; anything really new demands too great an - effort of comprehension from them. In this case, no doubt, the public, - agreeably prepossessed by the readiness with which the work complied with - all existing conditions, were quick to appreciate the skill and taste - which were manifest, as well as a certain youthful freshness, and here and - there traits more significant still of genius; traits in which Hasse - recognised the germ of future development. We, who know Mozart in the full - perfection of his powers, seek eagerly in <span class="side">ANALYSIS OF - "MITRIDATE."</span> <span class="pagenum"><a href="pgimages/p177.png">[177]</a></span> - these earlier works for such indications as there are of his future - greatness. Sometimes, even in the bravura songs, pure, grand touches of - melody light up their conventional surroundings; these are usually in the - second part, and in the minor key. The more dramatic "situation-songs" in - which the composer made fewer concessions to the singers, are not only - conciser in form, but more pregnant and original in expression. - </p> - <p> - The most striking among them is the song of Aspasia (4). Upon the news of - the arrival of Mithridates, whereby she knows Sifares to be in danger, and - her love for him rendered hopeless, she utters these words:— - </p> -<pre xml:space="preserve"> - Nel sen mi palpita dolente il core - Mi chiama a piangere il mio dolore, - Non resistere, non so restar. - - Ma se di lagrime umido è il ciglio - È solo, credimi, il tuo periglio - La cagion barbara del mio penar. -</pre> - <p> - Grief, which seems too deep for words, here breaks forth in such an - uncontrollable flood of song, expressed with so much truth and nature, - that a dramatic artist like Bernasconi would be sure to make an - extraordinary effect by it. The simple, purely musical means employed, the - expressive flowing melodies, rich harmonies, suitable accompaniments, and - charming moderation of expression—all these show us the genuine - Mozart. - </p> - <p> - Should it be objected that the milk-and-water heroism of the piece is - still further debased by gallantry in powder and gold lace, we can - nevertheless claim for it, after all deductions made, a certain amount of - stateliness and dignity. These qualities are indeed displayed more - according to court etiquette than to classical antiquity, but they are - unmistakably there, conformably to the manners of the time and the nation, - and their artistic significance is not small. Mithridates, who has most of - individual character after Aspasia, never forgets, as Sonnleithner justly - observes, that he is first tenor as well as king; but on the other hand he - always remembers that he is king as well as first tenor. - </p> - <p> - <span class="side">MOZART'S EARLY OPERAS.</span> <span class="pagenum"><a - href="pgimages/p178.png">[178]</a></span> - </p> - <p> - The text of the opera "Lucio Silla," composed in 1772 (135 K.), was - written by Giovanni da Camera, and according to the preface, revised by - Metastasio. The programme runs:—[See Page Image] - </p> - <p> - Cecilio, a senator, banished by Silla, has secretly returned to Rome to - learn the fate of his betrothed Junia, daughter of C. Marius; his friend - Cinna warns him that Silla has spread the rumour of his death in order to - win the hand of Junia; Cinna counsels him to meet her in a burial-place. - Silla, whose suit has been repulsed by Junia, resolves to slay her. - Cecilio awaits his betrothed in the dusky burial-place, surrounded by the - trophies of Roman heroes. She enters, accompanied by noble youths and - maidens, who call for vengeance on Silla, and lament by the urn of her - father. When she is alone, Cecilio reveals himself. She takes him at first - for a ghost, and they then express their joy in a duet. - </p> - <p> - In the second act Aufidio, Silla's evil counsellor, advises him publicly - to declare Junia as his betrothed, and thereby reconcile the contending - factions; she will not be able to oppose the universal wish. Celia, his - sister, who always counsels well, informs him of the ill-success of her - appeal to Junia; he promises to unite Celia to her lover Cinna. Silla has - scarcely departed, when Cecilio rushes in to murder him in obedience to a - vision; Cinna counsels postponement, to which Cecilio at last consents. - Ciàna is now so engrossed in his plans for revenge that he scarcely heeds - Celia, who tells him of their approaching happiness, and tries to persuade - Junia to a feigned submission, and the murder of Silla in his bed-chamber. - But she refuses to be guilty of high treason, and he resolves to slay - Silla himself. - </p> - <p> - Junia, who declares that she will never give her hand to Silla, is - threatened with death, but nevertheless counsels Cecilio, who wishes to - avenge her, to remain in concealment. Celia seeks in vain to persuade her - by the portrayal of her own happiness, but cannot stifle gloomy <span - class="side">"LUCIO SILLA."</span> <span class="pagenum"><a - href="pgimages/p179.png">[179]</a></span> anticipations. Silla announces - from the capitol his intended union with Junia, and is answered by - acclamations, but Junia endeavours to stab herself, which is prevented. - Cecilio rushes in with drawn sword, is disarmed, and his death on the - following day decreed by Silla; Cinna, entering also with drawn sword, - sees that his plot has failed, and feigns to have come to Silla's - protection. A terzet between Junia, Cecilio, and Silla concludes the act. - </p> - <p> - In the third act Cecilio in fetters is informed by Cinna of the - ill-success of his plot, and calls on him for vengeance. Junia declares - her resolve to slay herself before Cecilio. Aufidio comes to fetch him, - and the lovers take leave. - </p> - <p> - Silla declares before the assembled people that this day shall give him - vengeance and his heart's desire. Junia accuses him as the mur» derer of - her betrothed, and calls on the people to avenge her. Silla pardons her - and Cecilio, and unites the loving pair. Seized with compunction Cinna - reveals his plot against Silla; he, too, receives pardon and the hand of - Celia. Finally Silla forgives Aufidio his evil counsels, lays down the - dictatorship, and restores freedom to Rome. - </p> - <p> - The consideration of such a libretto as this renders comprehensible the - esteem in which Metastasio's texts were held. There is no trace of - psychological study of motive; Silla, a sort of distorted Titus, - alternates between cruelty and remorse, and finally empties a perfect - cornucopia of generosity on to the stage; Junia too is unequal and weak. - The situations are one and all as if purposely arranged to lead to - nothing; the poet has with difficulty disposed the numerous scenes so as - to introduce the necessary songs in their proper order. And the verse - itself is very far removed from the grace and melody of Metastasio. - </p> - <p> - The score of the opera is preserved entire in Mozart's handwriting; it is - in three parts, and has 610 pages. It contains besides the overture - twenty-three numbers, among them three choruses (6, 17, 23), one duet (7), - and one terzet (18). No wonder that the composer paid court to the - singers! The mishap that deprived the opera of its tenor has been already - narrated (p. 142). As the part devolved in the end on a very unpractised - singer, the greater part of it was omitted, leaving only what was - necessary for the coherence of the plot. The two songs (5, 13) are written - for a singer whose voice and execution do not rise above the average, - without any passages, and with a <span class="side">MOZART'S EARLY OPERAS.</span> - <span class="pagenum"><a href="pgimages/p180.png">[180]</a></span> - moderate compass; the more elaborate instrumentation alone betrays that - they are intended for a principal performer. Two other songs for Silla - which are in the libretto were not composed at all, in order, no doubt, as - Sonnleithner conjectures, to give the tenor as little as possible to do. - </p> - <p> - All the more stress is laid on the parts of De Amicis and Rauzzini. Junia - has four songs, which are all for a singer of the first rank. The special - bravura song (II) is in the second act, "Ah, se il crudel periglio del - caro ben ramento." Long passages of varied structure are here the chief - considerations. One example among many will serve to show that Mozart was - right in afterwards calling them "dreadful":—[See Page Image] - </p> - <p> - Notwithstanding the bravura character of this song, its style is far from - well defined; that of the entering song, "Della sponde tenebrose" (4), and - of the third aria (16) is more marked. This last, "Parto, m' affretto, ma - nel partire il cor si spezza, mi manca la anima," consists of a continuous - and progressive allegro assai. An agitated phrase for the first violins—supported - by an accompaniment for the second, runs through it almost without - intermission; the harmonising is interesting <span class="side">"LUCIO - SILLA"—JUNIA.</span> <span class="pagenum"><a - href="pgimages/p181.png">[181]</a></span> and varied; particularly - effective is the immediate juxtaposition of major and minor keys; the - whole song is strikingly expressive of an unsettled wavering mood. - </p> - <p> - Passages such as—[See Page Image] are brilliant, but not, properly - speaking, characteristic. At least they do not stamp the actual situation - with individuality; they seem designed only to define the character and - mood of the acting personage in their main features, like the masks of - ancient tragedy. The more detailed analysis was left to the art and - individuality of the performer, to whom the composer offered only the - means of combining dramatic force with song. We can still recognise the - essential features of the characters; but we are quite unable to realise - either the animation with which great artists inspired them, or the effect - they produced on the minds of contemporaries. It is a mistake to consider - bravura and character as opposite terms; ornamental passages are quite - susceptible of characteristic expression, if they are delivered at the - right time and in the right way. Junia's songs express the character of a - proud strong Roman woman, and an opportunity for dramatic analysis is - offered to the performer even in the more florid songs. But the true - dramatic expression is undisturbed in Junia's last song (22), "Fra i - pensier più funesti di morte veder parmi l' esangue consorte." The long - adagio, followed by an allegro, is a distinct foreshadowing of the later - form. The treatment of the orchestra too is significant. The flutes, - oboes, and bassoons are in unison, and contrast with the stringed - instruments, after a fashion not usual at the time: and in the allegro the - orchestra is in significant opposition to the voice part, which is simple - and unadorned, although calculated to give due effect to a fine voice; its - dramatic expression is quite excellent. - </p> - <p> - <span class="side">MOZART'S EARLY OPERAS.</span> <span class="pagenum"><a - href="pgimages/p182.png">[182]</a></span> - </p> - <p> - In the part of Cecilio, written for Rauzzini, the regard paid to the - singer is very apparent both in the compass of the voice, which comprises - two octaves, and in the style. He was what may be called a scholarly - singer, theoretically educated, and a composer himself, and difficulties - are introduced evidently with a view to this. Thus, for instance, the - recitative preceding his second aria is full of curious, sometimes harsh, - turns and transitions in the harmonies; in the third aria such jumps as - the following occur—[See Page Image] requiring no small certainty of - execution. The first song (2), introduced by a fine expressive recitative, - begins, as these male sopranos loved, with a long-sustained note, - and'contains various brilliant passages; but it is quite without original - invention. The second song (9) expresses a proud, free mood with strength - and animation; the last (21) can only be explained as a freak of the - performer. Cecilio, in the act of being led to execution, moved by Junia's - tears, turns to her with the words— - </p> -<pre xml:space="preserve"> - Pupille amate - Non lagrimate! -</pre> - <p> - These tender, trifling words, are treated by Mozart with an exquisite - grace which is quite foreign to the character and the situation of - Cecilio, and, as Sonnleithner observes, would be much more suitable to a - soubrette. Probably Rauzzini chose this way of ingratiating himself with - the public. - </p> - <p> - Besides the solo songs the opera contains a duet for J unia and Cecilio, - and a terzet for the same and Silla, which are cleverly constructed, but - not otherwise remarkable. The duet (7) consists of an andante and a - somewhat tedious allegro, in which the voices go together for the most - part in thirds or sixths, with little attempt at imitation. The terzet - <span class="side">"LUCIO SILLA"—ENSEMBLES.</span> <span - class="pagenum"><a href="pgimages/p183.png">[183]</a></span> is well - conceived. Each of the three voices has a characteristic motif, which is - not elaborated, but set in contrast with the others; afterwards the lovers - are set in opposition to Silla, and the expression is heightened by - occasional use of the three voices together; in short, some traces are - here discernible of the talent for musical architecture which Mozart - afterwards displayed is so remarkable a degree. - </p> - <p> - The scene which precedes the close of the first act deserves special - notice; it is both conceived and executed with true dramatic force. In a - hall (atrium), decorated with the trophies of his ancestors, Cecilio - awaits in the twilight the coming of Junia. The varied emotions roused in - him by the contemplation of the graves of departed heroes, and the - yearnings of love, are graphically expressed in an accompanied recitative. - Junia appears, escorted by noble Romans of both sexes. The chorus calling - on the spirits of the heroes for support and vengeance is serious to - solemnity, with striking harmonies and an independent treatment of parts, - giving animation to the whole—an altogether excellent piece of - music, with much dramatic effect. Junia joins in with a prayer to the - shade of her father. The pain of a proud, strong spirit is expressed in a - simple and dignified adagio, which gives a fine soprano voice full scope - for the display of its capabilities. The prayer is followed by a curse - pronounced on Silla by the chorus, powerful and animated, and a fitting - close to this truly dramatic musical scene. A resemblance to the first - chorus in Gluck's "Orfeo," pointed out by Sonnleithner, is too slight to - be considered more than a mere suggestion. - </p> - <p> - Among the secondary parts that of Celia has the most independence of - character. Her two first songs (3 and 10) are, on the whole, simple and - graceful, especially the second. Passages in Cinna's three songs (1, 12, - 20) and in the air for the second tenor, Aufidio, are calculated to - display the powers of the artists, but the songs, as a whole, have little - or no individuality. - </p> - <p> - There are two choruses besides that which we have noted, but neither of - them are so impressive. In the second act Silla's appearance on the - capitol is greeted by a chorus which <span class="side">MOZART'S EARLY - OPERAS.</span> <span class="pagenum"><a href="pgimages/p184.png">[184]</a></span> - is powerful, and supported by a running accompaniment. The last act is - brought to a conclusion by a chorus, alternating with the solo voices, but - the movement is unimportant. - </p> - <p> - The overture consists of the usual three movements (Molto allegro 4-4, - Andante 2-4, Molto allegro 3-8), and pretends to no connection with the - opera itself, being altogether after the ordinary pattern. The treatment - of the orchestra is not unusual. Trumpets are frequently used, and - sometimes kettledrums; but this is of little moment—more interesting - is the fact that the wind instruments are often freer and less subordinate - to the strings than usual. An attempt is evident to render the - accompaniment full and lively; the second violins have characteristic and - occasionally imitative passages. But these are merely attempts; the - influence of the traditional form overpowers all endeavours after a freer - method; it displays itself in many mechanical habits, as, for instance, in - the harmonic turn which almost invariably precedes the singers' cadenzas:—[See - Page Image] - </p> - <p> - The two festival operas composed in 1771 and 1772 belong in essentials to - the opera seria, but were subject to certain special rules. The festa - (azione) teatrale, also called serenata, were arranged with immediate - reference to the person in whose honour they were given. They were usually - also allegorical, the advantage of this kind of poetry being that it was - capable of expressing more or less open flattery. A pastoral character was - almost always given to the treatment of the old myths, so that the - dramatic element was thrown into the background, and the brilliancy of the - entertainment was left to depend principally on the magnificent costumes - and scenery. The musical treatment became more openly and unreservedly - undramatic, and the composer was satisfied with affording a means of - display to the singers. The serenata was in the traditional three acts, - but not bound by the scenic divisions of the opera <span class="side">"ASCANIO - IN ALBA," 1771.</span> <span class="pagenum"><a href="pgimages/p185.png">[185]</a></span> - seria; as it originally served as an interlude to other festivities, it - was usually also shorter. As a rule, it was only performed once; and took - the second rank after the opera seria.<a href="#linknote-8004" - name="linknoteref-8004" id="linknoteref-8004"> 4 </a> It was on this - account that the festival piece was intrusted to young Mozart, the opera - to Hasse. - </p> - <p> - In "Ascanio in Alba" (111 K.) Parini<a href="#linknote-8005" - name="linknoteref-8005" id="linknoteref-8005"> 5 </a> had endeavoured to - produce a work worthy of a festivity such as the marriage of the Archduke - Ferdinand with the Duchess Marie Beatrice d'Este. Divinities, heroes, and - shepherds form the dramatis persona, and there are abundant choruses, - ballets, and spectacular effects, with no lack of flattering by-play. The - programme will serve to show what distinguished artists<a - href="#linknote-8006" name="linknoteref-8006" id="linknoteref-8006"> 6 - </a> were engaged to represent this piece:—[See Page Image] - </p> - <p> - Venus, preceded and accompanied by a chorus of genü and graces, descends - from heaven with her grandson Ascanio, and informs him that she desires to - unite him with Silvia, a lovely and virtuous nymph of this her beloved - land. Silvia is of the race of Hercules, and Cupid having caused her to - see Ascanio in a vision, she already glows with secret love for him. - Ascanio is filled with joy, and being counselled by Venus to prove - Silvia's constancy before declaring himself to her, he expresses - impatience at this postponement of his happiness. Fauno comes to the - sacrifice with a chorus of shepherds, and reverently extols the goodness - of Venus to the country and the people. Silvia then draws near, - accompanied by Aceste and a chorus of nymphs and shepherds. The priest - Aceste informs Silvia, whom he has brought up, that Venus herself intends - to unite her to Ascanio, and to found a new city with their progeny, and - expresses his <span class="side">MOZART'S EARLY OPERAS.</span> <span - class="pagenum"><a href="pgimages/p186.png">[186]</a></span> joy in a long - aria. Silvia is amazed, and declares her love for the youth whom she has - seen in her dreams; Aceste consoles her by saying that Venus must have - sent the dreams, and she in her turn sings a long song denoting her joy. - After all have retired to prepare the sacrifice Ascanio declares in an - aria his delight with the charming Silvia; but Venus exacts that he shall - yet make trial of her virtue. - </p> - <p> - A ballet follows this act, in which the nymphs and graces astonish the - shepherds by changing the grove into a splendid temple, the first building - of the newly founded city. - </p> - <p> - Silvia beholds this new erection with admiration, and utters her longing - for the yet unknown beloved, in which she is supported by a chorus of - shepherdesses. When Ascanio appears she recognises her lover in him; but - as he feigns not to know her, she remains doubtful, and Fauno confirms her - in the error that it is not he; she swoons. Ascanio laments that he cannot - show himself in his true form, and departs, whereupon she revives, and - makes known her anguish and determination to remain true to her duty in a - long recitative and aria. Then he returns, and throws himself at her feet. - She repulses him with the words, "Io son d' Ascanio," and flees, which - gives him opportunity for a song full of tender admiration. Aceste, to - whom she confides all, praises her for her virtue. Venus appears with the - chorus of nymphs and shepherds, and presents Ascanio to Silvia as her - spouse. After the lovers and Aceste have announced their joy in a terzet, - Venus exhorts the young rulers to fulfil their duties faithfully to their - subjects, and ascends to Olympus among the expressions of gratitude - uttered by Aceste in the name of the people; and a joyful chorus brings - the whole to a conclusion. - </p> - <p> - The description which Fauno gives of the guardian divinity of the country, - and the address of Aceste to Venus as she departs, contain so many - allusions to Maria Theresa that non-recognition was impossible. Silvia - too, of the race of Hercules (the name of Ercole was common in the family - of D'Este), the pupil of Minerva and the muses, the pattern of virtue and - modesty, is undoubtedly the Princess Beatrice, whose intellect, literary - cultivation, and amiability were universally admired.<a - href="#linknote-8007" name="linknoteref-8007" id="linknoteref-8007"> 7 - </a> There was less to be said of the Archduke Ferdinand; nothing could be - made of him but a fair youth with rosy cheeks. It is worthy of note that - although mutual liking founded on beauty and spiritual endowments is - highly extolled, yet, as became a royal wedding, the subjection of - inclination to duty is made the <span class="side">"ASCANIO IN ALBA," - 1771.</span> <span class="pagenum"><a href="pgimages/p187.png">[187]</a></span> - theme of highest praise. The union had not been consummated without - difficulty,<a href="#linknote-8008" name="linknoteref-8008" - id="linknoteref-8008"> 8 </a> and some anxiety was felt as to the - relations of the young couple. - </p> - <p> - "The Archduke and his wife are well and very happy," writes L. Mozart, - "which must be a great satisfaction to Her Majesty the Empress, because it - was feared that he would not think much of his wife, she not being - beautiful; but she is uncommonly amiable, pleasant and virtuous, - consequently beloved by every one, and she has quite captivated the - Archduke, for she has the best heart and the most engaging manners in the - world." - </p> - <p> - The original score, in two volumes of 480 pages, is preserved: it contains - twenty-two numbers. At the close of the first act we have the bass part of - the ballet in nine numbers, written by a copyist, and affixed, doubtless - as a guide to the conductor. L. Mozart writes expressly that the ballet - which connects the two acts was to be composed by Wolfgang (September 7, - 1771); there must have been a special score for the manager of the ballet - which has not been preserved. - </p> - <p> - We cannot help wondering that Hasse should have founded his prophecy of - Mozart's future greatness on this opera, for it seems to us less original - than its predecessors. It certainly displays talent and assurance, but - there is not an original idea in any of the fourteen songs to be compared - with those of the former operas. The accompanied recitatives do not arrest - attention, the most animated among them being the recitative (13) in which - the lovers, seeing each other for the first time, express their agitation - in asides. Contrary to custom, the wind instruments are employed in the - recitative; but otherwise the treatment of the orchestra calls for no - remark. One song of Silvia's (11) is accompanied by four horns (two in G, - two in D) without any singular effects; the last song of Ascanio (18) has, - besides horns, bassoons and flutes, two serpentini (in F), instruments - which, Schindler suggests, resembled the English horn. - </p> - <p> - The most prominent among the singers was Manzuoli, for whose part Mozart - now applied the instruction he had <span class="side">MOZART'S EARLY - OPERAS.</span> <span class="pagenum"><a href="pgimages/p188.png">[188]</a></span> - formerly received from him in London (p. 41). It is written for a - mezzo-soprano, keeps always to the middle notes, and has no passages at - all; only here and there easy embellishments. The simple lingering melody - is not without feeling, which, however, never rises to passion. The first - song (2) begins with a long-sustained note, whilst the last resembles - those in "Lucio Silla" in its tender playful grace. - </p> - <p> - There is more variety in the part composed for Maria Ant. Girelli-Aguilar, - who sang in Gluck's "Aristeo" and "Orfeo" in Parma (1769). The first - cavatina (7) is simple, graceful, and complete in design and treatment; - two others (8, 11) are bravura songs, with brilliant passages, the melody - having an air of dignity, which is also apparent in the last song (16), - both in the adagio and the allegro. - </p> - <p> - Gius. Tibaldi, whom Gluck had summoned to Vienna, where in 1767 he sang - the part of Admetus<a href="#linknote-8009" name="linknoteref-8009" - id="linknoteref-8009"> 9 </a> in "Alceste," was already in years, and his - voice past its prime; his two songs (6, 19) are adorned with long - passages, which imply a very fluent singer. - </p> - <p> - In the closing terzet (21) the voices are at first contrasted in detached - characteristic motifs; but afterwards the soprano and tenor are grouped - together with alternating passages, while Manzuoli's part retains its - simplicity of character. - </p> - <p> - Of the two secondary characters, to each of whom two songs were assigned, - it is to be noted that they have a higher compass than the principal - singers. Their songs, too, are richly provided with passages; but their - character is perceptibly subordinate. - </p> - <p> - The choruses, seven in number, were a great ornament to the piece. They do - not interfere with the action, and five are in connection with dances. - Also in the overture, on the conclusion of the first animated allegro, the - second movement changes into a dance "of eleven females," as L. Mozart - writes, "either eight nymphs and three graces, or eight graces and three - goddesses," and instead of the third <span class="side">"ASCANIO IN ALBA"—CHORUSES.</span> - <span class="pagenum"><a href="pgimages/p189.png">[189]</a></span> - movement<a href="#linknote-80010" name="linknoteref-80010" - id="linknoteref-80010"> 10 </a> a chorus of nymphs and graces with - corresponding ballet is introduced, the orchestra retaining the character - of a third movement of the overture, and the voices (four or two-part) - filling out the harmonies after the manner of wind instruments, but in a - freer, more flowing style. The chorus is repeated on both occasions when - Venus ascends to heaven. Most of the other choruses are also repeated like - refrains on appropriate occasions; the second (3) is given six times. It - is in two parts, for tenor and bass, and remarkable for its accompaniment - of 2 flutes, 2 oboes, 2 bassoons (and violon-celli), 2 horns, and - double-bass, but not otherwise original. The following chorus (5), - introduced by a short intrada, which announces Silvia's approach - (four-part, but interrupted by two short three-part movements) is blithe - and animated. The accompaniment has an independent passage in - dance-measure for the violins; the voices move with spirit and freedom. - The second act begins with two female choruses. The first, two-part (12), - acquaints Silvia of the approach of her lover, and is lively and fresh; - the two voices alternate easily in imitative phrases. - </p> - <p> - Still more animated is the next three-part chorus (17), when, Silvia - having repulsed Ascanio and fled, the chorus express surprise in a short - imitative movement addressed to Venus. The following chorus (20), which is - repeated three times, has simple harmonies, but is powerful and effective. - The concluding chorus (22) is effectively worked up after the manner of - the first into a quick animated movement, followed by a full ballet. - </p> - <p> - The choruses, heightened by the scenic arrangements, must have contributed - greatly to the success of the opera. They display so much freedom and - assurance, such perfect mastery of method in order to attain the truest - effect, that perhaps it was here that Hasse recognised the footprints of - the lion. - </p> - <p> - The second festival piece, composed in honour of the <span class="side">MOZART'S - EARLY OPERAS.</span> <span class="pagenum"><a href="pgimages/p190.png">[190]</a></span> - newly elected Archbishop Hieronymus in 1772, was Metas-tasio's "Sogno di - Scipione" (126 K.), an allegorical poem in one act, on a classical model.<a - href="#linknote-80011" name="linknoteref-80011" id="linknoteref-80011"> 11 - </a> - </p> - <p> - To the younger Scipio, asleep in the Palace of Massinissa, appear - Steadfastness (Costanza) and Fortuna, and require him to decide which of - the two he will choose for his guide through life. On his demanding time - for consideration, Fortuna depicts in a song her fleeting, unstable - nature. Costanza answers his question as to where he is by telling him he - is in heaven, instructs him on the harmony of the spheres, and informs him - that he is in that region of heaven where his departed ancestors abide. - These approach him in a chorus, and from their midst steps out the elder - Scipio Africanus, who acquaints him with the immortality of the soul, and - the reward of the good in another life. Then Scipio's father, Emilius - Paulus, draws near; he shows him the earth as a little point in boundless - space, and warns him of the nothingness of all earthly things in - comparison to the heavenly. Struck by this, Scipio wishes at once to leave - earth and remain with his forefathers, but Africanus refuses, telling him - that he is destined to save Rome, and that he must therefore tarry on - earth, and earn by his great deeds the reward of immortality. Africanus - refuses also to influence by his advice Scipio's choice between the two - goddesses, who now demand his decision. Fortuna, who has more than once - expressed her impatience, again depicts her omnipotence, which Costanza - opposes with a representation of her victorious strength. On Scipio's - declaring himself in favour of the latter, Fortuna threatens him with her - heaviest penalties, the dazzling apparition disappears, a tremendous storm - breaks forth, and Scipio awakes in the Palace of Massinissa, and declares - himself true to Costanza. - </p> - <p> - The allusions to the circumstances under which the piece was first - produced on October 1, 1735—the birthday of Charles VI., who had - suffered severe defeats in Italy—are evident enough, especially in - the speeches of Africanus and Costanza. Nevertheless, the Licenza comes at - the conclusion, making a direct address to the hero of the occasion, and - winding up with a formal congratulation in the form of an aria and chorus. - </p> - <p> - <span class="side">SOGNO DI SCIPIONE," 1772.</span> <span class="pagenum"><a - href="pgimages/p191.png">[191]</a></span> - </p> - <p> - This occasional piece was considered by the Salzburg authorities to be a - suitable greeting to the new Archbishop without any alteration, apparently - on account of its philosophic moral reflections, and it may indeed be - considered as a good example of the dramatic treatment of such - reflections.<a href="#linknote-80012" name="linknoteref-80012" - id="linknoteref-80012"> 12 </a> Dramatic the treatment can hardly be - called; it is a kind of concert in costume. It is difficult to comprehend - how Scipio can act or sing songs while he is supposed to be dreaming; yet - Metastasio makes him awake from his dream at the end of the piece.<a - href="#linknote-80013" name="linknoteref-80013" id="linknoteref-80013"> 13 - </a> - </p> - <p> - Mozart's composition, of which the original score, in one volume of 315 - pages, is preserved, has more of a concert character than any other of his - dramatic works of the period. It keeps strictly within the customary - limits, and is poor in original invention, giving just the impression of - work done to order; the score bears traces also of great haste. - </p> - <p> - The overture closes with the second and slower movement, which prepares - the scene for the slumbering Scipio by a change from the principal key of - D major to E major, and a <i>decrescendo</i> to <i>pp</i>.<a - href="#linknote-80014" name="linknoteref-80014" id="linknoteref-80014"> 14 - </a> This, and the accompanied recitative, that closes with the storm in - the midst of which Scipio returns to earth, are the only dramatic or - characteristic movements. It is curious that the opportunity for an - obbligato recitative (for instance, at the description of the harmony of - the spheres) is never taken advantage of; the long speeches are all in - plain recitative. - </p> - <p> - Not one of the ten songs has any dramatic characterisation; even the parts - of Fortuna and Costanza do not offer any marked contrast. Each of them has - two songs—one freely conceived in a broad style, with full - orchestral accompaniments, the other of smaller design, and both richly - provided with high passages. First, Fortuna sings her principal song (2), - and Costanza her shorter one (3); afterwards the case is <span class="side">MOZART'S - EARLY OPERAS.</span> <span class="pagenum"><a href="pgimages/p192.png">[192]</a></span> - reversed (8, 9); but the character, pitch, and formation of the songs - differ so little that apart from the words they might easily be mistaken - the one for the other. There is a second composition of the Licenza in - existence, pointing by its handwriting, firm structure, and the - independence and delicate treatment of the orchestra, to a considerably - later date. - </p> - <p> - The three Roman heroes all sing tenor. Africanus has a great bravura song - (5), with passages as high as C in alt; his second is quieter and simpler, - and makes an attempt at characterisation; the image of the rock, standing - immovable in the sea, is sketched in sober colours. The song of Emilius - Paulus has a kind of dance measure, not very lively, and reminding us of a - polonaise; the words "un fanciullin che piange" are illustrated by a - chromatic scale. Finally, Scipio has two bravura songs (1, 10) with many - passages, the second being remarkable for its length. - </p> - <p> - But, indeed, most of the songs are of great length, and introduced by long - ritomelli. Where there is no distinct second part, the Da capo comes into - use; the middle movements are short and lightly treated. The orchestra - displays some freedom and independence, but is not equal to "Ascanio." - </p> - <p> - The two choruses are of the usual opera type. The first (4), in which - Scipio is greeted by his ancestors, is not without power and dignity, but - it has no characterisation, and is almost throughout in harmony; only once - the voices make an attempt during a few bars at independent movement. - </p> - <p> - In the concluding chorus (12) the voices complete the harmony in the usual - way to a running accompaniment. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_9" id="chap_9"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER IX. ORATORIO. - </h2> - <p> - THE commonly received opinion<a href="#linknote-9001" - name="linknoteref-9001" id="linknoteref-9001"> 1 </a> that the oratorio - originated in the devotional exercises held in the oratories of - monasteries, <span class="side">ORIGIN OF ORATORIO.</span> <span - class="pagenum"><a href="pgimages/p193.png">[193]</a></span> and thrown - into the form of a musical drama by Filippo Neri (1515-1595), is without - foundation. All that can confidently be asserted is that he caused <i>laudi - spirituali</i>, a kind of motett,<a href="#linknote-9002" - name="linknoteref-9002" id="linknoteref-9002"> 2 </a> to be sung by way of - recreation, and that he organised carnival performances - ("rappresentazioni") which withdrew the mind from worldly follies;<a - href="#linknote-9003" name="linknoteref-9003" id="linknoteref-9003"> 3 - </a> whether, and in what degree, music had to do with these we do not - know.<a href="#linknote-9004" name="linknoteref-9004" id="linknoteref-9004"> - 4 </a> - </p> - <p> - The "Rappresentazione dell' Anima e del Corpo," by Emilio de' Cavalieri, - who sought to reproduce the old tragedy on the same principles as Peri in - the opera, was arranged for representation on a stage ("palco"), with - scenery, costumes, and dances, and contained recitatives and choruses.<a - href="#linknote-9005" name="linknoteref-9005" id="linknoteref-9005"> 5 - </a> One performance took place, according to the preface to the score, in - February, 1599, in the oratorium of the church of S. Maria, in Vallicella,<a - href="#linknote-9006" name="linknoteref-9006" id="linknoteref-9006"> 6 - </a> and this Della Valle remembered having attended when a boy.<a - href="#linknote-9007" name="linknoteref-9007" id="linknoteref-9007"> 7 - </a> Henceforward sacred dialogues and <span class="side">ORATORIO.</span> - <span class="pagenum"><a href="pgimages/p194.png">[194]</a></span> dramas - set to music were frequent in Rome and elsewhere, and were given not only - before the congregation <i>dell' oratorio</i>,<a href="#linknote-9008" - name="linknoteref-9008" id="linknoteref-9008"> 8 </a> but in churches, - monasteries, and palaces. The history of the development of these - rappresentazione or azione sacra, also called oratorio,<a - href="#linknote-9009" name="linknoteref-9009" id="linknoteref-9009"> 9 - </a> has not yet been traced in detail.<a href="#linknote-90010" - name="linknoteref-90010" id="linknoteref-90010"> 10 </a> - </p> - <p> - In time the performances were confined to Lent, when no opera was given, - and although action and costume gradually disappeared from the churches,<a - href="#linknote-90011" name="linknoteref-90011" id="linknoteref-90011"> 11 - </a> and the whole assumed more and more the form of a concert, yet the - dramatic element, or at least the dialogue, always remained. - </p> - <p> - The connection with the service of the church was so far maintained that a - mass and an address from a boy preceded the oratorio, and a sermon was - delivered between its two parts.<a href="#linknote-90012" - name="linknoteref-90012" id="linknoteref-90012"> 12 </a> - </p> - <p> - The growth of the azione sacra kept pace with that of the opera seria. - </p> - <p> - Apostolo Zeno defined the form of the oratorio by giving it unity of - action, time and place, and strict dramatic treatment, and Metastasio - carried on and completed the work just as he had done in the opera. Its - division was into two, not three parts, otherwise the arrangement - corresponded altogether with that of the opera. The characters enter - speaking; recitative is employed for the dialogue, and the airs serve - <span class="side">"LA BETULIA LIBBRATA," 1773.</span> <span - class="pagenum"><a href="pgimages/p195.png">[195]</a></span> to express - the higher emotions; concerted songs occur but seldom, but the choruses - are frequent, and more often form a part of the action than in the opera. - </p> - <p> - The subject-matter is borrowed from the Bible, generally the Old - Testament, or from some old legend; but both persons and plot must of - necessity be devised, so as to represent the story in a succession of - dialogues. An effort is made to preserve the biblical diction in the - poetry, but the animated rhetorical style of Italian poetry decidedly gets - the upper hand. Moral and religious reflections are the almost invariable - themes of the songs and choruses, which have rarely any individual - character. In this respect, as well as in the dearth of dramatic action, - the azione sacra comes nearer to the so-called azione teatrale than to the - genuine opera seria. - </p> - <p> - The legend of Judith is treated as follows by Metastasio, in his oratorio - "La Betulia Liberata," which has often been composed.<a - href="#linknote-90013" name="linknoteref-90013" id="linknoteref-90013"> 13 - </a>The <i>dramatis persona</i> ("interlocutori") are:—[See Page - Image] - </p> - <p> - Ozia reproaches the desponding inhabitants of Bethulia for their - cowardice, and declares his resolution not to give up the city to the - enemy. Amital and Cabri oppose him, describing the sufferings of the - people from famine and sickness. In vain he reminds them how the Lord has - helped their fathers, they demand admission to Holofernes, and it is with - difficulty that he obtains a delay of five days, and calls upon God for - help, with the chorus. Then Judith enters; horrified at <span class="side">ORATORIO.</span> - <span class="pagenum"><a href="pgimages/p196.png">[196]</a></span> the - decision, she upbraids them for their cowardice which dares to doubt God's - mercy and set a limit to His power: "il primo è vile, temerario il - secondo." Her song (5) may serve as a standard for the style of this - poetry: - </p> -<pre xml:space="preserve"> - Del pari infeconda - D' un flume è la sponda, - Se torbido eccede, - Se manca d' amor. - Si acqaista baldanza - Per troppo speranza, - Si perde la fede - Per troppo rumor. -</pre> - <p> - She exhorts the trembling people to trust and patience, and informs them - that she has formed a great resolve, which as yet she can communicate to - no one; while she prepares herself, all are to unite in prayer; the former - chorus is repeated. Carmi brings Achior as a prisoner, who relates that, - having told Holofemes of the courage of the Israelites and the wonderful - power of their God, who renders them invincible as long as they trust in - Him, he has been sent into the city to share its destruction. Judith - approaching, is left alone with Ozia, who is surprised to see her richly - adorned; she demands egress from the town with her maid, and departs, the - chorus (in the distance) expressing astonishment at her enterprise. - </p> - <p> - In the second part Ozia seeks to convince the heathen Achior that there is - but one God. Before his arguments have been quite successful Amital enters - and describes the death-stillness, expressive of the extreme of need and - despair, which hangs over the city. Shrieks and tumult interrupt him; - Judith returns, and relates how she has slain Holofernes; she holds the - decapitated head before the incredulous Achior, who swoons for fear. After - Judith's song, he comes to himself and declares his conversion to the - faith of the God of Abraham. Carmi enters, and relates that at Judith's - bidding they had raised a war-cry; the Assyrians, discovering the death of - Holofernes, were seized with terror and fled precipitately. - </p> - <p> - A song of thanksgiving to God, in which Judith leads the chorus, forms the - conclusion. - </p> - <p> - The composers treated the oratorio in the same way as the opera seria,<a - href="#linknote-90014" name="linknoteref-90014" id="linknoteref-90014"> 14 - </a> only that the want of dramatic variety favoured the adoption of the - concert style of music. In its form there was no important difference; we - find the same treatment of the recitatives, secco and obbligato, of the - songs and of all important parts, including the choruses; only <span - class="side">"BETULIA"—OVERTURE.</span> <span class="pagenum"><a - href="pgimages/p197.png">[197]</a></span> that the bass voice is made use - of in solo singing. We might expect to find the musical conceptions - inspired by earnestness and reverence; and this was so far the case that - the oratorio excluded all that was trifling, voluptuous, or that related - to the passion of love. But a religious tone was entirely wanting, and the - operatic style was only modified, not essentially altered. Every song in - an oratorio would have been quite in place at a corresponding point in an - opera seria, and many operatic songs might have been transferred to an - oratorio with perfect propriety. The bravura of the vocalists was - considered as appropriate in the churches as on the stage, only that a - certain amount of moderation was becoming. - </p> - <p> - During Lent, when the opera was closed, the public looked for - entertainment to the oratorios, and flattered themselves that they were at - the same time fulfilling a religious duty, because the performance took - place in a church. - </p> - <p> - Mozart's music to "Betulia Liberata" (118 K.) is quite on this level. - There are unfortunately no indications of time or place on the original - score, which exists in two volumes of 382 pages and fifteen numbers; the - handwriting and composition place it undoubtedly between 1770 and 1773. As - we know that Mozart received a commission for an oratorio at Padua in - March, 1771, it may safely be conjectured that this was the "Betulia - Liberata," and that it was performed in Padua in 1772.<a - href="#linknote-90015" name="linknoteref-90015" id="linknoteref-90015"> 15 - </a> - </p> - <p> - The three movements of the overture in D minor are quiet and more - concentrated than usual; the arrangement of the parts is more independent, - with attempts at imitative treatment. Besides oboes and bassoons, there - are four horns (in D and F), and trumpets (in D), used frequently and in - the same manner as at present. - </p> - <p> - <span class="side">ORATORIO.</span> <span class="pagenum"><a - href="pgimages/p198.png">[198]</a></span> - </p> - <p> - A secco recitative follows the overture; the music never rises above the - dialogue, with its long, sermonising speeches and rhetorical bombastic - reflections. There are only two accompanied recitatives: the first occurs - when Judith upbraids the people; short and skilfully modulated - instrumental phrases interrupt the animated declamation, and the whole is - lively and expressive. Later on Judith delivers the long narrative of her - adventure with Holofemes (II) in an accompanied recitative. The stringed - instruments strike the chord in a high pitch, with which Judith's alto - voice strongly contrasts. There are but few agitated passages; but, - indeed, even in stirring moments the music never reaches anything like - characterisation. The prayer of Judith at the most critical point of the - piece is not conspicuous either for tunefulness or varied accompaniment. - </p> - <p> - The solo parts are distributed among all the four voices: for Amital, - Cabri and Carmi are soprani, Judith alto, Ozia tenor, and Achior bass; - they are never united in an ensemble, and there is not one duet. - </p> - <p> - Judith has three airs, besides a solo with chorus. The first (5) - approaches as near as possible to a bravura song. The words are expressed - with grace and animation. The passages are neither predominant nor - tedious, which is doubtless due in part to the singer for whom the part - was composed, for the second song (7), powerful and dignified as it is, is - also without passages; it begins with the favourite long-sustained note. - The chief movement of the last song (11)—a long adagio with a - carefully composed accompaniment—is finely descriptive of Judith's - mood, but there is no appeal to the feelings by beautiful melody. The - whole part is not bravura in the strictest sense; the deeper alto notes - are only occasionally employed. - </p> - <p> - That this moderation of style was not inseparable from the character of - oratorio music, may be seen from the parts of Amital and Ozia. The second - song for Amital (10) and the first for Ozia (1) are regular serious - bravura songs, with passages, long-sustained notes, and florid - accompaniments. Amital's last song (13) is solemn and earnest, to suit the - words, but still keeps the performer well in view; Ozia's <span - class="side">"BETULIA"—ARIE, CHORUSES.</span> <span class="pagenum"><a - href="pgimages/p199.png">[199]</a></span> second song is soft and - graceful, and the first which reminds us of Mozart's later style. - </p> - <p> - The bass part of Achior is less carefully written, and not nearly so - bravura in style. The first song (6) is more noisy than vigorous, both in - voice and accompaniment. This boisterous treatment of the bass voice was - then common, and it was on that account excluded from the opera seria.<a - href="#linknote-90016" name="linknoteref-90016" id="linknoteref-90016"> 16 - </a> In this place it accords with the dread apparition of Holofernes - which is described. The second song of Achior, after his conversion (12), - is very simple and insignificant; the accompaniment is partly imitative. - </p> - <p> - The two airs of Cabri (2) and Carmi (14) are, as usual with secondary - parts, simple, and not without expression, but in no way original. - </p> - <p> - The traditional aria form is adhered to in almost all the songs. The - second part, distinct from the first in composition if not in time and - measure, is short and superficially treated; generally only the last part - of the first movement is repeated. The latter is broadly conceived, with - long ritomelli; the invariable cadenza is brought in in the usual way. The - accompaniment resembles that of operatic songs, but is more carefully - worked out. Original passages for the second violins—sometimes, too, - for the violas—occur, here and there, as well as attempts at - imitation; and the wind instruments are occasionally employed - independently. All these attempts show decided talent, but they are few - and far between, and the orchestra has not the stamp of independent - vigour. - </p> - <p> - The choruses, although occupying more space in the composition, do not - materially differ from those of the opera. The concluding chorus of the - first part (8) is like a study for a recitative, turned into a chorus by - means of the accompaniment, which consists of two alternate strongly - marked subjects. The elaboration is not contrapuntal, but <span - class="side">ORATORIO.</span> <span class="pagenum"><a - href="pgimages/p200.png">[200]</a></span> harmonic, and a simple but rich - modulation gives significance to the movement. The voices give the full - harmony, and a moderate amount of agitation in the melody and rhythm - appears when the declamation demands it. The favourable pitch, the - interesting modulation, the characteristic accompaniments, and the - dignified seriousness which runs through the whole, all combine to make - this chorus effective and excellent of its kind. - </p> - <p> - The two other choruses are prayers connected with solos. The first (4) is - very simple. Ozia sings a melodious, beautifully conceived cantilene, full - of feeling, which is accompanied by the violins pizzicato, and the chorus - ends with a repetition of the two last lines. The second verse, with a - change of composition, preserves the same character; after which the first - is repeated, and leads with effective climax to a full close. - </p> - <p> - The last chorus is more grandly conceived. Judith answers the thanksgiving - of the chorus in two strophes descriptive of the victory, and then the - chorus falls in again; this is repeated three times, and a moral - reflection follows as a closing chorus. Mozart has chosen an ancient - church melody for the refrain of the chorus:—[See Page Image] - </p> - <p> - The melody is four-part, the partially varied harmony dignified and - powerful, and interesting in its simplicity; the voices are well treated - and animated. At the fourth <span class="side">"BETULIA"—COMPARISON - WITH HASSE.</span> <span class="pagenum"><a href="pgimages/p201.png">[201]</a></span> - repetition Mozart has assigned the Cantus firmus, somewhat altered in the - second part, to the tenor voice:—[See Page Image] - </p> - <p> - Thence he passes to the closing chorus. The solo part of Judith, simple, - dignified, and earnest, resembles a regular song; but the declamatory is - more prominent than the melodious element. Although somewhat overpowered - by the chorus, the character of Judith is here most significantly - expressed. Whenever Mozart allows himself free play, he exhibits - originality, truth, and earnestness. - </p> - <p> - The closing chorus is lively and brilliant, but kept in moderation, and - its character is not without strength and dignity. - </p> - <p> - That this conception of the oratorio was not peculiar to Mozart, but was - the then commonly received one, is plain from a comparison of this with - other contemporary oratorios—with those, for instance, by Hasse, - which are reckoned among his most important works. Whoever should form, on - the strength of the eulogies pronounced by Hiller on the oratorio - "Sant-Elena al Calvario," <a href="#linknote-90017" - name="linknoteref-90017" id="linknoteref-90017"> 17 </a> a conception of - this <span class="side">ORATORIO.</span> <span class="pagenum"><a - href="pgimages/p202.png">[202]</a></span> and similar pieces founded on - our present ideas of sacred music, would find himself much deceived. Here, - as in all Hasse's oratorios, the art of the vocalist is the determining - element, and the expression of emotion coincides in essentials with that - of the opera. The differences in Mozart's oratorio are unimportant, and - are founded on variations in the taste of the time and of the composer. - </p> - <p> - Hiller speaks with great admiration of the pilgrims' chorus, to which - Hasse has set the chorale "O Lamb of God" in such a way "that its whole - attraction consists in the alternation of the voices and of the various - instruments among whom the melody is divided; the bass and violin are in - unison throughout, and give animation to the whole, with a simplicity that - is worth more than ten fugues, and which betrays more insight into the - true beauty of song than the most artistic counterpoint." It almost seems - as if Hiller wished to point at J. S. Bach, and remembering some of the - marvellous creations of Bach—for instance, the first chorus in the - St. Matthew "Passion Music"—the contrast between different artistic - tendencies and personalities can hardly be better exemplified than by - comparing him and Hasse. Hasse has succeeded in bringing the chorale into - accordance with the Italian style of his oratorio, but he loses thereby - the proper significance and effect of the chorale. The way in which Mozart - has introduced the Catholic church melodies unaltered is, from this point - of view, grander and more striking. And Hasse was looked upon in Mozart's - day as a representative of the good old times in the traditions of which - he had been educated. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - - <hr /> - <p> - <a name="chap_10" id="chap_10"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER X. OPERA BUFFA. - </h2> - <p> - OPERA BUFFA was a gradual outgrowth from the opera seria, in which - originally comic characters took part in burlesque scenes. <span - class="side">OPERA BUFFA.</span> <span class="pagenum"><a - href="pgimages/p203.png">[203]</a></span> Even so late as 1718, when - Scarlatti's "Telemacco" was produced, there were scenes of coarse humour - between Tersite and Silvina in this otherwise conventionally correct - opera.<a href="#linknote-10001" name="linknoteref-10001" - id="linknoteref-10001"> 1 </a> When, however, the discrepancy between - these and the dignity and purity of the opera seria came to be fully felt, - the comic scenes were detached, generally without much difficulty, and - given as independent additions, between the acts.<a href="#linknote-10002" - name="linknoteref-10002" id="linknoteref-10002"> 2 </a> It had long been - the custom to interpose between the acts of the spoken drama—tragedies - as well as comedies—musical representations which had no connection - with the piece itself, and were called intermedi or intermezzi, and in the - opera both the comic scenes and the ballets were gradually loosed from - their connection with the main body of the work and placed between the - acts. The relish of the audience for these comic interludes soon led to - the production of independent comic pieces called intermezzi, which took - the place of the disjointed scenes from the opera. As a rule there were - but two characters, one male and one female, and there was no continuous - plot even when the same characters appeared in the different intermezzi. - The dialogue was carried on in plain recitative, and there were neither - solo songs nor duets <span class="side">OPERA BUFFA.</span> <span - class="pagenum"><a href="pgimages/p204.png">[204]</a></span> to interfere - with the main opera. In the intermezzi which Metastasio himself composed - for his "Didone Abbandonata" in 1724, the characters are Ribbio, a poet, - composer, singer, and impresario, who is desirous of establishing a - theatre on the Canary Islands, and Dorina, the prima donna whom he wishes - to engage; after many affectations she sings a song before him, whereupon - he produces others, of his own composition, and they vie with each other - in mutual compliments. In the second intermezzo Dorina, dressed for the - stage, displays her tragic powers to Ribbio as Cleopatra; finally they - conclude a romantic contract, which includes a prospect of tender - relations between the two. - </p> - <p> - Great effect was caused by the caricaturing and ridiculing of the opera - seria, and by the exposure of the personal relations of stage heroes and - heroines; elements which have always played a great part in opera buffa. - </p> - <p> - The intermezzo gives, as it were, the back view of the opera seria, not - with the intention of destroying the ideal effect by sarcastic criticism, - but rather in order to heighten it by force of contrast. Even the - independent opera buffa preserved much of this parodying reference to the - opera seria. - </p> - <p> - Pergolese's "Serva Padrona" which was first produced in Naples in 1730, - was another example of an intermezzo for two characters; it met with great - success not only in Italy, but in France<a href="#linknote-10003" - name="linknoteref-10003" id="linknoteref-10003"> 3 </a> and Germany,<a - href="#linknote-10004" name="linknoteref-10004" id="linknoteref-10004"> 4 - </a> and set the fashion for similar pieces. Very soon an intrigue was - introduced, a connected plot was supplied, and the number of characters - increased first to three, then to four.<a href="#linknote-10005" - name="linknoteref-10005" id="linknoteref-10005"> 5 </a> The development of - the intermezzo was rapid, and before long the inconvenience of carrying on - two independent dramas simultaneously caused the complete emancipation of - opera buffa from opera seria.<a href="#linknote-10006" - name="linknoteref-10006" id="linknoteref-10006"> 6 </a> Equal rank with - the latter it never attained. It came to <span class="side">THE - INTERMEZZO.</span> <span class="pagenum"><a href="pgimages/p205.png">[205]</a></span> - maturity on the boards of the smaller theatres ("teatrini"), and was long - in gaining admission into the larger theatres. Even then it was only - exceptionally introduced during the season or stagione, side by side with - the opera seria, although in the German court theatres an opera seria and - a buffa were not seldom played alternately during the carnival. In Italy - comic operas were only admitted in summer, and at those times when there - was no grand opera. They did not pass for exhibitions of perfect vocal - art, and fewer calls were made on the powers of the singers apart from - their comic talent in delivery and action. There is no doubt that this - external subordination was of inestimable value to the development of the - opera buffa. - </p> - <p> - It received a firm foundation of musical configuration—recitative, - aria, ensemble—without the necessity of submitting to limitations - and laws so fixed as to have become absolute. The bass voice, which was - considered most suitable to comic characters, and had already been - appropriated to them in the old opera, was made the chief vehicle for - comic effects in the intermezzo. Volubility of utterance, mimicry, and - comic action were as necessary as a fine voice. The highly paid male - soprano might therefore be dispensed with in opera buffa; the unnatural - conventionality of the opera seria would have been insupportable in - representations of daily life. By this means the voices were brought into - their proper relations; the lover's part was allotted to the tenor, and - the performance generally gained in variety and in the natural grouping of - the parts. - </p> - <p> - The distinction of primary and secondary parts was disregarded, as well as - the limitation to a small number of vocalists; though these seldom went - beyond seven.<a href="#linknote-10007" name="linknoteref-10007" - id="linknoteref-10007"> 7 </a> There were usually three female parts; the - most decidedly comic was the sly, pert waiting-maid (a standing figure of - the opera buffa), or a scolding old woman, an unsophisticated - peasant-girl, &c. - </p> - <p> - <span class="side">OPERA BUFFA.</span> <span class="pagenum"><a - href="pgimages/p206.png">[206]</a></span> - </p> - <p> - The tenor part was usually the sentimental, unhappy lover, and required - most from the singer, but there were often two tenor parts, in which case - one was comic; the buffo tenor was not however nearly so well defined a - part as the buffo bass. The bass parts were decidedly comic; a blustering - old man and a cunning or a stupid servant were seldom wanting. When the - lover was a bass, he was either jovial or comical. - </p> - <p> - In spite of all this freedom, certain typical features were formed that - recur in all the varieties of grouping and disguise. The opera buffa was - far from adopting in dialect or costume the well-defined character, of the - Italian popular comedy, but the resemblance in form is unmistakable. It - was in imitation of the popular plays that the comic parts were made - caricatures, the effect of which depended on striking but exaggerated - peculiarities. The music was made to display these,<a - href="#linknote-10008" name="linknoteref-10008" id="linknoteref-10008"> 8 - </a> and there can be no doubt that the want of individual character in - the opera seria favoured the passage to the opposite extreme in the opera - buffa. As a relief to the caricatures, <i>mezzo carattere</i> were - invented, in which the purely musical element was more pronounced. - </p> - <p> - Intermezzi required an easy and loosely connected plot; the popular jokes - would not have come out so well from a studied, well-connected drama, as - from effective situations where favourite characters could follow their - bent. If the situations were of ample variety, lively and humorous in - their rendering, the audience was quite ready to forget how weak the - thread was which held them together. The opera buffa was always written - for a specified company, and the <span class="side">FORMS OF OPERA BUFFA.</span> - <span class="pagenum"><a href="pgimages/p207.png">[207]</a></span> poet, - limited both as to characters and effective situations, found his labour - simplified by such a skilful use of the conditions ready to hand as should - secure him applause and success.<a href="#linknote-10009" - name="linknoteref-10009" id="linknoteref-10009"> 9 </a> Opera buffa, being - held in little esteem, was seldom taken in hand by poets of note; even - Goldoni's texts are, as he acknowledges himself,<a href="#linknote-100010" - name="linknoteref-100010" id="linknoteref-100010"> 10 </a> unworthy of - esteem. Goethe,<a href="#linknote-100011" name="linknoteref-100011" - id="linknoteref-100011"> 11 </a> when he was studying the comic opera in - Rome with the composer Kayser, remarked, that "there were a hundred things - to be observed, to which the Italians sacrificed the spirit of the poetry; - for instance, each character was to be brought forward in a certain order - and a certain degree—each singer must have pauses, &C."<a - href="#linknote-100012" name="linknoteref-100012" id="linknoteref-100012"> - 12 </a> His own experience gave him a very just judgment on opera texts, - and he rightly ascribed a certain amount of simplicity, which, apart from - the music, made them appear poor and meagre, to a tendency to treat the - subject fancifully, like a child's fairy story.<a href="#linknote-100013" - name="linknoteref-100013" id="linknoteref-100013"> 13 </a> But the - majority of comic libretti are disconnected and absurd, without spirit or - delicacy, depending entirely on the effect of humorous exaggeration; and - the universal opinion was a just one, that the words of the comic opera - were as poor as the music was charming.<a href="#linknote-100014" - name="linknoteref-100014" id="linknoteref-100014"> 14 </a> - </p> - <p> - The musical forms of the opera seria were modified and remodelled by the - comic composers with very unequal skill and success. The recitative needed - little transformation; the more trivial treatment of the dialogue - suggested itself, and the accompanied recitative was only varied to suit - the comic situations. The aria, on the contrary, belonged essentially to - musical art, and had been developed at the cost of dramatic truth; opera - buffa did not concern itself with either of these facts. It adopted the - forms of the opera seria (unless when it parodied them) only in the parts - <i>di mezzo car ottere</i> which it had appropriated from the opera seria. - </p> - <p> - <span class="side">OPERA BUFFA.</span> <span class="pagenum"><a - href="pgimages/p208.png">[208]</a></span> - </p> - <p> - The contrasting of different motifs was preserved as an essential - condition of musical composition, but the rules as to method and - succession were no longer regarded as binding. The subjects were more - slender and fugitive, so as to be more easily united, and they profited - thereby in freedom of movement and form. In many airs which have only one - tempo, the constituent parts of the original aria can be clearly - recognised, but the subjects are arranged and repeated according to - circumstances, the subordinate subjects are more important and longer, and - the means at command are more freely used. Piccinni was the first to - introduce the rondo form, which repeats the main subject several times - with freely treated intermediate movements. It met with great applause, - and was variously developed, being at last adopted in opera seria.<a - href="#linknote-100015" name="linknoteref-100015" id="linknoteref-100015"> - 15 </a> But the simpler form of the cavatina was more usual, and received - many modifications; the ballad style was also not infrequent. - </p> - <p> - This freedom and many-sidedness of treatment was more especially - favourable to the dramatic aspect of the piece, and brought the plot into - closer relationship with the music, particularly in the ensembles. Duets, - terzets, and quartets were introduced wherever the situation required, and - this musical dramatic character reached its highest point in the finales, - which are true musical representations of a dramatic climax ascending to a - catastrophe. These finales, products of the continual struggle to render - music not the ornament but the helpmeet of the drama, are the property of - the opera buffa. - </p> - <p> - Nic. Logroscini, who was considered as the inventor of comic opera, and - the deity of the <i>genre bouffon</i>,<a href="#linknote-100016" - name="linknoteref-100016" id="linknoteref-100016"> 16 </a> is said to have - written the first finale, the main subject of which was developed in one - continuous movement. Nic. Piccinni (whose "Buona Figliuola" was so well - received in Rome in 1761, that it may serve as a date for the recognition - of opera <span class="side">DEVELOPMENT OF OPERA BUFFA.</span> <span - class="pagenum"><a href="pgimages/p209.png">[209]</a></span> buffa as a - distinct branch of the art) treated each scena of the finale as a separate - movement, and displayed far greater variety and more effective working-up. - </p> - <p> - Many of the deficiencies of the text must have had considerable influence - on the music. The latter was constantly striving after dramatic effect and - characteristic situations, and was as constantly dragged back by - caricature and absurdity. The custom also arose of providing unworthy - comic effects for the buffo characters, such as the mimicry of natural - sounds, quick speaking, and others that have become gradually extinct. On - this point the severe mentorship of the opera seria exerted a wholesome - influence in preventing the complete sacrifice of form to fun; so that, to - the observer of the present day, regularity of form is more observable in - comic opera than freedom of treatment. - </p> - <p> - From opera seria too the comic opera received its main principle, viz.: - that the essence of the opera is in music, and more especially in song, on - the suitable treatment of which it depends for all its effect. - </p> - <p> - The majority of dramatic composers have tried their hand at opera buffa; - besides Nic. Logroscini (17...-1763), Bald. Galuppi (1703-1765), Nic. - Piccinni (1728-1800), we may particularly note Pietro Guglielmi - (1727-1804), Pasq. Anfossi (1736-1797), Giov. Paisiello (1741-1816), - Domen. Cimarosa (1754-1801), all men of prominent parts and thorough - musical training. Add to this the innate love of the Italians for beauty - of form, and it will be easily comprehensible that in spite of many - excrescences opera buffa should have blossomed into a musical art, which - in creative genius and intellectual power soared far higher than its elder - sister, whom it soon surpassed in the favour of the public.<a - href="#linknote-100017" name="linknoteref-100017" id="linknoteref-100017"> - 17 </a> - </p> - <p> - The greater freedom of style was of advantage also to the instrumental - parts, which took an independent share in the characterisation. Many - situations were heightened by the orchestra coming to the foreground—as - for instance during the frequently recurring <i>parlando</i> where it - falls to the instruments to give the clue to the intended expression. - </p> - <p> - <span class="side">OPERA BUFFA.</span> <span class="pagenum"><a - href="pgimages/p210.png">[210]</a></span> - </p> - <p> - The instrumental scores which Piccinni was blamed for overloading and - making unnecessarily prominent appear to us indescribably - poverty-stricken.<a href="#linknote-100018" name="linknoteref-100018" - id="linknoteref-100018"> 18 </a> But it was thus that the orchestra - gradually developed into such an independence as makes it capable of - following the rapid emotions of the actors, and of serving at the same - time as a firm foundation for the whole artistic organism. - </p> - <p> - The overture in three movements was not the only one permissible; - symphonies in two parts were frequent, as also a somewhat more elaborate - allegro movement, which served as an instrumental introduction. - </p> - <p> - Anfossi's "Finta Giardiniera" had met with great success in Rome in 1774, - whilst Piccinni's opera was hissed off the stage. In spite of its - miserable text it was produced in 1775 at Vienna,<a href="#linknote-100019" - name="linknoteref-100019" id="linknoteref-100019"> 19 </a> and in 1778 at - Paris;<a href="#linknote-100020" name="linknoteref-100020" - id="linknoteref-100020"> 20 </a> and at Munich Mozart received the - libretto to compose for the Carnival of 1775— - </p> - <p> - The dramatis persona are as follows:—[See Page Image] - </p> - <p> - The Marchesa Violante Onesti has been wounded by her lover Conte Belfiore - in a fit of jealousy, and he, believing that he has slain her, flees. She - sets forth in disguise to seek him, accompanied by a faithful servant, - Roberto; they both enter the service of Don Anchise, Podestà of Lagonero, - as gardeners, she under the name of Sandrina and he as <span class="side">"LA - FINTA GIARDINIERA," 1775.</span> <span class="pagenum"><a - href="pgimages/p211.png">[211]</a></span> Nardo. The Podestà falls in love - with Sandrina and neglects for her the waiting-maid Serpetta, to whom he - has been paying his addresses. Nardo strives in vain for Serpetta's - favour; the two intruders are equally obnoxious to her. Ramiro, Don - Anchise's guest, and the accepted lover of his niece Arminda, is deserted - by the latter, who becomes affianced to Belfiore. - </p> - <p> - At the opening of the opera the inhabitants of Lagonero are busily - employed decorating the garden for the reception of the betrothed couple; - Ramiro informs the Podestà that an unhappy love torments him, and departs. - The Podestà sends Nardo and Serpetta to a distance, in order that he may - declare his love to Sandrina; this she seeks to evade, while Serpetta - continually contrives to interrupt them, so giving occasion for a comic - aria from the Podestà. Thereupon Sandrina announces to Nardo her intention - of leaving the place to escape the attentions of the Podestà, and - complains of the faithlessness of men; Ramiro entering, bewails the - inconstancy of women, and Nardo the cruelty of Serpetta. Arminda, who has - just arrived, behaves whimsically to the Podestà and Serpetta; Conte - Belfiore enters, greets her as his bride, and comports himself like a vain - affected fop, boasting to the Podestà of his nobility, his wealth, his - good looks, his conquests, and his love for Arminda. - </p> - <p> - Serpetta and Nardo having quarrelled, we next find Sandrina busy in the - garden. Arminda informs her that she is about to wed Conte Belfiore; upon - which Sandrina swoons. Arminda calls Belfiore, and leaves the unconscious - Sandrina to his care while she runs for her smell-ing-bottle; when she - returns Ramiro enters, and the four lovers recognise each other in extreme - confusion; the Podestà, entering, seeks in vain for a solution of the - mystery; they all go out, and leave him alone. Before he can recover from - his astonishment, Serpetta, to excite his jealousy, relates that she has - seen Belfiore and Sandrina holding tender intercourse, and he withdraws in - order to watch them. Belfiore tries to extort from Sandrina the confession - that she is Violante; at first she denies it, but then forgets herself and - reproaches him for his infidelity. As he falls repentant at her feet, - Arminda enters with Ramiro, all the rest rush in, overwhelm him and - Sandrina with reproaches, and the act closes amid universal confusion. - </p> - <p> - The second act opens with Ramiro reproaching Arminda for her inconstancy, - while she does the same to Belfiore; then Serpetta makes fun of Nardo. - Sandrina, who, in her own despite, still loves Belfiore, is surprised by - him in the garden, forgets herself again, and overwhelms him with - reproaches; when he remorsefully sues for her love again, she recollects - herself, and explains that she has known Violante, and has only been - giving expression to her feelings. Quite confused, he makes her tender - excuses, and tries to kiss her hand, but seizes instead that of the - Podestà, who has drawn near unobserved, and goes out confounded. - </p> - <p> - <span class="side">OPERA BUFFA.</span> <span class="pagenum"><a - href="pgimages/p212.png">[212]</a></span> - </p> - <p> - The Podestà first reproaches Sandrina, then makes her a formal declaration - of love, which she seeks in vain to evade. Ramiro enters with a letter, - wherein Belfiore is denounced as the murderer of the Marchesa Onesti, and - requires the Podestà to institute a formal inquiry; to Arminda's disgust - the Podestà declares the marriage postponed, and Ramiro is filled with - fresh hope. The Podestà interrogates Belfiore, who, in spite of the - whispered hints of Arminda and Serpetta, becomes confused, and draws great - suspicion on himself; then Sandrina appears, and explains that she is the - Marchesa Violante who was wounded, not killed; they do not believe her, - and treat her with contempt. When she is alone with Belfiore, and he in - delight renews his expressions of love, she tells him she is not Violante, - but has only impersonated her to save him. Amazed and horrified, he loses - his senses and begins to rave, but soon comes to himself. - </p> - <p> - Serpetta informs the Podestà and Ramiro that Sandrina has fled, but when - they have hurried forth to seek her, betrays to the listening Nardo that - Arminda has had her rival conveyed to a hiding-place in the neighbouring - wood, in order to prevent any interference with her union to Belfiore. - </p> - <p> - Next we see Sandrina left alone in darkness, want, and despair; in quick - succession there enter Belfiore led by Nardo, the Podestà seeking - Sandrina, and Arminda and Serpetta to make sure that she is secure; in the - darkness the Podestà declares himself to Arminda, and Belfiore to - Serpetta, both believing that they are addressing Sandrina, to the delight - of Nardo, who now enters, followed by Ramiro with torches, calling upon - Belfiore to renounce the hand of Arminda. When the party recognise each - other there is first great consternation; then all break into abuse and - reproaches; Sandrina comes to an understanding with Belfiore, they both - imagine themselves shepherds, and amid the universal hubbub sing pastoral - ditties; then she enacts Medusa, he Hercules, and at last they dance with - delight, while the others are beside themselves with anger and - astonishment. - </p> - <p> - In the third act, Nardo is again scorned by Serpetta, then Belfiore and - Sandrina attack him, making passionate love to him in their madness, and - he escapes with difficulty. The Podestà is beset by Serpetta, whom he - repulses, by Arminda, who wants to wed Belfiore, and by Ramiro, who - demands Arminda's hand, though she again declares that she detests him. - </p> - <p> - Belfiore and Sandrina having fallen asleep in the garden, awake to soft - music, cured of their madness; they recognise each other, and after some - resistance she listens to his suit. Upon this Arminda resolves to bestow - her hand on Ramiro, and Serpetta on Nardo, and only the Podestà remains - unmated. - </p> - <p> - It was no easy task even to follow these clumsily connected situations, - too incoherent to be called a plot; and it <span class="side">"LA FINTA - GIARDINIERA"—GERMAN VERSION.</span> <span class="pagenum"><a - href="pgimages/p213.png">[213]</a></span> would have taxed the efforts of - any composer to save such a work from utter oblivion. - </p> - <p> - Only the second and third acts of Mozart's original score (196 K.) are - preserved, in two volumes, containing together 344 pages; the first is - lost, and there is no known copy of the Italian score, so that the - recitatives of the first act are unknown. - </p> - <p> - The opera was later produced in German; the German text is inserted in the - original score by L. Mozart, with trifling alterations of a note here and - there to suit the declamation. Besides these there are numerous - abbreviations, both in the recitatives and in some of the songs (13, 17, - 19, 25), which were made for the first performance at Munich, and - indicated by rough chalk strokes and erasures; with the same end, Mozart - recomposed the whole of an abridged scene. - </p> - <p> - The abridged songs are adopted in the German version, but one air (20), - which was marked in chalk "to be omitted," is retained. That Wolfgang was - himself concerned in this adaptation is proved by the fact that on certain - pages the accompanied recitatives which were retained in the German opera - are rewritten in his own hand. Spoken dialogue takes the place of the - plain recitatives, and the German cues are inserted by a third hand. In - Rei-chardt's "Theaterkalender," the operetta, "Das verstellte - Gartner-Madchen" has been included among Mozart's works since 1781, and it - was performed under this title at Frankfort in 1789. Mozart probably - undertook the adaptation after his return from Paris to Salzburg, when he - busied himself with the improvement of German opera. The translation may - safely be ascribed to Schachtner. The score is preserved in duplicate; and - a selection of the songs was printed by André under the title "Die - Gärtnerin aus Liebe." <a href="#linknote-100021" name="linknoteref-100021" - id="linknoteref-100021"> 21 </a> - </p> - <p> - <span class="side">OPERA BUFFA.</span> <span class="pagenum"><a - href="pgimages/p214.png">[214]</a></span> - </p> - <p> - This opera takes an unquestionably higher rank both as to originality, - technical skill, and vivid characterisation than any that had preceded it. - The seven personages, all drawn in firm outline with a sure hand, are not - all comic characters. - </p> - <p> - The part of Ramiro is avowedly written for a male soprano, probably for - the celebrated Tomm. Consoli (b. 1753), who entered the Munich Kapelle in - 1744, and was summoned to Salzburg for the approaching festival - performance. The part is throughout a serious one; Ramiro is the - sentimental unfortunate lover, who only becomes comic by his alternate - hopes and fears, as, true to his first inclinations, he opposes Arminda's - jealous resentment. - </p> - <p> - In his first unimpassioned song (2) he declares that, being scarcely - healed from his first unhappy attachment, he recoils from all fresh - enticements; he has not yet seen his faithless beloved again, the sight of - whom afterwards causes him to forget all in the desire to win her. The - cavatina (18) renders the sentiment of true and hopeful love simply and - tenderly. Finally, resentment against his faithless mistress is expressed - in an agitated air (21) with strongly accentuated declamation and rapid - changes of harmony. All three songs render consistently the exalted mood - of a man of sentiment, whose passions, nevertheless, are not consumed by - their own intensity; the individuality of the singer may doubtless have - lent itself to this treatment of the part. This individuality is also - evident in the fact that Ramiro's songs pay chief regard to the singer in - the passages, and adhere closely to the older forms. But there is - unmistakable progress in the richer and freer grouping of the subjects, - and in the delicate feeling with which the digression in the middle - movement is treated, and gradually led back to the main subject. - </p> - <p> - Arminda stands next to Ramiro. As an imperious, passionate girl, who - ill-uses her faithful lover, and runs after another man, she is more - repulsive than comic. Musical characterisation, by giving to her violence - an air of pettishness, has introduced a comic element into her first air - (7) which brings the noble lady very near the soubrette. The air (13) in - which she threatens the Count with vengeance for <span class="side">"LA - FINTA GIARDINIERA"—SANDRINA.</span> <span class="pagenum"><a - href="pgimages/p215.png">[215]</a></span> his inconstancy has a - caricatured expression of the pathetic, which parodies the manner of the - opera seria, and might, therefore, produce a comic effect. The absence of - all bravura in this part, in spite of the style of the songs, which seems - to call for it, was no doubt to suit the particular singer—a seconda - donna. - </p> - <p> - The part of Sandrina was expressly written for Rosa Manservisi, who was - highly thought of, both as a singer and an actress.<a - href="#linknote-100022" name="linknoteref-100022" id="linknoteref-100022"> - 22 </a> It is comic neither in intention nor fact. An unhappy woman, of - deep and delicate feelings, injured and deceived, is forced by adverse - fate to dissimulate; the difficulties into which she is led by her - disguise are not ludicrous, but painful, and excite only sympathy. It was - common at the time to introduce persons and situations of a sentimental - character into opera buffa, without any regard to the incongruity of - different styles.<a href="#linknote-100023" name="linknoteref-100023" - id="linknoteref-100023"> 23 </a> The principal scena given to Sandrina at - the close of the second act quite oversteps the boundary of opera buffa. - Left deserted in the dark and gloomy forest, she gives vent to her despair - in a song (21), which strikingly expresses the breathless anguish of a - tender, timid maiden, in the face of unknown dangers. - </p> - <p> - A characteristic passage for the violins—[See Page Image] - </p> - <p> - the agitated nature of which is increased by syncopated notes in the - accompaniment, and by the strong accent thrown on the last fourth of every - bar—goes through the whole movement of the allegro agitato in varied - modulation; the voice comes in with detached exclamations, and once a - melodious phrase silences the accompaniment for a moment, until the - orchestra again takes up its restless movement. The song passes - immediately into an expressive accompanied <span class="side">OPERA BUFFA.</span> - <span class="pagenum"><a href="pgimages/p216.png">[216]</a></span> - recitative, in which Sandrina becomes calmer, and assures herself, by - looking round, of her forsaken condition. This is followed by the cavatina - (22)— - </p> -<pre xml:space="preserve"> - Ah dal pianto, dal singhiozzo - Respirar io posso appena, - Non ho voce, non ho lena, - L' alma in sen mancando và— -</pre> - <p> - which carries the expression of long-restrained feeling to its highest - point. Throughout a restless, hurrying Allegro agitato (6-8) the voice has - almost always interrupted passages, and seldom tries its powers in a - sustained note or a melodious phrase. The orchestra remains in continual - motion; at first a tender violin passage is introduced, then the oboes and - bassoons alternate with each other, and with the voice. The whole is a - single continuous thread of lovely melody and richly varied harmony, with - one fundamental idea as its starting-point, and upon it rests the magic of - grace and beauty. To the expression of excited passion follows that of - resignation; both are manifestations of a nature tender and noble indeed, - but neither grand nor strong. - </p> - <p> - Mozart's correct judgment led him to moderate the expression of passion in - Sandrina to a degree befitting the heroine of a comic opera, while giving - due prominence to her dignity and grace when she appears as the gardener's - girl. She displays her true self most unreservedly in the cavatina (11) in - which she bewails her unhappy love:— - </p> -<pre xml:space="preserve"> - Geme la tortorella - Lungi dalla compagna, - Del suo destin si lagna - E par, che in sua favella - Vogli destar pietà. - Io son la tortorella, &c. -</pre> - <p> - Sonnleithner has noted the happy effect produced by the entrance of the - voice, not at the beginning of the theme, but a little behind it, as if - roused from abstraction:— - </p> - <p> - {"LÀ FINTA GIARDINIERA"—BELFIORE.} - </p> - <p> - <span class="pagenum"><a href="pgimages/p217.png">[217]</a></span> - </p> - <p> - [See Page Image] A gentle spirit, not altogether lost in sadness, yet not - able entirely to throw it off, is in Sandrina united to tender womanly - grace, and both find due expression in the music. Even when she plays the - gardener's girl, she does it with pleasant mirth never sinking to - vulgarity. The air (4) in which she undertakes the defence of women - against men to Ramiro (a rondo with a lively coda, 6-8), is gay and - sparkling, but not very pronounced in tone. - </p> - <p> - When she seeks by her cajoleries to appease the sulky Podestà without - exactly telling him that she loves him, she reveals a certain amount of - coquetry, and in her exaggerated expressions of dismay at his reproaches, - approaches the buffo character; but even here the moderation, delicacy, - and grace of Sandrina's character is in strong contrast to that of - Serpetta. - </p> - <p> - Both the comic and the pathetic aspects are combined in the Contino - Belfiore, whose burlesque character appears to have been excellently - represented by the buffo Rossi. His attempt on Violante's life sets him - before us as a man of passion; the wavering of his inclinations between - Arminda and Violante is the less comical, since he expresses his - admiration of Arminda's beauty with simple and manly <span class="side">OPERA - BUFFA.</span> <span class="pagenum"><a href="pgimages/p218.png">[218]</a></span> - dignity (6), but gives vent to his love for Sandrina, whom he recognises - as Violante, in a fine outburst of true emotion. The conclusion of this - song (15), being buffo in character, readjusts the situation. He has not - remarked that Sandrina has gone out, and the Podestà taken her place, and - he seizes the hand of the Podestà to kiss it; his confusion and annoyance - required comic expression. He takes part elsewhere in comic scenes and - situations; but his first appearance as a vain, supercilious coxcomb is - misleading and inconsistent, and only intended to give occasion for a - grand buffo air (8). The pride and loquacity with which Belfiore details - his genealogy are wittily rendered by Mozart; but as a buffo song this - evident concession to the taste of the singer and the public is without - marked individuality. Still less happy is the idea of making the Contino, - and afterwards Sandrina, go crazy. Madness is only representable in music - in so far as sympathy with it as a misfortune can be aroused, which - deprives it of any comic effect; the absurdities which excite to laughter - cannot be rendered musically, and only in rare cases can music produce an - analogous effect. In the second finale, when Sandrina and Belfiore, - surrounded by bitter enemies, suddenly imagine themselves Arcadian - shepherds, and sing shepherd songs, a contrast might be produced which - would at least support the idea of insanity. But their mythological - illusions: "Io son Medusa orribile! Io son Alcide intrepido!" could not be - expressed by the music. In the terzet (24) Nardo, in order to escape the - importunities of the crazy pair, points towards heaven, and tells them - with increasing animation how the sun and moon quarrel, and the stars - engage in love adventures; when he has set the pair gazing fixedly - upwards, he makes off. Broadly represented, this gay, lively terzet must - have made an effect, but it would have been equally comic had Nardo fixed - their attention on anything else, since the effect depends on the vivacity - and humour with which the composer grasps the situation, and withdraws the - attention of the audience from the nonsense which the poet has put into - the mouths of the characters. - </p> - <p> - But even this was impossible in the accompanied recitative during which - Belfiore loses his senses before the eyes of the <span class="side">"LA - FINTA GIARDINIERA"—BUFFO PARTS.</span> <span class="pagenum"><a - href="pgimages/p219.png">[219]</a></span> audience (19). At first, when he - is beset by contending emotions, music is in its place; when he believes - himself to be dead and in Elysium, Mozart has certainly constructed a - characteristic, well-rounded movement, but a specific expression of the - illusion it is not and cannot be. The song in which, restored to his - senses, he expresses his joy at still living (in tempo di minuetto) is - lively, and appeals to the senses like dance music, but after what has - gone before it makes no comic impression. - </p> - <p> - The first bar of this—[See Page Image] reminds us, as Sonnleithner - has remarked, both of the minuet and trio of the Symphony in D major (385 - K.), and of a couple of bars in the first allegro of the Symphony in E - flat major (543 K.). - </p> - <p> - The Podestà is a genuine buffo, proud, amorous, consequential in virtue of - his office, easily excited, easily perplexed, but good-natured at bottom; - the genuine type of a comic old man; there was probably a personal reason - for making this character tenor instead of bass, though the course was not - an unusual one.<a href="#linknote-100024" name="linknoteref-100024" - id="linknoteref-100024"> 24 </a> The musical conception of the character - is that of the traditional buffo. The first air (3) depicts, according to - a fashion of the time, different instruments which are heard in the - orchestra in a concerted accompaniment. This song has nothing in common - with the situation or with the character of the Podestà, and is an - interpolation for the German version. - </p> - <p> - The Italian text contains a song for Sandrina, "Dentro il mio petto io - sento," which Mozart composed, as we learn from a letter of his father's - (December 2, 1780), who had it copied for Schikaneder. The other two songs - (17, 25) are genuine buffo—lively, rapidly uttered—a continual - struggle between false dignity, anger, vexation, and perplexity. - </p> - <p> - The servants are also, according to custom, comic <span class="side">OPERA - BUFFA.</span> <span class="pagenum"><a href="pgimages/p220.png">[220]</a></span> - personages. Serpetta contrasts with Sandrina in want of refinement; - disappointed in her hopes of the Podestà, she becomes envious and spiteful - to every one, and especially to her lover, Nardo. Besides a neat, pretty - little song, of which each character sings a verse (9), she has two songs - (10, 20) of a distinctly soubrette character, gay and pleasing, not - without grace, but as yet without the delicate wit with which Mozart later - endowed his soubrettes. - </p> - <p> - Nardo, as the attached and faithful servant of Violante, displays an - address which is inconsistent with his röle of the simple lover who - pursues Serpetta in spite of all her ill-treatment. The first words of the - mock-heroic air (5), "A forza di martelli il ferro si riduce," have - suggested an accompaniment—[See Page Image] which gives the song a - peculiarly rhythmical character. In the second air (14) the rondo form is - employed with striking effect. Nardo seeks to win Serpetta's hand by - compliments in different languages and styles, which form alternating - interludes to the main theme; this is pretty enough, but the other jokes - are obsolete. - </p> - <p> - The ensembles are of a far higher character than the solos, both as - regards characterisation and musical execution. - </p> - <p> - The introduction is immediately connected with the overture, and borrows - its lively chorus from the third movement, but its development is - completely independent. The overture itself consists of an Allegro molto, - precise in its subjects and execution, but fresh and cheerful, and of a - somewhat tedious Andante grazioso. - </p> - <p> - Sandrina, Serpetta, Ramiro, the Podestà, and Nardo, are discovered in the - garden, awaiting the arrival of the wedding guests, and their festive mood - is expressed by a joyous choral movement. Then each character in a short - soliloquy explains the position of affairs, and indicates the main - elements of the plot. In these soli, which pass from one to the other in - the same tempo, and without a pause, Mozart <span class="side">"LA FINTA - GIARDINIERA"—ENSEMBLES.</span> <span class="pagenum"><a - href="pgimages/p221.png">[221]</a></span> has displayed his rare power of - individualisation, and without the sacrifice of interdependence in the - parts of a great whole. The moonstruck Ramiro, the amorous Podestà, the - excitable, prying Serpetta—each is admirably touched off, without - any disregard to unity of tone. The repetition of the first chorus, with - which the piece concludes, is led up to by the accompaniment, and the - whole forms as complete a musical rendering of the text as was possible. - </p> - <p> - The later ensembles belong immediately to the action of the piece. At the - close of the third act Sandrina and Belfiore awake from refreshing sleep - healed of their madness. Belfiore seeks acceptance of Sandrina, who now - acknowledges herself to be Violante, but she, abashed at his declarations - of love, bids him depart, and prepares to go herself. Neither, however, - can summon resolution to part, and after several attempts, they sink at - last in one another's arms, forgetful of all but their newly found - happiness. This situation, somewhat coarsely rendered by the poet, has - been transformed by the composer into an admirable piece of - character-painting (27). A long accompanied recitative passes into an - elaborate and effective Adagio, in which professions of love alternate - with reproaches. The Andantino (3-8), which follows is lighter in tone, - and well expresses alternations of repulsion and attraction. The oboes are - employed with a charming effect of longing appeal to the words: "<i>Cont</i>. - Lei mi chiàma?—<i>Sandrina</i>. Signor, nö. Lei ritoma?—<i>Cont.</i> - Oibö, oibö!" Finally, the joy of the united pair flows forth in an - Allegro, which gives full opportunity for display on the part of the - singers. Especially to be admired is the art with which the intense and - genuine expression of emotion is tempered by the timidity of the Count and - the coquetry of Sandrina, in a happy union of the pathetic and the comic - which keeps the whole within the limits of' opera buffa. The rapid - winding-up of the plot in the recitative dialogue, and the short animated - ensemble with which the opera concludes (28) are no doubt intended not to - weaken the effect of the great duet. - </p> - <p> - The finales (12, 22) of the first and second acts are masterpieces; the - separate characters act and react on each other <span class="side">OPERA - BUFFA.</span> <span class="pagenum"><a href="pgimages/p222.png">[222]</a></span> - in a way which is admirably true to life. Two conditions are essential to - the elevation of such pieces into musical works of art; important points - in the action or the characters must be brought out by prominent motifs, - and the fundamental idea of the situation must be grasped and maintained - in one motif which shall serve as a clue to the whole. - </p> - <p> - The task of the musician is the combination and elaboration of the - detached elements into an interdependent whole, in which the laws of - musical and dramatic art are in unconscious harmony; the master makes good - his claim to the title by the depth with which he grasps the idea, by the - delicacy with which he apportions the claims of individuals to - independence, and by the strength and truth with which he gives life to - his creations. Mozart's genius amply satisfies all these conditions. When - there are few characters, and they are consequently brought nearer - together, the characteristics of each are sharper and more detailed; but - when the relations of the characters to each other are more involved, the - musical grouping becomes more careful, so that, just as in an - architectural masterpiece, the parts are merged in the whole. Each motif - has its own peculiar expression, but is capable of such manifold effects - of light and shade, that an oft-used motif in a new combination is as - effective as if it appeared for the first time. - </p> - <p> - The form and style of opera buffa are maintained in all essential points, - but with great freedom of treatment. The usual means are employed of the - repetition of a short phrase with increasing intensity, the <i>parlando</i> - while the orchestra carries on the motif, the comic effect produced by - rapid speaking, sudden pauses, strong contrasts, &c.; but to these are - added many traits of original invention. - </p> - <p> - In the earlier operas the boy's skill in the management of accepted forms - was what we had chiefly to notice; here for the first time we are amazed - at the originality of his musical powers. The wealth of characteristic, - well-moulded, well-rounded melodies is quite as surprising as the organic - dependence in which they mutually stand related to each other, not merely - joined together. This fertility is of course <span class="side">"LA FINTA - GIARDINIERA"—ORCHESTRA.</span> <span class="pagenum"><a - href="pgimages/p223.png">[223]</a></span> more prominent as the - development of the plot renders the musical elements more complicated; - especially admirable is Mozart's power of giving character and - suggestiveness to his melodies in their first and simplest form. One - subject from the last Allegro but one of the first finale—[See Page - Image] will not fail to remind the reader of one almost identical from the - first finale of "Figaro." But if the mode of treatment of the simple motif - in the two instances be compared, it will be clearly seen that inventive - power does not consist merely in the combination of notes. That of the - later opera is of course by far superior, but even the earlier leaves - little to wish for in its wealth of harmonic variety, in its union with - other subjects, and in the effect of climax produced by imitation in the - several parts. - </p> - <p> - It may finally and with justice be maintained of the melodies of this - opera that they, as well as the whole intellectual conception, are high - above the ordinary level; their grace, delicacy, and purity—in - short, their beauty—belongs to Mozart, and to him alone. - </p> - <p> - The orchestra is treated quite otherwise than in the opera seria. The - individual peculiarity of each instrument is <span class="side">OPERA - BUFFA.</span> <span class="pagenum"><a href="pgimages/p224.png">[224]</a></span> - brought out, and tone-colouring as a means of characterisation is - delicately and skilfully employed. In Sandrina's cavatina (22), for - instance, the fine effect of the oboe and bassoon in contrast to the - violin is due to the individualities of the instruments; in Ramiro's song - (18) the treatment of the bassoon is original; and in the first finale an - oboe solo comes in with startling effect (the Munich oboist, Secchi, was - very famous).<a href="#linknote-100025" name="linknoteref-100025" - id="linknoteref-100025"> 25 </a> The horns are also frequently made the - means of effective tone-colouring; twice (13, 26) four horns are employed - in a minor key to heighten the effect of a dramatic climax. More important - than these detached instances is the altered relation of the orchestra to - the whole work.<a href="#linknote-100026" name="linknoteref-100026" - id="linknoteref-100026"> 26 </a> It no longer serves as an accompaniment - in the sense of sustaining the voices and filling up necessary pauses; it - is no longer a mere adjunct to the vocal parts, but takes its share in the - effective working of the whole, filling out details which the vocal parts - leave imperfect, and obeying not so much the requirements of the vocalist - as the conditions of artistic perfection. This altered relationship - required an altered organisation; each component part of the orchestra - must have a distinct existence, so that each, according to its place and - kind, might contribute to the general effect. The single example of the - treatment of the basses will serve to make this clear. Hitherto the basses - had served merely as the fundamental of the melody, indispensable indeed, - but often clumsy and insignificant; but here, without losing their - character as the ground-work of harmonic elaboration, they have an - independent movement; they serve not only to support the superincumbent - mass, but their quickening power sets in motion and gives the impulse to - its formation. - </p> - <p> - By the side of these many excellencies the too great length of most of the - pieces, especially of the songs, is felt as a defect throughout; a defect - due, no doubt, to the taste of the time and to the youth of the composer. - The influence of the broader form of the opera seria, and the pleasure of - the <span class="pagenum"> - <a href="pgimages/p225.png">[225]</a></span> public in the mere hearing of - music, were combined with the fact that Mozart was not yet capable of that - self-criticism which rejects all that is superfluous, even when it is good - in itself. - </p> - <p> - It may well be conceived that the opera was performed with extraordinary - success in Munich (1775), and that it soon attained pre-eminence among the - most admired contemporary comic operas. Nissen informs us that it made - little effect in Frankfort (1789); the clumsy German adaptation may have - been in part to blame for this; but the chief cause was doubtless the - altered taste of the public, brought about by the French operettas and - Mozart's "Entführung." - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_11" id="chap_11"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XI. MOZART'S "RE PASTORE." - </h2> - <p> - THE last opera of the series we have been considering - <span class="pagenum"><a - href="pgimages/p225.png">[225]</a></span> is the festival - opera, "Il Re Pastore," composed in honour of the Archduke Maximilian, at - Salzburg, in 1775, to the text of Metastasio (208 K.). - </p> - <p> - The characters and plot are as follows:<a href="#linknote-11001" - name="linknoteref-11001" id="linknoteref-11001"> 1 </a>— - </p> - <p> - Alessandro, re di Macedonia. - </p> - <p> - Aminta, pastorello, amante d' Elisa, che, ignoto a se stesso, si scuopre - poi l' unico legittimo erede del regno di Sidone. - </p> - <p> - Elisa, nobile ninfa di Fenicia, dell' antica stirpe di Cadmo, amante d' - Aminta. - </p> - <p> - Tamiry principessa fuggitiva, figliuola del tiranno Stratone; in abito di - pastorella, amante di Agenore. - </p> - <p> - Agenore, nobile di Sidone, amico di Alessandro, amante di Tamiri. - </p> - <p> - Alexander having conquered Sidon and slain the tyrant Strabo, determines - to place on the throne Abdalonymus,<a href="#linknote-11002" - name="linknoteref-11002" id="linknoteref-11002"> 2 </a> son of the last - rightful king, who has been secretly brought up as a shepherd under the - name of Aminta, by a faithful dependent of his father. - </p> - <p> - <span class="pagenum"><a href="pgimages/p226.png">[226]</a></span> - </p> - <p> - At the opening of the piece we find him in the midst of his flocks, while - Elisa brings him the joyful tidings of the probable consent of her parents - to their union. She has scarcely left him when Alexander, conducted by - Agenore, enters, in order to convince himself if Aminta is worthy of the - throne he intends to offer him; Aminta's virtuous moderation stands every - test. While he is watering his flocks there enters Tamiri, Strabo's - daughter, disguised as a shepherdess; Agenore extols to her Alexander's - generosity, and promises to intercede on her behalf. The assurance of his - faithful love consoles her, and she resolves to await his answer, - concealed by Elisa. Elisa now enters, bearing to Aminta her father's full - consent to their union; in the midst of their transport, Agenore makes - Aminta acquainted with his destiny, hands him the crown, and summons him - to the presence of Alexander. The lovers pledge their faith anew with much - rejoicing. - </p> - <p> - In the second act, Elisa and Tamiri come to the camp of Alexander, in - order to see their lovers. Tamiri, unable to overcome her fear, withdraws; - Elisa seeks in vain to speak to Aminta, Agenore informing her that Aminta - is occupied with more important concerns, at the same time that he - respectfully reminds Aminta, who is impatient to find Elisa, of his duties - as a monarch. At last Alexander appears and receives the grateful homage - of Aminta, who expresses most virtuous resolutions for his future rule. On - Alexander expressing regret that Tamiri should shun his presence, Agenore - takes the opportunity of acquainting Alexander with her near approach. To - Agenore's dismay Alexander resolves to unite her with Aminta. With the - idea, however, that this will conduce to Tamiri's happiness, Agenore - controls his desires, and counsels Aminta to renounce Elisa. Before the - unwilling lover is convinced, Tamiri and Elisa enter, and, seeing their - lovers stand confused and silent, believe them to be faithless. - </p> - <p> - At the opening of the third act, Aminta, after many scruples, informs - Agenore of his determination to fulfil the duty which he believes himself - to owe to Alexander. These tidings are carried by Agenore to Elisa, who - refuses to doubt Aminta's truth, and will not be persuaded that submission - to her fate will best prove her love for Aminta. Agenore's own constancy - is put to a severer test when Tamiri vehemently accuses him of having - deserted her for Aminta's sake, but he remains firm. - </p> - <p> - Then there appears before Alexander, who is preparing for the celebration - of the union, first Tamiri, who declares her love for Agenore, and refuses - to break her faith with him, even for the sake of a throne; then Elisa, - who tells the claims she has on Aminta's heart; and finally Aminta - himself, dressed as a shepherd, returns his crown to Alexander, being - unable to renounce Elisa's love. Moved by all this nobleness and devotion, - Alexander unites the lovers, reinstates Aminta as King of Sidon, and - promises to conquer another realm for Agenore. - </p> - <p> - <span class="side">"IL RE PASTORE," 1775.</span> <span class="pagenum"><a - href="pgimages/p227.png">[227]</a></span> - </p> - <p> - Metastasio wrote this opera in 1751 for performance at court by four maids - of honour and a cavalier;<a href="#linknote-11003" name="linknoteref-11003" - id="linknoteref-11003"> 3 </a> he paid due regard to fitting costumes, and - to the virtue and nobility of each character.<a href="#linknote-11004" - name="linknoteref-11004" id="linknoteref-11004"> 4 </a> The pains he took - at the rehearsals were requited;<a href="#linknote-11005" - name="linknoteref-11005" id="linknoteref-11005"> 5 </a> Bono's music was - excellent,<a href="#linknote-11006" name="linknoteref-11006" - id="linknoteref-11006"> 6 </a> the scenery and costumes most brilliant, - the noble performers acquitted themselves to perfection, and all was - applause and approbation.<a href="#linknote-11007" name="linknoteref-11007" - id="linknoteref-11007"> 7 </a> No wonder that he recommended the piece to - Farinelli as a suitable festival opera;<a href="#linknote-11008" - name="linknoteref-11008" id="linknoteref-11008"> 8 </a> it has, in fact, - been composed very often since.<a href="#linknote-11009" - name="linknoteref-11009" id="linknoteref-11009"> 9 </a> - </p> - <p> - It was considerably curtailed for representation at Salzburg. The second - and third acts were compressed into one, whereby not only was the dialogue - abridged, but several songs were omitted without serious injury to the - text. There were other small alterations and some few additions, but - nothing essential was disturbed. Instead of Aminta's first air (act 1, sc. - 2) another was introduced with an accompanied recitative, and before the - duet at the end of the first act an accompanied recitative was omitted. - Instead of the short concluding chorus, a kind of finale was inserted, in - which soli and tutti alternate. The part of Agenore was given to a tenor,<a - href="#linknote-110010" name="linknoteref-110010" id="linknoteref-110010"> - 10 </a> Aminta to the male soprano Consoli; beyond this we know nothing of - the cast or of the performance. - </p> - <p> - Mozart's composition, of which the original score in two volumes of 284 - pages has been preserved, has the same finish of execution and invention - which was so marvellously seen in the "Finta Giardiniera"; but the - conventionalities of form are far more of a hindrance here than in the - previous <span class="side">MOZART'S "RE PASTORE."</span> <span - class="pagenum"><a href="pgimages/p228.png">[228]</a></span> work. No - scope was allowed for dramatic force or true passion; the work must be - kept strictly within the limits of the festival opera. The Salzburg - singers too, seem to have preferred the beaten track to any extraordinary - displays of skill. - </p> - <p> - This is most apparent in the tenor part of Alexander. His three songs, - whose commonplace virtuous reflections give little scope for musical - treatment, have, like the regular bravura songs, a long ritornello, - bravura passages, the shake at the end, the usual cadenza. In details, the - effort to metamorphose the form is apparent; the second part appears as a - second subject, and the passages are made more interesting by their - harmonic treatment, and by the prominence given to the accompaniment. The - melodies are better built up, they have more musical substance; the - accompaniment takes up detached portions of the chief melodies, and gives - a firmer connection to the parts. The words of the first air (4) give - occasion for some of the then favourite musical painting; lightning, - thunder, and rain are depicted by the orchestra, but without undue - prominence. The second air (9) is interesting through the obbligato - treatment of the wind instruments, the flute competing with the voice in - passages. Joh. Bapt. Becke (b. 1743), who had been trained under Wendling - to become an admirable flautist, was summoned from Munich for this - performance. The third air (13) is in the serious conventional style, not - wanting in dignity. - </p> - <p> - More individuality is given to the parts of Aminta and Elisa; at first the - prevailing element is pastoral, as was usual in festival operas. The - overture, consisting of one movement (Molto allegro) leads directly to - Aminta's first song (1), by a pleasant pastoral melody. It is a simple - shepherd's song characterised by its 6-8 time, and by the flute and horn - accompaniment. For the better contentment of the singer (the soprano - Consoli from Munich), his second song is a genuine bravura (3). In its - division into a brilliant Allegro aperto (4-4), and an elegant Grazioso - (3-8), as well as in details, the old style is apparent; but all is so - much freer, fuller, and, in spite of its fragmentary <span class="side">"IL - RE PASTORE"—THE DIFFERENT PARTS.</span> <span class="pagenum"><a - href="pgimages/p229.png">[229]</a></span> construction, so much more - connected, that one feels a new spirit floating through the obsolete - forms. Aminta's last air (10), when he declares himself true to his love, - shakes itself quite loose from the fetters. It has the rondo form; the - principal theme, twice relieved by an interlude, recurs three times, and - winds up with a coda. The beauty of this cantilene is enhanced by a violin - solo (written doubtless for Brunetti) equally simple and tuneful in style. - The muted strings accompany the principal subject with a slightly agitated - passage; the wind instruments (two flutes, two English horns, two - bassoons, and two horns) are treated independently, and as delicately and - tenderly as the tone of the piece requires. - </p> - <p> - Elisa's first song (2) unites in a singular degree the pastoral with the - bravura character: the noble lady depicts the happiness of living as a - shepherdess near her beloved Aminta. The traditional form has been so - skilfully modified, and an almost playful grace is so freshly and - charmingly expressed, that this song may justly be placed on a level with - some of Mozart's later concert songs. The second air (8) is more strictly - according to rule; the situation does not lend itself to freedom of - treatment, and Mozart has contented himself with composing a harmonious - and effective song. - </p> - <p> - The duet between Elisa and Aminta at the close of the first act (7) is - light and pleasing, surpassing former efforts of the same kind in its - clever management of the voices and in the originality of its subject. It - is a charming idea and an appropriate one, to carry on the subject of the - Andante with altered rhythm into the Allegro. - </p> - <p> - The parts of Tamiri and Agenore are quite secondary, scarcely more than - stop-gaps. Tamiri's first air (6) is a bravura song of the ordinary type, - the second (11) is almost soubrette-like in its airy lightness. Agenore's - first air (5) is tender and pleasing, not much in accord with the - situation. His second air (12) is pathetic, in a minor key, and stands - alone of its kind. Restless agitation is portrayed by a varied and - striking harmony, emphasised by - <span class="pagenum"><a href="pgimages/p230.png">[230]</a></span> - strongly accented chords for the wind instruments—four horns besides - oboes and bassoons. But neither the character of Agenore nor the - moralising words give any opening for pathos. - </p> - <p> - The finale consists of a brilliant four-part tutti movement, which is - repeated entire, or in part, several times; passages for single voices are - inserted, alternating cleverly and with a pleasing effect. - </p> - <p> - Mozart's evident longing to break loose from the fetters of - conventionality and tradition is nowhere more apparent than in the - accompaniment and in the orchestral movements, where we find a fulness and - freedom of thought hitherto only shown in detached passages. Even when the - old fashion is retained of employing only oboes and horns, there is an - evident appreciation of the special powers of the instruments expressed, - it may be, in a few notes. The orchestra has its own significance, and - Mozart turns to account his intimate knowledge of the orchestra of opera - seria. Trifling as these instrumental effects may appear, the main point, - that instrumental music was henceforth to take an active part both in - serious and comic opera, was one of great importance in the history of - their development. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_12" id="chap_12"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XII. SONGS. - </h2> - <p> - WE must here cast a glance at a number of separate<span class="pagenum"> - <a href="pgimages/p230.png">[230]</a></span> songs composed by - Mozart, either for insertion in operas or for performance at concerts. - </p> - <p> - The earliest of them, composed for the two Licenze at Salzburg (p. 99), - and those belonging to the first Italian journey, call for no special - remark. Yet there occurs in the air composed at Rome, "Se tutti i mali - miei" (183 K.), a change of key produced by enharmomic progression which - deserves to be noticed:— <span class="side">BUFFO SONGS, 1775-76.</span> - <span class="pagenum"><a href="pgimages/p231.png">[231]</a></span> [See - Page Image] No such songs are known to belong to the years immediately - following, but in 1775 we find several composed at Salzburg, probably for - performance by foreign vocalists visiting the city. Two tenor airs belong - to May, 1775. In one of them, described as "Aria buffa" (210 K.) the - singer is supposed to be flattering some one to his face with the greatest - fluency, while he makes all sorts of rude remarks aside:— - </p> -<pre xml:space="preserve"> - Con ossequio, con rispetto - Io m' inchio e mi profondo - A un sapiente si perfetto, - Che l' egual non v' è nel mondo, - E l' eguale non verrà— - Per l' orgoglio e l' ignoranza e la gran bestialità. -</pre> - <p> - The orchestra maintains a single theme (Allegro assai) without - intermission, and the voice is almost throughout <i>parlando</i> in rapid - vivacity; the union of a certain amount of dignity with burlesque fluency - of tongue is very comical, the whole song being simply conceived and - easily and consistently worked out. This song could only have been meant - for performance on the stage, and the second (209 K.), "Si mostra la sorte - propizia all' amante," is scarcely of importance enough for a - concert-room. It is the complaint of a bashful lover, but has so little - pathos as to be only <span class="side">SONGS.</span> <span class="pagenum"><a - href="pgimages/p232.png">[232]</a></span> suitable for opera buffa. It is - simple both in design and execution, and may have been inserted to suit - the powers of some singer in the place of another song. It was no doubt - also for insertion in an opera buffa that an air for Dorina (217 K.), "Voi - avete un cor fidele," was composed (October 26, 1775); it is in the style - of a soubrette, superior to those of its kind in the "Finta Giardiniera," - and equal to Despina's songs in "Cosi fan tutti." An Andantino grazioso - and an Allegro, the latter considerably elaborated, are both repeated, - then a few bars of the Andantino recur, and the whole is wound up by - rather a long Coda in allegro. The exact repetition of both movements - makes the effect of the whole somewhat stiff, but the details are fresh, - animated, and very characteristic. - </p> - <p> - The tone of melting tenderness at the beginning, the mocking <i>parlando</i> - of the questions, and finally the fervency of the words, "Ah! non credo," - are so strikingly expressed, and the whole effect is so cheerful and even - droll, that we cannot fail to recognise the hand of a master of his art. - The subjects and the passages in the allegro are neat and graceful, and - the orchestral parts are lively and appropriate. - </p> - <p> - A tenor song (256 K.), "Clarice cara mia sposa," composed for Signor - Palmini, September, 1776, is a true theatrical buffo air, and bears lively - testimony to Mozart's comic talent. A Capitano prates nonsensically, with - much swagger, of how he will have his own way in spite of everybody; a Don - Timoteo seeks in vain to interrupt the flow of his talk, which seems to - run over in an unintermittent succession of triplets falling like heavy - rain, and, as it were, drenching the hearer in an instant. - </p> - <p> - The monotonous <i>parlando</i> is provided with just so much of melody as - to indicate that it is sung, not spoken. The orchestra maintains a very - simple subject—[See Page Image] with varied harmonies, in a light, - even sketchy manner, but with considerable musical interest. Even the few - words in <span class="side">ALTO SONG, 1776.</span> <span class="pagenum"><a - href="pgimages/p233.png">[233]</a></span> recitative, thrown in by Don - Timoteo, do not allow the singer to take breath, and only serve to make - the next paroxysm still more comical. - </p> - <p> - Another song, composed in the same month for the alto Fortini, may have - been intended for performance at a concert. Mozart justly considered this - song worthy to live, for he writes from Vienna (April 12, 1783) to beg - that the rondo for an alto voice may be sent to him which he had composed - when the Italian troupe were at Salzburg. The idea is the usual one of the - leave-taking of a disconsolate lover. The introduction is a not very long, - but an expressive recitative. The transition from this to the air itself - is charming and very touching; it is the involuntary expression of the - pain of parting welling out from the innermost depths of the heart:—[See - Page Image] - </p> - <p> - Both the movements of the song, Andante moderato and Allegro assai, are - repeated; then the Andante recurs for the third time, makes its way - through an Allegretto to the Allegro assai, and from this a subject is - selected, which leads through an effective crescendo to a pause on the - <span class="side">SONGS.</span> <span class="pagenum"><a - href="pgimages/p234.png">[234]</a></span> seventh. Then the opening bars - of the Andante are repeated, stop short, and the song is rapidly concluded - 'by the Allegro. The hesitation and irresolution of the lover, who cannot - bring himself to depart, find ready expression in this change of movement. - A deep, calm, and restrained emotion, corresponding admirably to the - character of an alto voice, is well portrayed by the simple, unornamented - song, interrupted only by the stronger accents of intense grief. The - orchestral accompaniment is so managed as skilfully to heighten the - peculiar effect of an alto voice. - </p> - <p> - Repeated mention is made in the letters of the year 1777, and afterwards, - of a scena composed for Madame Duschek.<a href="#linknote-12001" - name="linknoteref-12001" id="linknoteref-12001"> 1 </a> In the summer of - 1777, Josepha Duschek, a singer and pianoforte-player of celebrity, and a - young, vivacious woman, came for a visit from Prague to Salzburg. The - foundation was laid of a friendship with Wolfgang, of which we shall - frequently have occasion to speak. The scena in question is probably the - grand aria of Andromeda (272 K.), "Ah, lo previdi," belonging to August, - 1776, not long before his departure from Salzburg, and one of the greatest - compositions of the kind. An agitated recitative is followed by a long, - elaborate Allegro, expressive of the passion of a brave and noble mind. - Scorn for perfidy overpowers even pain at the loss of the beloved one; - tones which seem to scorch and wither pour forth like glowing metal on the - betrayer; then comes a subject which has already made itself heard more - than once in the orchestra as a cry of suppressed pain, and this leads to - a gentler mood; grief for the lost love is expressed in a beautiful - recitative, and dies away into calm and composed melancholy with a - Cavatina, which concludes the scena. - </p> - <p> - The psychological truth of the details, the blending of the transitions, - the unity of the tone, are qualities quite as much to be admired in this - song as the musical originality and skill <span class="side">"AH, LO - PREVIDI," 1777—LIEDER.</span> <span class="pagenum"><a - href="pgimages/p235.png">[235]</a></span> displayed in its composition. - The last movement is perhaps a little spun out; although the strain of - long-continued violent emotion seems to require a correspondingly gradual - cessation. - </p> - <p> - The orchestra is as simply managed as in the earlier songs; for wind - instruments only horns, bassoons and oboes are employed, with, more - seldom, flutes; in the recitatives there are only stringed instruments.<a - href="#linknote-12002" name="linknoteref-12002" id="linknoteref-12002"> 2 - </a> - </p> - <p> - It is indicative of the taste of the time that among so many vocal - compositions the song proper (<i>lied</i>) seldom or never appears. Five - very simple Lieder with clavier accompaniments belong to the earlier - Salzburg epoch (147-151 K.); they are more pedantic than any other of the - compositions, and interest us chiefly through the words by Günther and - Canitz, which Mozart has selected for composition. - </p> - <p> - HE years of Mozart's development at Salzburg were fruitful not only of - operatic compositions, but of others which arose from the circumstances of - his residence there. First among these stands church music. - </p> - <p> - Church music had long been fostered at Salzburg, and was especially - encouraged by Archbishop Sigismund; his severe and world-contemning piety - caused him to keep the service of the church continually before the eyes - both of singers and composers. The prospect of a moderate pension induced - many clever artists to settle in Salzburg, in spite of the poor payment - they received for their services. Sigismund's successor, - </p> - <p> - Hieronymus, extended his parsimony even to the members of the Kapelle, - whom he estranged by his overbearing manners; on the whole, music rather - declined than advanced under his rule,<a href="#linknote-12003" - name="linknoteref-12003" id="linknoteref-12003"> 3 </a> although he cared - more than Sigismund for the splendour of his court.<a - href="#linknote-12004" name="linknoteref-12004" id="linknoteref-12004"> 4 - </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - - <hr /> - <p> - <a name="chap_13" id="chap_13"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XIII. CHURCH MUSIC. - </h2> - <p> - FIFTEEN choristers <span class="pagenum"><a - href="pgimages/p235.png">[235]</a></span>were maintained at the cost of - the Archbishop in the - Kapellhaus, and educated by special - instructors. They afterwards entered the choir as singers or passed into - the service of the court; if they showed extraordinary talent, they were - sent to finish their training in Italy, and then took their place as solo - singers.<a href="#linknote-13003" name="linknoteref-13003" - id="linknoteref-13003"> 3 </a> Archbishop Sigismund allowed the male - sopranos to die out, and did not replace them with others; on the other - hand he sent the daughter of the cathedral organist, Maria Magd. Lipp, to - be educated as a singer in Italy, and on her return in 1762 he appointed - her court singer; she soon afterwards married Michael Haydn, lately - arrived at Salzburg. In 1778 Hieronymus again took a male soprano into his - service, Ant. Ceccarelli,<span class="side">CHURCH MUSIC.</span> <span - class="pagenum"><a href="pgimages/p236.png">[236]</a></span> - a singer of moderate powers and bad moral - character. - </p> - <p> - The orchestra belonging to the choir was an ample one for the time, and - was strengthened by a trumpet band for the support of the voices in the - church. There were further two bands of six trumpets and drums, which did - not properly belong to the court, but to the chamberlain's office, and - which ranked between the equerries and the lackeys.<a - href="#linknote-13004" name="linknoteref-13004" id="linknoteref-13004"> 4 - </a> But no one was taken into this service who could not also, at need, - strengthen the stringed instruments. - </p> - <p> - In 1762, when Lolli was kapellmeister, and Leopold Mozart - vice-kapellmeister, Joh.Michael Haydn<a href="#linknote-13005" - name="linknoteref-13005" id="linknoteref-13005"> 5 </a> (1737-1806), the - younger brother of Joseph, was appointed concertmeister and director of - the orchestra, on the recommendation of a <span class="side">MICHAEL - HAYDN.</span> <span class="pagenum"><a href="pgimages/p237.png">[237]</a></span> - nephew of Archbishop Sigismund, at Grosswardein, where Haydn had been - kapellmeister since 1757. The personal intercourse between the families of - Haydn and Mozart was not over friendly. Haydn was fond of sitting over a - glass of beer or wine, which was all the more reprehensible in the sight - of the temperate and conscientious Mozart, since it caused frequent - neglect of duty. - </p> - <p> - "Who do you think," he writes to Wolfgang (December 29,1777), "is - appointed organist at the Holy Trinity? Herr Haydn! Every one laughs. He - is an expensive organist; after every litany he drinks a quartern of wine, - and he sends Lipp to the extra services, who drinks too." (June 29, 1778): - "This afternoon Haydn played the organ for the litany and the Te Deum (at - which the Archbishop was present), but so badly that we were all - horrified.... Haydn will drink himself to death soon; or at least, being - lazy enough already, he will become still lazier the older he gets."<a - href="#linknote-13006" name="linknoteref-13006" id="linknoteref-13006"> 6 - </a> - </p> - <p> - The conduct of Frau Haydn also must have been objectionable. Wolfgang - writes mockingly to Bullinger (August 7, 1778): "It is quite true that - Haydn's wife is ill; she has carried her rigours too far; there are few - like her! I only wonder that she has not lost her voice long ago through - her constant scourgings, wearing of sackcloth, prolonged fasts, and - midnight prayers." Neither was Haydn's cultivation such as to cause L. - Mozart to wish for nearer intercourse between the families. "I should like - to hear him speak Italian in Italy," he writes (December 4, 1777); "the - people would certainly say, 'Questo è un vero Tedesco!"'<a - href="#linknote-13007" name="linknoteref-13007" id="linknoteref-13007"> 7 - </a> Personal difference and trifling jealousies, such as easily arise in - small communities, may have had some influence on this unfavourable - criticism of Michael Haydn; it did not extend, however, to his merits as - an artist. It is true that L. Mozart was of opinion when Michael Haydn, in - 1787, composed the opera "Andromeda e Perseo," that he had no talent for - <span class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p238.png">[238]</a></span> dramatic music, and that his - principal songs might have been written for a choir-boy. But he praised, - in strong terms, the <i>entr'acte</i> music for Zaire, which Haydn had - composed in 1777, and analysed it carefully, telling his son that the - Archbishop had done him the honour to say to him at table, that he could - not have believed Haydn capable of composing such music; and that instead - of beer he should drink nothing but Burgundy. Haydn received a reward of - six kronthaler (October 1 and October 9, 1777). But when L. Mozart writes - to his son: "Herr Haydn is a man whose musical merits you will not deny" - (September 24, 1778), he is referring to his church music, which Wolfgang - was in the habit of copying for study. Writing from Vienna, he asks for - "small paper, Eberlin's Counterpoint, bound in blue, and some of Haydn's - things";<a href="#linknote-13008" name="linknoteref-13008" - id="linknoteref-13008"> 8 </a> and shortly after (March 12, 1783): "The - 'Tres sunt' (M. Haydn's) is in score, in my handwriting." He wanted these - things for the Sunday performances at Van Swieten's, and asked also for - Michael Haydn's latest fugue. "The 'Lauda Sion,'" he writes (March 12, - 1783), "was a great success; the fugue, 'In Te Domine speravi,' was much - admired, as also the 'Ave Maria' and 'Tenebrae.'" Among Mozart's remains - were found two fugues, 'Pignus futuræ gloriæ,' copied by his own hand from - Michael Haydn's Litanies. - </p> - <p> - <span class="side">ADLGASSER—CHURCH FORMS.</span> <span - class="pagenum"><a href="pgimages/p239.png">[239]</a></span> - </p> - <p> - The cathedral organist, appointed in 1751, was Anton Cajetan Adlgasser - (1728—1777), a pupil of Eberlin, who had been sent by the Archbishop - to study in Italy, a first-rate organ-player and accompanist, whose sacred - compositions were afterwards performed and highly appreciated at Salzburg. - Less remarkable was the second organist, Franz Ign. Lipp, Haydn's - father-in-law. - </p> - <p> - The kapellmeister and organist did not confine themselves to conducting - performances of church music: they made it a point of honour to provide - suitable music for special festival occasions. At such time new - compositions were considered indispensable; indeed, throughout the year a - constant variety of music was sought to be provided. This activity in - church music was of the greatest service to young composers, who never - wanted an opportunity for bringing out new compositions, nor for learning - by hearing and comparing. - </p> - <p> - It was not the less beneficial in the way of training that they were - obliged to keep within the limits of certain clearly defined forms, and to - be content with the often scanty means which they found ready to hand. - Through the influence of transmitted customs and individual peculiarities, - as well as of the taste of those in authority, local traditions grew up, - whose narrow rules hindered freedom of development. Such control is most - irksome in church matters, wherein all, even what is in itself - unimportant, must be considered as partaking of the sanctity of the whole. - The counterbalancing gain of such training is technical finish, the - indispensable foundation for the development of genius, with which alone - can any effort to break loose from what is false in tradition be - successful. - </p> - <p> - Mozart found the rules and forms of church music as clearly defined as - those of the opera. Both had been formed in the Neapolitan school, and the - impulses given up each had been in the same direction. The turning-point - was the introduction of melodies which had their own significance as - expressions of emotion, without regard to their harmonic or contrapuntal - treatment. No sooner had melody gained recognition in opera and cantata, - as the natural and <span class="side">CHURCH MUSIC.</span> <span - class="pagenum"><a href="pgimages/p240.png">[240]</a></span> legitimate - form of musical expression, than it made a way for itself into the church - by means of oratorio. The simple grandeur of the older church music - (particularly that of the Roman school, with Palestrina as its - representative) depended chiefly on the fact that the chorus of voices was - treated as an organic whole, of which no one part could be recognised as a - distinct entity apart from the rest. The impression made by such music - resembles that of the sea. Wave follows upon wave, and each one seems to - be like the last; yet underlying the apparent monotony there exists an - ever-varied life, an invincible strength, manifesting itself alike in - peaceful calm and raging storm, and filling the mind with a sense of - sublimity and grandeur, without satiety and without fatigue. But so soon - as one melody was distinguished above the rest the union and equality of - the voices was disturbed. Separate voices became more or less prominent as - occasion required; and it could not fail to follow that the other voices - should be employed merely to fill up and support the principal melody. A - certain amount of independence and character might indeed be given to the - accompanying voices by skilful management, but the principle remains - unaltered, so long as a melody and its accompaniment are in question. - </p> - <p> - The change became more marked when instrumental music gained admission - into the church. At first the organ and trumpets were employed merely to - support and strengthen the voices. But when stringed instruments, and by - degrees the various wind instruments of the orchestra, came into use in - churches, they gradually adopted in church music, as in secular, the part - of accompaniment to the voices. This tendency was most apparent of course - in solo singing; but a manner of orchestral accompaniment to the choruses - was gradually elaborated which could not fail to influence the treatment - of the voice parts. The use of the severest contrapuntal method had - hitherto been considered an essential condition and embellishment of - church music; but on this point also an alteration of opinion and taste - gained gradual ground. - </p> - <p> - The perfection of contrapuntal treatment, consisting in the absolute - freedom and independence of the several parts, <span class="side">COUNTERPOINT - IN CHURCH MUSIC.</span> <span class="pagenum"><a href="pgimages/p241.png">[241]</a></span> - with their due correlation, can only be obtained by strict obedience to - well-defined laws; added to which must be a firm conception of some simple - fundamental idea whose many-sided development shall give unity and - cohesion to the whole work. This form of composition is therefore - peculiarly appropriate to the delivery of serious and weighty ideas; it is - however but a form, and can be endued with life and significance only by - the matter which it contains, and by the spirit which animates it. In old - times the madrigal served to illustrate contrapuntal forms in secular - music; and even in the present day canons and fugues, sometimes with comic - effect, sometimes giving expression to very varied emotions, are often so - skilfully constructed that the uninitiated have no suspicion of the - artistic learning with the effect of which they are charmed. Although - counterpoint is in itself neither spiritual nor ecclesiastical, it is - conceivable that in proportion as secular music freed itself from the - trammels, the error should arise of imagining severity of form and - structure to be peculiarly appropriate to church music. This - identification of counterpoint with ecclesiastical ideas caused its - development to proceed side by side with those other forms which had made - good their footing in church music. The opposition which was felt to exist - between severe methods and methods not severe led to a compromise; certain - parts of the liturgical text were treated contrapuntally, and others - freely. The proportions depended greatly on personal and local influences, - but the main points of the division were decided by the Neapolitan school. - </p> - <p> - The moral tendency of this change of construction must not be overlooked. - The free treatment of melody gave to subjective emotion, with its - ever-varying alternations, a suitable method of musical expression, and an - art which was developing in this direction must have had extraordinary - influence. The effort to make church music subject to this influence was - the necessary consequence of a newly awakened life in art. The musician - felt himself impelled to represent religious emotion in its full strength - and truth, and with all the means at his command; the liturgy called forth - the expression of the liveliest and most passionate emotion, it <span - class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p242.png">[242]</a></span> offered opportunities for - representing the most vivid dramatic situations; even the glory of worship - called on its votaries to bring the splendour of music, as well as of - painting and sculpture, into the Divine service. But the direction taken - by the intellectual progress of that time, especially in Italy, was - fraught with the dangers which invariably threaten an art which is - struggling to free itself from tradition. The Church was tolerant towards - the aspirations of art, so long as they afforded an effective means for - her glorification, but she sternly repressed any efforts to break loose - from the fetters of her ordinances and customs. On the other hand, men - rejoiced in what had been so easily and rapidly gained, and satisfied - themselves with the superficial freedom which they had attained. - Proportionally was the development of a formalism in accordance with the - Italian character, which seeks for beauty always in set forms, and - demanded the adoption of such forms by church music. The opera was the - model; thence sprang the moral and artistic element which became manifest - in the forms of church music, appealing not so much to the faith of the - congregation as to the taste of musical connoisseurs. Any attempt to - transport operatic forms directly into church music was forbidden by the - liturgical form of Divine service, to which the music must be subordinate. - But the connection was severed with the old church modes from which - ancient church music borrowed its subjects, treating them after a long - since obsolete tone-system; and a merely devotional musical symbolism was - renounced for the freedom of original creation. For though subjects were - borrowed in later times from the old church modes, they lost their - significance when detached, and were, besides, treated according to the - new lights. Finally, the sway of the singer was mighty in church music as - elsewhere. The habit of delighting in the finished performances of the - vocalist was united with the idea that he who could most fully satisfy the - prevailing taste was also the most worthy to serve the Most High and to - exalt the glory of worship. We shall therefore find the church music of - the latter half of the eighteenth century composed of the same materials - as operatic music, and exercising much the same effect. - </p> - <p> - <span class="side">CHURCH MUSIC IN GERMANY.</span> <span class="pagenum"><a - href="pgimages/p243.png">[243]</a></span> - </p> - <p> - The same influence which had been won by Italian operatic music in Germany - penetrated to the churches of Catholic Germany, and attained to complete - sovereignty. But there was a difference, important, though not at the time - generally or consciously felt. The conception and mode of expression of - Italian church music was, although secularised, yet in its essence - national, and in its appeals to religious emotion it might count upon - universal comprehension and sympathy. - </p> - <p> - But transplanted to Germany both the ideas and their mode of execution - were strange, and could only be adopted after a preliminary artistic - training; what in Italy had grown up in the course of national development - was transmitted to Germany as mere form. The delicate sense of beauty and - of grace, the excitable, passionate nature of the Italians, could not be - transplanted, and the external adjuncts were even more superficially - treated than on the soil from which they sprang. Contrapuntal work, - especially the fugue, was haunted by the school traditions of church - usages, which conduced to a spiritless formalism of routine. Thus, - carelessness and pedantry, superficiality and dulness were combined, and - church music declined more rapidly and visibly than the opera. The - difference between the true essence and its extinct form is the more - apparent and significant the deeper it lies; and to this must be added the - fact that the continuous demand for church music' gave rise to the - production of a mass of inferior work, from which the opera was preserved - in deference to the taste of the public. Under these circumstances it was - impossible even for a surpassing genius to do more than distinguish - himself in some particulars; the efforts of an individual after - thorough-going reform could only be successful supported by the spirit of - the age and of the nation.<a href="#linknote-13009" - name="linknoteref-13009" id="linknoteref-13009"> 9 </a> - </p> - <p> - This general position held by church music was modified in different - regions by local peculiarities of the liturgy, by the tastes of church - authorities, and by the differences in the <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p244.png">[244]</a></span> - musical forces at command. The peculiar circumstances under which Mozart - wrote in Salzburg are described by himself in a letter to Padre Martini - (September 4, 1776):<a href="#linknote-130010" name="linknoteref-130010" - id="linknoteref-130010"> 10 </a>— - </p> - <p> - I live in a place where music prospers but little, although we have some - good musicians, and some especially good composers of thorough knowledge - and taste. The theatre suffers for want of singers; we have few male - sopranos, and are not likely to have more, for they require high pay, and - over-liberality is not our weak point. I busy myself with writing church - and chamber music, and we have two capital contrapuntists, Haydn and - Adlgasser. My father is kapellmeister at the metropolitan church, which - gives me the opportunity of writing as much as I like for the church. But - as my father has been thirty-six years in the service of the court, and - knows that the Archbishop does not care to have people of an advanced age - about him, he takes things quietly and devotes himself chiefly to - literature, which has always been his favourite study. Our church music - differs widely and increasingly from that of Italy. - </p> - <p> - A mass, with Kyrie, Gloria, Credo, the Sonata at the Epistle, the - Offertorium or Motett, Sanctus and Agnus Dei, must not last longer than - three-quarters of an hour, even on festivals when the Archbishop himself - officiates. This kind of composition requires special study. And yet the - mass must have all the instruments, trumpets, drums, &c. Ah, if we - were not so far from each other, how much I should have to tell you! - </p> - <p> - We have further information on the arrangements made for church music in - the cathedral.<a href="#linknote-130011" name="linknoteref-130011" - id="linknoteref-130011"> 11 </a> "The cathedral contains a large organ at - the back by the entrance, four side organs in front of the choir, and a - little choir organ below the choir where the choristers sit. The large - organ is only used on grand occasions and for preludes; during the - performance one of the four side organs is played, generally that next to - the altar on the right side, where the solo singers and basses are. - Opposite, by the left-side organ, are the violinists, &c., and on the - two other sides are two choruses of trumpets and drums. The lower choir - organ and double-bass join in when required."<a href="#linknote-130012" - name="linknoteref-130012" id="linknoteref-130012"> 12 </a> - </p> - <p> - <span class="side">MOZART'S MASSES.</span> <span class="pagenum"><a - href="pgimages/p245.png">[245]</a></span> - </p> - <p> - Among Mozart's compositions for the Church, his masses.<a - href="#linknote-130013" name="linknoteref-130013" id="linknoteref-130013"> - 13 </a> by reason of their importance in Divine service, take the first - place.<a href="#linknote-130014" name="linknoteref-130014" - id="linknoteref-130014"> 14 </a> In the divisions of the several parts, we - find him following in the beaten track of the Neapolitan school. The - different parts of the text coincide with the prescribed pauses made by - the officiating priest, but are very differently worked out.<a - href="#linknote-130015" name="linknoteref-130015" id="linknoteref-130015"> - 15 </a> Where the composer has free scope, the separate sections are - usually treated as independent pieces, with regular alternations of solo - and chorus. But such elaborate masses were only performed on solemn - occasions (Missa solemnis) or through the preference of an influential - personage—they took up too much time for the regular service. - </p> - <p> - In the short mass (Missa brevis) the larger divisions were treated in the - main as a connected musical movement of which the separate sections were - detached indeed, but not independent of each other; the degree of - connection is of course very varied. - </p> - <p> - The thrice-repeated cry, "Kyrie eleison! Christe eleison! Kyrie eleison!" - is regularly developed into a lengthy movement. It was formerly the custom<a - href="#linknote-130016" name="linknoteref-130016" id="linknoteref-130016"> - 16 </a> to prefix a short, slow and solemn movement on the words "Kyrie - eleison," to an agitated more elaborate one<a href="#linknote-130017" - name="linknoteref-130017" id="linknoteref-130017"> 17 </a> (49, 65,66, - K.); but afterwards the whole became one movement. The prayer for the - mercy of God is animated, and though devoid of depth, never sinks to mere - trifling. A more serious mood is generally indicated by the severer - contrapuntal treatment of the voices (192, 194, 262, K). The words - "Christe eleison" are regularly accentuated, usually with an expression of - beseeching melancholy, and often by solo voices. The solo voices and - choruses generally alternate in the Kyrie. - </p> - <p> - The Gloria<a href="#linknote-130018" name="linknoteref-130018" - id="linknoteref-130018"> 18 </a> is divided into several movements, <span - class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p246.png">[246]</a></span> conformably to the successive - invocations of which it consists. The character of the whole is one of - exulting praise, the tone being indicated by the opening words, "Gloria in - excelsis Deo." The effort to express the solemn dignity of divine worship - by external splendour, is apparent in the animated, fervent, and often - stately progress of this movement. The opening subject is revived at - appointed places, usually at the Quoniam, and forms a connecting thread - throughout the piece. A solo is often introduced at the words "Lau-damus - Te and, even without much intentional expression, the four commas of the - words, "Laudamus Te, benedicimus Te, adoramus Te, glorificamus Te," form - natural pauses, and regulate the musical and rhythmical division of the - passage. - </p> - <p> - But the contrast of solo and chorus is determined less by the sense of the - words than by the necessities of art, requiring variations of light and - shade. As a rule, the words of highest import are given to the chorus; the - solos serve for ornament, or as a preparation for a chorus of renewed and - increased strength. - </p> - <p> - The central point of this part of the mass is formed by the - thrice-repeated cry:— - </p> -<pre xml:space="preserve"> - Qui tollis peccata mundi, miserere nobis! - Qui tollis peccata mundi, suscipe deprecationem nostram! - Qui sedes ad dexteram patris, miserere nobis -</pre> - <p> - Here we have a mood expressed of deep agitation, offering excellent - opportunity for musical treatment, both in feeling and form. The "Qui - tollis" is the nucleus of all Mozart's Glorias; he enunciates it simply - enough through the chorus, relying for effect on the charm of rich and - original harmonies, as bold in conception as they are clear and decided in - rendering. The words which follow, "Quoniam Tu solus sanctus, Tu solus - Dominus, Tu solus altissimus, Jesu Christe," are <span class="side">GLORIA—CREDO.</span> - <span class="pagenum"><a href="pgimages/p247.png">[247]</a></span> treated - as a song of praise,<a href="#linknote-130019" name="linknoteref-130019" - id="linknoteref-130019"> 19 </a> in order to relieve the gloom of the "Qui - tollis," and to give stronger emphasis to what is to follow. For the last - words, "cum Sancto Spiritu in gloria Dei Patris, Amen," are treated - without regard to the context, as an independent fugue. In Mozart's early - masses the fugue is short (49, 65, K.), but they soon became long and - often elaborate (60,115,139,167,192, 262, K.). Archbishop Hieronymus, - however, had an aversion to fugues; and in Mozart's later masses the - Gloria came to an end in a short choral passage (220, 257, 258, 259, K.). - </p> - <p> - The Credo offered the greatest difficulties to musical treatment. A long - movement, whose several parts are dependent on one emphatic verb placed at - the beginning, cannot be musically rendered in such a way that the - connection remains apparent to the hearer; each phrase disturbs the - grammatical construction of the period. In order to overcome this - difficulty the word "credo" was repeated at fitting points (192,257, K).<a - href="#linknote-130020" name="linknoteref-130020" id="linknoteref-130020"> - 20 </a> But although logical requirements are thus to a certain degree - satisfied, the repeated "credo" does not fit into the grammatical - structure, and the contrast between the spoken and the musical expression - is in reality only intensified. - </p> - <p> - In close connection with this is the further difficulty that the - delarations of faith belong essentially to the domain of speculation, and - can rarely work directly on the feelings; neither does the form into which - they are thrown incite the fancy to musical expression. These difficulties - might be surmounted at a time when music with all her powers and - capacities placed herself unreservedly at the disposal of worship, - accepting the prescribed words with perfect faith in their sanctity, and - only anxious to give them their fullest and truest expression. There was - as little question of <span class="side">CHURCH MUSIC.</span> <span - class="pagenum"><a href="pgimages/p248.png">[248]</a></span> individuality - in art as in faith; the unquestioned law of ecclesiastical infallibility - impressed on every work the stamp of the subjection of art to religion. - Even the forms of the music followed the ancient and hallowed traditions - of the cultus, and embodied ecclesiastical formulas in strict - counterpoint. But as by degrees subjective emotion and expression gained - ground in church music, and as the old severity of form gave place to a - wealth of means and expedients, the ecclesiastical text fell under the - criticism of the musicians, who subjected it to the test of the conditions - required for the production of a perfect work of art. Composers learned to - look upon the Credo as material to be worked up into an artistic musical - form, even when it did not lend itself easily to the process. A sort of - type was gradually evolved, that was closely adhered to in many - particulars. One such, for instance, is the strong accentuation of death - in the words, "judicare vivos et mortuos," and "resurrectionem - mortuo-rum," the tone-painting of the "descendit de coelis," the - repetition of the "non" in the words "cujus regni non erit finis," and - others of the same kind. Such an evident tendency to emphasise details at - the cost of the whole, only shows how composers took refuge in whatever - was capable of musical expression, in order to extricate themselves as far - as they could from the burden of the rest. - </p> - <p> - The main passages on which the musical strength of the Credo was - concentrated are those in which the mention of the incarnation, - crucifixion, and resurrection of Christ appeal most vividly to the senses - and the imagination. It had become customary to connect the words, "Qui - propter nos homines et propter nostram salutem descendit de coelis," - whether made prominent by solo singing or not, with those which preceded - them, and to make a pause with "Et incarnatus."<a href="#linknote-130021" - name="linknoteref-130021" id="linknoteref-130021"> 21 </a> These words are - generally rendered by a tender solo voice, as if they would fain hover - round the cradle of the heavenly Child, to express the gratitude of - mankind for his incarnation. Then solemnly and sadly the chorus depicts - <span class="side">CREDO.</span> <span class="pagenum"><a - href="pgimages/p249.png">[249]</a></span> the deep pain of "Crucifixus - etiam pro nobis sub Pontio Pilato, passus et sepultus est," breaking out - at "Et resur-rexit" &c., into joyful trust in the resurrection. In all - this Mozart's wonderful genius succeeded in awakening imagination and - emotion which, again, his artistic moderation knew how to calm; his firm - grasp of his art enabling him to produce the most striking effect with the - simplest means, and to gather up the details, so that each sustains and - elevates the other without injuring the consistency of the whole Credo. - This unusual combination of qualities gives to this part of the mass a - high degree of artistic finish even when the treatment is most simple and - confined. - </p> - <p> - The words "Et in Spiritum Sanctum" are usually given to a solo voice,—more, - however, from custom than for any special signification of their own (49, - 65, 139, K.); they are introduced by a long instrumental prelude (262 K.). - Apart from the interests of the Church, which might have some influence - here, the necessity could not but be felt for a strong contrast between - this and the following passages. For what follows, "Et unam sanctam - catholicam et apos-tolicam ecclesiam," &c., is given by the whole - strength of the chorus. The last words, "et vitam venturi saeculi. Amen," - is again treated as a fugue. Here, again, we find first a short fugued - movement (49, 65, 192, K.), but later a long and cleverly worked-out fugue - (139, 167, 262, K.), until the influence of Archbishop Hieronymus led to - the conclusion of the Credo, like the Gloria, in a short animated chorus - (257, 258, 259, 275, K.). - </p> - <p> - Various methods were employed to gather the phrases of the Creed into a - consistent musical work. The repetition of the word "credo" (167, 257, - K.), even in places where it somewhat disturbs the grammatical - construction, serves to combine the musical texture of the movements - </p> - <p> - The periodical recurrence of the musical phrase conduces to careful - mechanism, and gives opportunity for variety and increased intensity in - the treatment of the subject. Apart from this, unity is provided for by a - pregnant rhythmical passage or a carefully finished subject which marks - the beginning of the Credo, and underlies its several divisions, <span - class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p250.png">[250]</a></span> forming a sort of background - from which the more impressive images stand out. - </p> - <p> - The appropriate elaboration of this subject is the special task of the - artist, and the text is to be considered only as a <i>point de départ</i> - to it. The mode of treatment varies and is sometimes contrapuntal, - sometimes harmonic; in one part the voices predominate, in another the - instruments, in which latter case the then favourite running passage for - the violins is frequently employed. - </p> - <p> - The general character of church music was more prominently displayed in - the Creed than elsewhere. An animated and elevated frame of mind was - vividly portrayed, with more cheerfulness and brilliancy than solemnity or - earnest devotion, and only at moments does the music show a consciousness - of the deep significance of the text. Mozart pays tribute to his time; but - his artistic nature did not allow him to sink into triviality or - commonplace; symmetry, beauty, and delicacy are never found wanting. The - remaining sections of the mass lend themselves more readily to musical - treatment. They express deep and universal sentiments in words as simple - as those of the Kyrie, and musical both in sound and suggestion. - </p> - <p> - The Sanctus falls naturally into three well-defined parts. The first - words, "Sanctus, Dominus Deus Sabaoth!" intended to convey an impression - of the most exalted sublimity, are generally treated as a solemn - introduction to the more animated and fervent words, "Pleni sunt coli et - terra gloria Tua." Agitation rises into joyful emotion in the Osanna, to - which the form of a short fugal movement is usually given. - </p> - <p> - The Benedictus,<a href="#linknote-130022" name="linknoteref-130022" - id="linknoteref-130022"> 22 </a> on the other hand, strives to express the - secret thanksgiving of the heart at the coming of the Lord. A mild fervour - penetrates the simple words, which seem to cast illumining beams on every - side. Mozart's artistic originality has so clearly stamped the impress of - his genius on the traditional form of the Benedictus that his - interpretation of it has become the customary one. It is, as a rule, given - <span class="side">BENEDICTUS.</span> <span class="pagenum"><a - href="pgimages/p251.png">[251]</a></span> to solo voices, to which more - prominence is given here than elsewhere. Now and then single voices - (65,139,194, K.), but more often all the four—now alternately, now - in unison—announce the message of consolation; obbligato organ - accompaniments serve still further to mark the prominence given to this - movement (259 K.). It has a charming effect (258 K.) when the chorus - recurring at intervals during the solos enunciates with sustained - expression the word "benedictus." The Osanna is usually repeated either - entire or abridged from the Sanctus, but it is sometimes interwoven into - the Benedictus (139, 262, K.) - </p> - <p> - The last movement falls naturally into two strongly contrasting sections. - The first, expressing the sentiments of contrition, of anguished appeal - for mercy, was treated with great partiality. The cry, "Agnus Dei, qui - tollis peccata mundi," and the prayer, "miserere nobis," furnish a natural - grouping not seldom employed for alternations of solo and chorus; the mood - expressed is very favourable to musical treatment. - </p> - <p> - The "Dona nobis pacem" is in complete contrast, and in no movement of the - mass is the alteration in the spirit of church music more apparent. The - peace which is prayed for is vividly represented, and just as vivid is the - tone of cheerful confidence with which the prayer is offered. The devout - hearer was to be dismissed with a pleasant impression on his mind, and - therefore the deep earnestness of this petition for peace was sacrificed - in order to produce a feeling of self-satisfied enjoyment. The music of - the Dona maintains throughout this cheerful tone, and though Mozart's - variety and grace are as marked and effective here as elsewhere, even with - him earnestness and depth are rarely to be met with. - </p> - <p> - We may now conclude this general description with a glance in detail on - Mozart's masses. We have already spoken of his first attempts. Some - unfinished masses, presumably the result of his studies under Padre - Martini, exist, bearing date 1771 and 1772. The furthest advanced, in C - major (115 K.), breaks off at the ninth bar of the Sanctus. It is - accompanied only by a figured organ bass, <span class="side">CHURCH MUSIC.</span> - <span class="pagenum"><a href="pgimages/p252.png">[252]</a></span> and is - strictly treated with the exception of the two fugues; it is worked out in - severe contrapuntal form almost throughout, as the Kyrie, introduced by - five bars of Adagio, will serve to show:—[See Page Image] - </p> - <p> - <span class="side">MASS IN C MAJOR, 1772.</span> <span class="pagenum"><a - href="pgimages/p253.png">[253]</a></span> - </p> - <p> - The whole work reminds us forcibly of Padre Martini's church compositions, - and it is not surprising that the hand of a learner should be here - apparent. A Mass in F major (116 K.), which breaks off at the words "sedet - ad dexteram patris," is of the same kind, as well as a Kyrie in C major - (221 K.). An Osanna in C major (223 K.) and a Credo ("in remissionem" to - "mortuorum") belonging to it seem also to have been studies in - counterpoint. - </p> - <p> - A Mass in C major (139 K.), probably belonging to the year 1772, is an - effort in quite another direction. Every means is employed to produce an - extraordinary effect, and it may be conjectured that this, like the Pater - Dominicus mass, was composed for some special occasion.<a - href="#linknote-130023" name="linknoteref-130023" id="linknoteref-130023"> - 23 </a> Every section is treated as a detached independent movement. - </p> - <p> - The Kyrie begins with a slow pathetic passage in C minor, followed by an - animated allegro in C major 3-4, and by the Christe eleison as a solo - quartet, after which the Kyrie is repeated.<a href="#linknote-130024" - name="linknoteref-130024" id="linknoteref-130024"> 24 </a> The solo voices - are much used in different combinations, apart from the short passages - inserted between the choruses. Laudamus is a duet for soprano and alto, - Domine a duet for tenor and bass, Quoniam a soprano solo, Et incarnatus a - duet for soprano and alto, Et in spiritum a tenor solo, and Benedictus a - soprano solo, to which the chorus sings Osanna. Even the Agnus Dei begins - with a tenor solo followed by a chorus; the last appeal before the Dona is - given to the solo quartet. These solo movements are well rounded, and are - both preceded and followed by long symphonies; the effort to produce a - pleasing effect is apparent in the whole work, and a moderate amount of - operatic bravura is not disdained. This brings into stronger relief the - pathos which is given to every passage capable of it. The Qui tollis, - Crucifixus, and Agnus, as well as the Kyrie, are in the <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p254.png">[254]</a></span> - minor key; striking harmonies are emphasised by means of the - accompaniment, and three trumpets contribute to the orchestral effects. - The solemn Crucifixus—[See Page Image] <span class="side">MASS SS. - TRINITATIS, 1773.</span> <span class="pagenum"><a href="pgimages/p255.png">[255]</a></span> - follows in evident contrast immediately upon the soprano solo—[See - Page Image] whereupon the chorus and orchestra, with three trumpets, fall - in. - </p> - <p> - But the youthful master does not neglect the display of his skill in - counterpoint. Besides some few instances of more or less elaborate - imitation, the two customary fugues, the first on the theme—[See - Page Image] the second "et vitam" are furnished with two subjects and - every requisite for complete fugues. It is true that the strongly - contrasting original ideas exist only as such, and form no united whole, - so that we are all the more struck by the conventional treatment of the - greater part of the work; but it must be conceded, notwithstanding, that - progress has been made, and that the power is making itself felt which, - with a wider field, shall produce better and more original work. - </p> - <p> - The mass composed in 1773 "In honorem SS. Trinitatis" (167 K.) is for - chorus alone, without any solo movements: it displays no very high aim, - but earnestness and ability throughout. The Kyrie is long and elaborate, - without any sustained subject. In the Gloria the voices sustain the - harmony, accompanied by a lively violin passage. The Credo is interesting - through the persistent attempt to mould it into a firm musical organism. - Three motifs occur quite at the beginning, apportioned in different - combinations to the voices, viz., a rhythmical, characteristic passage—[See - Page Image] a more melodious phrase— <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p256.png">[256]</a></span> - and a running passage:—[See Page Image] - </p> - <p> - <span class="side">MASS SS. TRINITATIS, 1773.</span> <span class="pagenum"><a - href="pgimages/p257.png">[257]</a></span> - </p> - <p> - These three subjects form the essential substance of the Credo, the first, - with changing harmonies, forming the root whence the others spring at - fitting places, by which means the due expression of the words and the - musical exigences of the composition are alike provided for. The - continuous agitation is only once interrupted, at the short but grave and - dignified "Et incarnatus est," and at the words "Et in Spiritum Sanctum." - These points are emphasised by their separation from the rest through a - long symphony, and by a digressive mode of treatment which reminds one of - a solo. Towards the end of the broadly elaborated fugue, "Et vitam," the - violins return to the first motif of the Credo, the voices take up the - second motif with the "Amen," and the violins, asserting the supremacy of - the first, bring the whole to a conclusion. - </p> - <p> - The Benedictus is unusually grave for a chorus, but is relieved by the - easy grace of the violins. The thematic treatment of the principal subject - of the Dona—[See Page Image] gives it firmness and consistency; the - accompaniment becomes more prominent in the middle, and the admirably - well-sustained conclusion is dignified in mood and expression. - </p> - <p> - The Mass in F major (192 K.), composed on June 24,1774, is the work of a - finished artist, and has rightly been placed <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p258.png">[258]</a></span> - next after the Requiem.<a href="#linknote-130025" name="linknoteref-130025" - id="linknoteref-130025"> 25 </a> The whole mass, which reminds us of the - finest examples of the older Neapolitan school, is in the strictest form - of composition, none of the smaller sections forming an independent - movement; the most delicate use is made of the simplest materials. The - chorus and solos alternate throughout, the solo voices (never concerted) - supplying the finer shadows to the chorus, which in return serves for - response or repetition and conclusion. The accompaniment consists only of - a bass (figured for the organ) and two violins, but it is independently - worked out and effective both in tone-colouring and as a contrast to the - voices. - </p> - <p> - Every section of the mass is in counterpoint, and shows the firm hand of a - master. The unity of the whole and of the several parts, which is the - necessary consequence of this musical method, is apparent here to a - surprising degree. The parts combine to express and dilate upon a - well-defined idea, the separate features of which are not thrown together - arbitrarily or by chance. A subject which in one place is merely indicated - or foreshadowed becomes in another the main subject; in short, the - independence of each separate part produces the uniform clear texture of - the whole. Thus the Gloria begins with an important subject for the - soprano—[See Page Image] <span class="side">MASS IN P MAJOR, 1774.</span> - <span class="pagenum"><a href="pgimages/p259.png">[259]</a></span> which - is the groundwork of the whole movement, and—now entire and - unaltered, now abridged or modified—appears in different positions - as Cantus firmus; while the remaining parts, treated contrapuntally, give - due emphasis to each change of mood, until the whole concludes with a - grand Amen in unison. The same thing occurs in the Credo. The link here is - a motif—[See Page Image] which, borrowed from the intonation of the - Magnificat or of the Gloria in the third tone, has been often employed, by - Al. Scarlatti,<a href="#linknote-130026" name="linknoteref-130026" - id="linknoteref-130026"> 26 </a> for instance, in a mass, and by Michael - Haydn in a gradual (Qui sedes, No. 3), as Alleluia. Mozart has made - frequent use of it. We find it again in the Sanctus of another mass (257 - K.) in a Symphony in B flat major (319 K.) composed in 1779, in a - pianoforte Sonata in £ flat major, composed in 1785, each time easily - treated as a connecting subject, until it finally appears as the theme of - the last movement of the Symphony in C major (551 K.) In the present work - it recurs again and again as Cantus firmus, or in imitation, always the - bond and support of the detached articles of faith. Then it becomes the - root of the subjects for single phrases, such as the magnificent - Crucifixus, the Confiteor and the fugued Et vit am. We scarcely know - whether to admire most the masterly skill which makes light of difficulty, - or the inventive imagination which can develop an idea from so many and - such varied-points of view, making the same subject express calm faith in - the Credo, bitter pain in the Crucifixus, and joyful confidence in the Et - vit am. - </p> - <p> - The Sanctus and Benedictus are short, fine contrapuntal movements, the - Benedictus especially simple and full of grace. The Agnus Dei is freer in - form. Three solo voices make the appeal, which the chorus answers with - "miserere nobis." The harmonic successions, and the beautiful violin - passage in the accompaniment, give a peculiarly affecting <span - class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p260.png">[260]</a></span> character to this movement, - which suggests a comparison with the Requiem. The Dona is fine and pure, - but the effort to give it a cheerful and agreeable tone has robbed it of - depth and significance. - </p> - <p> - Even the accompaniment of this mass has an importance of its own, and - there is more art and beauty contained in the two violin parts than in - many a fuller score. Not content with giving an independent course to the - voices, Mozart allows the accompaniment also to go its own way, usually - with a subject proper to it, treated freely, often in counterpoint, and - always with visible partiality. - </p> - <p> - Inventive genius, technical scholarship, and deep, clear comprehension, - are more evidently displayed by Mozart in this mass than ever before; the - subjects have an intensity, a charm of beauty which had scarcely yet been - suggested. Here, for the first time, we become aware of that wonderful - beauty, Mozart's most special endowment, which we may designate sweetness, - if we mean by that the perfect harmony of a naturally developed artistic - organism. The maiden freshness of its manifestation here only increases - the charm, and points to future expansion. - </p> - <p> - The Mass in D major (194 K.), composed on August 8, 1774, has been rightly - placed next to the one we have been considering.<a href="#linknote-130027" - name="linknoteref-130027" id="linknoteref-130027"> 27 </a> The whole plan, - the strict form, the flowing treatment, contrapuntal throughout, the - mature beauty, offer many points of resemblance, but the effort after - gracefulness is more apparent in the later mass, and is achieved at the - sacrifice of gravity and ideality. The Kyrie displays a very similar - conception. With the opening words of the soprano—[See Page Image] - </p> - <p> - the foundation is laid on which the whole structure of the movement is - built. In part in imitative combinations, in part extended into a longer - subject, and in part connected with opposing subjects for the voices and - the violins, this <span class="side">MASS IN D. MAJOR, 1774.</span> <span - class="pagenum"><a href="pgimages/p261.png">[261]</a></span> short theme - is elaborated into a fine long movement, as interesting as it is - expressive. The Gloria and the Credo do not reach the same height; the - contrapuntal elaboration is only apparent in isolated passages, the solos - are expressive, but over-graceful, the music proceeds in a fine flow, and - delights the listener, but only now and then stirs deeper feelings. On the - other hand, the Sanctus, Benedictus (a solo quartet), Agnus (alternate - solo and chorus), are highly finished and tersely composed movements, in - which beauty of form and sentiment combine. The somewhat lengthy Dona - preserves its pleasing character, without degenerating into trifling. The - effort to please by mere gracefulness is most predominant in the Mass in B - flat major (275 K.), the date of which is not known. The commencement with - a soprano solo<a href="#linknote-130028" name="linknoteref-130028" - id="linknoteref-130028"> 28 </a>—[See Page Image] is characteristic - of the whole mass. The solo element pre-dominates, and a wealth of lovely, - seductive, and expressive melodies is scattered around; but neither the - conception nor the execution takes a deep hold on the mind. The chorus is - generally full, one might almost say merry; where harmonic or contrapuntal - treatment comes to the front, it is executed with masterly ease; and such - passages stand out in all the clearer relief against their surroundings. - The principal passage of the Credo is striking:—[See Page Image] - </p> - <p> - <span class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p262.png">[262]</a></span> - </p> - <p> - According to Lorentz it is a reminiscence—perhaps an accidental one—of - a favourite Volkslied, "Bauer hang' den Pummerl an." The introduction of - the following theme—[See Page Image] <span class="side">LATER - MASSES, 1775-77.</span> <span class="pagenum"><a href="pgimages/p263.png">[263]</a></span> - after a highly original and striking harmonic progression, cannot fail to - injure the effect. The Sanctus is a short fugued movement, the Benedictus - an unusually melodious soprano solo with an original accompaniment; the - Agnus goes deepest, and is serious in feeling as well as wonderfully - sweet. Works like the Masses in F and D major prove what Mozart was - capable of in church music if his genius could have had free scope. But - the "rapid advance of ecclesiastical reformation in Salzburg under the - wise and immortal prince, Archbishop Hieronymus von Colloredo,"<a - href="#linknote-130029" name="linknoteref-130029" id="linknoteref-130029"> - 29 </a> had its effect on the treatment of the mass. The limitation of its - duration and the abolition of solo singing proper and of fugues might - appear to be the result of ecclesiastical rigour. But Hieronymus was far - more inclined to favour secular taste in church music; and he was fond - besides of displaying a royal magnificence and splendour. This external - influence is apparent in the conception and treatment of the later masses - composed after 1775, more particularly in one belonging to 1776 (262 K.), - with a Kyrie in counterpoint and two elaborate fugues. Especially earnest - and beautiful, both as to technical workmanship and expression, are the - movements on which the musical treatment was becoming more and more - concentrated, the Qui tollis (of which the accompaniment recalls the - fugue, Quam olim Abrahæ in the Requiem), the Et incarnatus est, and Agnus - Dei. Even the Benedictus (where the chorus answers the "Benedictus" of the - solos by "Osanna") and the Dona are sustained in style. How fundamentally - this mass differs from that in F major is clearly shown by the - ground-tones of the Gloria and the Credo, which are animated and - brilliant, but without any intensity or depth of meaning. The same - tendency is still more marked in the remaining masses (220, 257, 258, 259, - K.).<a href="#linknote-130030" name="linknoteref-130030" - id="linknoteref-130030"> 30 </a> Increasing maturity is manifest in the - <span class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p264.png">[264]</a></span> firm and skilful handling of all - available means, and the subjects display uncommon fertility of invention. - But real creative inspiration is crushed by the obligation to compose - after a set fashion. - </p> - <p> - We do not need to look further than such church music to become aware that - the Archbishop loved to bring the pomp and glitter of his royal station - into the services of the church. Such a task obliges the artist to use his - art more and more consciously as a means to an end. The inevitable result - is inequality and exaggeration, his genius and his work being often at - variance; the charm of mere grace leads to the danger of softness and - effeminacy, and fluent animation becomes meaningless superficiality. The - effort to be light and pleasing is manifest in these masses by their - superfluity of detail. We find an over-abundance of beautiful melodies and - harmonies, combined with great freedom in the treatment both of voices and - orchestra, and in the working-out of the subjects. - </p> - <p> - There are isolated instances of deeper sentiment and more poetic - conception which are heightened in effect by the earnest technical skill - displayed in their working-out, and which give glimpses of happy - inspiration, not belonging of necessity to the fundamental conception of - the work. - </p> - <p> - Unhappily it is on these masses, in the composition of which Mozart's - genius could only move within very confined limits, that his fame as a - composer of church music chiefly rests; and musicians who have taken him - as their model have striven most to imitate these, his least satisfactory - works. - </p> - <p> - The great resemblance in plan and mechanism of the masses of contemporary - composers, such as Hasse, Nau-mann, Joseph and Michael Haydn, proves a - strict adherence to the rules of composition then in force. A - consideration of their works serves to heighten the effect of Mozart's - higher and nobler conceptions, of his poetical sentiment, and of that - sense of proportion which regards a work of art as a whole, and recognises - the limits imposed on it from without as the necessary conditions of - artistic production. Many excellent qualities may be conceded to these - musicians, but none of them attained to the harmonious beauty of Mozart. - </p> - <p> - <span class="side">CIRCUMSTANCES AFFECTING CHURCH MUSIC.</span> <span - class="pagenum"><a href="pgimages/p265.png">[265]</a></span> - </p> - <p> - The artists of a later age, who imitated and exaggerated the cramped and - obsolete forms, which had been the result of many circumstances, as if - they were in themselves an all-sufficient musical method, judged Mozart's - works by their own standard, and found them in many respects - unsatisfactory.<a href="#linknote-130031" name="linknoteref-130031" - id="linknoteref-130031"> 31 </a> - </p> - <p> - Before condemning Mozart's readiness to adapt his compositions to external - conditions, we must consider the mode of thought of the time. All art, - more especially music, stood in the closest connection with the ordinary - affairs of life; operas, masses, instrumental works were composed when, - where, and how they were required, for particular occasions, and - particular performers. Occasions of the kind were eagerly sought for, and - furnished an impulse and incitement to the composer, even when they - somewhat hampered his productive powers. Exaggerated as the reference to - external circumstances and mechanical resources became, it formed the - groundwork, rightly understood, of thorough artistic production. - </p> - <p> - The demand for church music was one that came with peculiar authority at - Salzburg, since the priest who commanded it was considered as the - mouthpiece of the Church; he also stood in the place of the sovereign, - arranging the performances and paying for them: respect for his position - was both natural and proper. Mozart was by nature easily led, so long as - his deeper feelings of antagonism were not stirred; then he was firm and - decided. Trained under the discipline of his father to fulfil every duty - conscientiously, and to turn to the best account whatever was inevitable, - he endeavoured, as long as circumstances made it advisable, to satisfy the - demands of the archbishop, and to make them conducive to his own - improvement. - </p> - <p> - <span class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p266.png">[266]</a></span> - </p> - <p> - In this he was guided by a nature so completely that of an artist as not - to feel cramped or bound even by real restrictions. Composition was a joy - and necessity to him, and a trifling impulse only was needed to set his - poetical activity in motion; this once accomplished, external conditions - served him for tools, and their just and appropriate use soon became - second nature to him. - </p> - <p> - The statement often made, and for the most part with a very imperfect - knowledge of the subject, that Mozart's masses are his weakest works,<a - href="#linknote-130032" name="linknoteref-130032" id="linknoteref-130032"> - 32 </a> cannot be accepted without large reservations; and we have it in - our power to give a decided contradiction to Thibaut's assertion<a - href="#linknote-130033" name="linknoteref-130033" id="linknoteref-130033"> - 33 </a> that "Mozart thought little of his masses, and often when a mass - was ordered, he objected that he was only made for opera. But he was - offered one hundred louis d'or for every mass, and that he could not - refuse; only he used to say, laughing, that he would take whatever was - good in his masses and use it in his next opera." - </p> - <p> - The apparent particularity of this story is pure invention, employed, as - so often happens, to give a colour to mere conjecture; and the invention - is clumsy. Mozart only wrote for the church in Salzburg; in Vienna he did - not compose a single mass to order, and only one, the unfinished one in C - minor, on his own account. Such fees as that above mentioned never put his - constancy to the test; we know that he received one hundred ducats for an - opera. Again, thoughtlessness in the composition of church music is - imputed to Mozart. He had strongly biassed opinions, but they were honest - convictions; and his church work was always thoroughly earnest. Rochlitz - tells us that at Leipzig, <span class="side">MOZART'S VIEWS ON CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p267.png">[267]</a></span> - in conversation on church music, Mozart declared that a Protestant could - not possibly conceive the associations which the services of the Church - awoke in the mind of a devout Catholic, nor the powerful effect which they - had on the genius of an artist.<a href="#linknote-130034" - name="linknoteref-130034" id="linknoteref-130034"> 34 </a> - </p> - <p> - Mozart's education was calculated to make him a good Catholic; a - conscientious observance of all that the Church prescribes and reverence - for her usages were combined in him with a clear and penetrating - intellect.<a href="#linknote-130035" name="linknoteref-130035" - id="linknoteref-130035"> 35 </a> After his betrothal he wrote to his - father (August 17, 1782), that he had heard mass and been to confession - with his Constanze: "It seems to me that I have never prayed so earnestly, - or confessed and communicated so devoutly as by her side—and it is - the same with her."<a href="#linknote-130036" name="linknoteref-130036" - id="linknoteref-130036"> 36 </a> - </p> - <p> - I find no trace whatever of Mozart's having looked with disdain upon - church music. His way of expressing himself to Padre Martini directly - disproves the assertion; he took his church music with him on his - journeys, expecting to gain credit by it; and sent for some of it from - Vienna that it might be heard by Van Swieten, a severe critic. - </p> - <p> - So far from giving himself out as a mere operatic composer, who has a mean - opinion of church compositions, he recommends himself for the post of - under-kapellmeister, by saying, "The learned kapellmeister Salieri has - never devoted himself to church music, while I have made it my peculiar - study from my youth up." - </p> - <p> - It is an unjust reproach also that Mozart robbed his masses for his - operas. Among his numerous compositions of both kinds, a single Agnus Dei - (317 K.)—a soprano solo—contains in its opening bars a slight - suggestion of the aria "Dove sono," from "Figaro." - </p> - <p> - Next in importance to masses must be reckoned litanies and vespers; and - here we find the influence of the opera much more decided. The words did - not readily lend themselves to musical expression, nor to the arrangement - of <span class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p268.png">[268]</a></span> the movements. If the severity - of ecclesiastical form was once relaxed, the easier and more pleasing - forms were most likely to be employed in those places where the words were - most opposed to musical expression. The dissimilarity of the different - parts was increased by the supposed necessity of also representing the - severe style, and of balancing a <i>tour de force</i> of counterpoint by a - <i>tour de force</i> of execution. In this way certain conventional rules - had become law, leaving little scope for variety or originality. - </p> - <p> - Common to all litanies are the Kyrie with which they begin, and the Agnus - Dei with which they close; that which lies between (the petitions varying - according to the circumstances under which the litany was composed) - determines its musical character. In the Kyrie, other petitions are added - to the "Kyrie eleison" and "Christe eleison," which give scope for a - broader and more varied treatment, whereby the Kyrie becomes one of the - most important and impressive movements. The Agnus Dei does not close with - "Dona nobis pacem," but with "Miserere nobis," which prevents any - suggestion of cheerfulness; the expression of anxious beseeching was - generally softened into deep solemnity at the close. - </p> - <p> - The invocations which form the substance of litanies are too numerous, - disconnected, and wanting in climax to be well adapted for composition; - and most of the petitions recited by the priest are equally incapable of - definite musical expression. The musical setting of the service, to be - appropriate, must be strictly liturgical, and the recurring refrain stamps - it with a typical formulistic character. Should this tradition once be - forsaken, its place must be taken by a setting full of lights and shades, - often heterogeneous in treatment, and accentuated in accordance with form - rather than reason. The distinguishing refrain could only be used to link - together conflicting elements, or else as a vehicle for shades of - sentiment, and a variety of expression would be given to the simple - petitions, "Ora pro nobis," "Miserere nobis," which would be quite foreign - to their nature. - </p> - <p> - The Litanies to the Virgin (Litaniæ Lauretanæ) were, on the whole, - cheerful and pleasing. When the devout <span class="side">LITANY TO THE - VIRGIN, 1771.</span> <span class="pagenum"><a href="pgimages/p269.png">[269]</a></span> - worshipper turned to the Virgin Mother, the image that rose to his mind - was that of a pure and holy maiden, and the veneration for all that is - womanly which her worship induced was apparent in the music as elsewhere. - The tone of the litanies sung in Italy before the images of the Virgin in - the streets is echoed in the compositions of most of the Italian - musicians, and is perceptible in many parts of Mozart's litanies. - </p> - <p> - The first Litany in B flat major (109 K.), composed in May, 1771, is - precise in form, and firmly and ably treated, although in no very elevated - strain. The Kyrie, as in short masses, is composed of a single animated - choral movement, without any definite development of the subject. The - first part of the litany proper is divided between the chorus and solo - voices, the soprano being most prominent; the whole work is interesting, - melodious, simple in its harmonies, and singularly popular in tone. Upon - the delivery of the solemn "Salus infirmorum" by the chorus follows a - quick, vigorous choral passage to the words "auxilium Christianorum." The - solo voices raise the appeal "Regina angelorum" to the Queen of Heaven, - who seems to shed the glory of her manifestation upon the minds of her - worshippers. In the last movement, the chorus comes in with "Agnus Dei, - qui tollis peccata mundi," the solo voices answer with the prayer, and the - chorus winds up with the "Miserere nobis." The tone is composed, more - serious than melancholy, and rising in intensity towards the close. The - actual mechanism is simple; the voices are seldom in true counterpoint, - the modulations are freely and firmly handled: the accompaniment makes - little attempt at independent significance. - </p> - <p> - Far more important is the second Litany in D major (195 K.), belonging to - the year 1774, the same in which the Masses in F and D major and the - "Finta Giardiniera" were written; the maturity of its conception and the - carefulness of its execution make it worthy to take a place beside these - works. The Kyrie is a grand, lovingly elaborated movement, a solemn - Adagio, followed by a serious sustained Allegro. The parts are throughout - in strict counterpoint, principal and accessory subjects kept well in hand - <span class="side">CHURCH MUSIC.</span> <span class="pagenum"><a - href="pgimages/p270.png">[270]</a></span> and carefully elaborated; the - orchestra, too, is independently treated. The expression is appropriate - and dignified, and over the whole is spread a peaceful calm, bespeaking - the nature of the music to which it forms the introductory movement. - </p> - <p> - The first section of the Litany proper gives us the impression of a - cheerful—one might almost say <i>sensuous</i>—spirit pervading - each petition, but always with a tone of delicate moderation. The musical - formation betrays the unmistakable influence of the opera, both in the - solo soprano passages and in the aria-like treatment of the principal - subject. Refrain is used with happy effect in the chorus, and the - accompaniment is easy and flowing throughout. The whole movement is - melodious, and full of tender grace and harmony. In quite another style is - the Adagio next following, where the words "Salus infirmorum, refugium - peccatorum, consolatrix afflictorum, auxilium Christianum," are taken - together. The construction of this movement, the arrangement and - gradations of the details, the alternations of solo and chorus, the - characteristically careful elaboration of the accompaniment, are all so - admirably calculated and balanced, and the whole movement is pervaded with - so much earnestness and depth of sentiment, that beauty and grandeur seem - here indeed to be wedded together. The following section, "Regina - ange-lorum," is again in a lighter vein; the choruses are fresh and - animated, but the interpolated tenor solo is operatic in form and weak in - invention and expression. The "Agnus Dei" is divided between a solo - soprano and the chorus; the former, though evidently composed for - executive display, is not without feeling and dignity; the short choral - passages are excellent, both in workmanship and expression. - </p> - <p> - Very evident, also, is the loving care bestowed on the orchestral score; - its main strength lies in the delicately elaborated string quartet, but - the wind instruments are also effectively made use of to produce lights - and shadows. The mature and harmonious beauty of the numerous motifs and - characteristic passages conveys the unmistakable impression of Mozart's - genius. - </p> - <p> - Of a third Litany for four voices without accompaniment, <span class="side">LITANY - TO THE HOLY SACRAMENT, 1772.</span> <span class="pagenum"><a - href="pgimages/p271.png">[271]</a></span> the opening bars of the Kyrie - (340 K.) and Sancta Maria in C major (325 K.), and of the Salus infirmorum - in C minor (324 K.) are unhappily all that is preserved. - </p> - <p> - The Litany to the Holy Sacrament, (Litaniæ de venerabili altaris - sacramento), has a more serious character than the Litany to the Virgin. - But appeals to the holy sacrament being of necessity abstract and - dogmatic, are less suggestive of a musical rendering than those addressed - to the Virgin Mary. On this account an operatic style is more avowedly - employed; but it is combined with solemn dignity and thoughtfulness, and - the two Litanies of this kind by Mozart are largely conceived and - carefully executed compositions.<a href="#linknote-130037" - name="linknoteref-130037" id="linknoteref-130037"> 37 </a> - </p> - <p> - The first in B flat major (125 K.), composed in March, 1772, after the - Italian tour, strikes throughout the tone of the heroic opera, elevated by - deep and earnest feeling. The Kyrie is introduced by an instrumental - passage, announcing the principal subject, which, after a short, solemn - Adagio, is taken up by the chorus in Allegro molto. The plan of the whole - movement, containing a second subject placed as contrast to the - oft-repeated principal one, and a running orchestral accompaniment, - follows the operatic mode of construction. - </p> - <p> - The first movement of the Litany proper, "Panis vivus," is a soprano solo - which might have been transferred bodily from an opera seria; the chief - passages are given to the word "miserere." The solemn chorus which - follows, "Verbum caro factum," interesting from its delicate modulations, - and a characteristic passage for the violins, serves as an introduction to - the agitated "Hostia sancta." Four solo voices give the chief motif in - succession, with different modifications, and unite at last to rise to an - appropriate climax; the chorus twice interposes with a short but weighty - rhythmical passage, <span class="side">CHURCH MUSIC.</span> <span - class="pagenum"><a href="pgimages/p272.png">[272]</a></span> giving - cohesion and dignity to the whole movement. A new climax occurs in the - Adagio, where the chorus repeats the word "Tremendum" with an expression - of solemn awe. The short, lively passage given to the next words, "ac - vivificum sacramentum," is only to serve as a contrast to the "Tremendum." - The movement which follows "Panis omnipotentia verbi caro factus," is - again nothing but an operatic tenor song, full of passages and pleasing - expression. The grave harmonies of a short Adagio in B minor, "Viaticum in - domino morientium," prepare the way for something new.<a - href="#linknote-130038" name="linknoteref-130038" id="linknoteref-130038"> - 38 </a> It was the custom to write a movement in elaborate counterpoint on - the words of "Pignus futuræ gloriæ," and Mozart was not one to shrink from - such a task. The bass theme, answered by the wind instruments in a passage - afterwards much employed, is announced with the force and decision of - joyful confidence, and is then exhaustively worked out into a long fugue.<a - href="#linknote-130039" name="linknoteref-130039" id="linknoteref-130039"> - 39 </a> The one theme, hardly ever abridged or altered, runs through the - whole, but it is developed with an amount of variety, especially in the - modulation and in the orchestral climax, and with so much fresh - tunefulness, that this work alone would prove the youth of fifteen years - old to be possessed of the genius of maturity. - </p> - <p> - The Agnus Dei is a soprano solo, ornamented with many passages, all alike - truly and simply conceived and full of grace.<a href="#linknote-130040" - name="linknoteref-130040" id="linknoteref-130040"> 40 </a> The chorus - takes up the Agnus Dei at the third repetition, and brings the movement to - a calm conclusion, making use of the solo motif altered and simplified. - The "Finis, I.O.D.G.," inscribed by Mozart, contrary to his custom, at the - end of his score, show that he set considerable store by this truly - admirable work. - </p> - <p> - The second Litany in E flat major (243 K.), composed in <span class="side">LITANY - IN E FLAT MAJOR, 1776.</span> <span class="pagenum"><a - href="pgimages/p273.png">[273]</a></span> March, 1776, also a carefully - worked-out piece of music, displays the same arrangement. The operatic - treatment of some of the parts is more conspicuous, because its tinsel - glitter is in more marked contrast to the mature earnestness of the work - as a whole. The Kyrie, expressive of mild calm, relieved by the agitation - of the accompaniment, is simple in plan and execution. Solo and chorus - alternate; the principal motif recurs at the end, after a middle part of - smaller motifs grouped together. The Miserere is delicately shaded and - finely expressed. After such harmonious renderings of a calm and collected - mood, we are surprised by the words "Panis vivus" as an elaborate tenor - song, altogether in the style of opera seria. In the succeeding movements, - where the text seldom lends itself readily to musical adaptation, the hand - of the master is visible in the admirable grouping of the larger sections - and of the separate subjects, not less than in the true and beautiful - expression of sentiment, and in the finely graduated and shaded unity of - tone. The words "Verbum caro factum" are used as a solemn introduction; - the Miserere has-a fine effect, commencing without an accompaniment, as if - moaned forth from an overburdened breast, then increasing in intensity to - a cry of anguish, and gradually sinking back into itself. The next - succeeding Hostia sancta stands out against this dark background, its - general tone as mild and consolatory as that of the Kyrie. Solemn grandeur - predominates again in the Tremendum ac vivificum sacramentum, where the - words "Tremendum" and "vivificum" are not separated, but are compacted - into a connected, symmetrical movement with the words "Panis omnipotentia - verbi caro factus, incruentum sacrificium, cibus et conviva." The - disposition of the harmonies is in strongly marked but cleverly arranged - opposition, intensified by the orchestra; the stringed instruments - elaborate a forcible passage, opposed by the united oboes, horns, - bassoons, and trombones. This noble and deeply impressive movement stands - alone, both as to form and intention. The next following, "Dulcissimum - convivium," a soprano solo resembling a cavatina, is soft and tender in - expression, and pre-eminently operatic; the charm <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p274.png">[274]</a></span> - of style, displayed also in the careful accompaniment, does not compensate - for fundamental weakness. - </p> - <p> - The "Viaticum in Domino morientium" is full of earnestness, and very - original in treatment. The soprano voices give out as subject the chorale - of the hymn to the Holy Sacrament, "Pange lingua gloriosi," as a Gregorian - plain-chant, accompanied by the wind instruments (oboes, horns, bassoons, - and trombones), and two muted violas, while the violins are occupied with - a quaver passage in <i>pizzicato</i>, generally in divided chords. The - effect of the whole is surprisingly serious and dignified. The Pignus - futuræ gloriæ follows. It is in counterpoint, and of complicated - workmanship. The chief subject of six bars comprises the words "Pignus - futuræ gloriæ, miserere nobis," but in the third bar, at the words - "miserere nobis," the three remaining parts are added—[See Page - Image] - </p> - <p> - and the subject given to them is differently elaborated along with the - continuation of the chief theme. After the first working-out a second - independent theme occurs—[See Page Image] <span class="side">UNFINISHED - VESPER, 1774.</span> <span class="pagenum"><a href="pgimages/p275.png">[275]</a></span> - and is thoroughly worked out, together with the first. We see more of the - actual workmanship in this than in others of Mozart's works in - counterpoint, and the voices are treated less as such and more as abstract - vehicles for contrapuntal development. The Agnus Dei is a soprano solo; - the passages for the voices, and the concerted treatment of the - accompanying instruments, give a uniform impression of grace and elegance. - This movement has a certain resemblance to many passages of Mozart's later - operas. At the close the chorus (as sometimes with Haydn) takes up again - the principal subject of the Kyrie, and works it into a simple and - appropriate ending to the Litany. - </p> - <p> - Mozart seems never to have composed an entire Vesper during this period, - but the two final movements of one, Dixit and Magnificat in C major (193 - K.), written in July, 1774, are preserved, and are serious works in clever - counterpoint. The Dixit is quite in the style of a short mass, the - different sections in counterpoint full of force and animation. The Gloria - Patri is an independent movement, with a slow introduction to a short - fugal movement on the words "et in sæcula saeculorum," with a charming - organ point. [See Page Image] - </p> - <p> - The Magnificat is grander in design and execution. The Virgin's song of - praise forms a grand movement (Allegro moderato), the theme of which from - the third plain-song tone of the Magnificat— <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p276.png">[276]</a></span> - is introduced by the tenor, the bass immediately interposing a - counter-subject:—[See Page Image] - </p> - <p> - These give the groundwork of the whole movement, elaborated in various - forms of counterpoint, and bound together by other freely treated - episodical subjects. The Doxology is again independently treated in two - movements. The first is slow, and is animated by a varied accompaniment; - the second is a lively and conventional fugue. - </p> - <p> - First among minor church pieces we may consider the "Regina coeli." Two of - these works, belonging to May, 1771 and 1772 (108, 127, K.), are of - similar plan and treatment. The first line is made into an animated - chorus, with the constantly recurring Alleluia as a refrain; the second is - more moderate in tone, a soprano solo alternating with the chorus. The - "Ora pro nobis" is an Adagio for the solo soprano; the chorus chimes in at - the close with the Alleluia. The character of the whole is lively and - cheerful, almost merry, according to the prevailing tendency of the age. - Full opportunities for display are given to the solo voice, and many of - the turns and passages are operatic.<a href="#linknote-130041" - name="linknoteref-130041" id="linknoteref-130041"> 41 </a> The earlier of - the two compositions, in C major, reminds us more of opera seria; the - later, in B flat major, is freer, and both voices and accompaniment have - more independent life. A third Regina coeli, evidently of later date (276 - K.), in C major, combines the whole into a lively movement, in which the - solo voices interrupt the chorus. The claims of the vocalist are here kept - in abeyance, and the work is full of life and energy, with here and there - passages of a deeper significance, such as the beautiful "Ora pro nobis."<a - href="#linknote-130042" name="linknoteref-130042" id="linknoteref-130042"> - 42 </a> - </p> - <p> - <span class="side">SMALLER SACRED PIECES.</span> <span class="pagenum"><a - href="pgimages/p277.png">[277]</a></span> - </p> - <p> - A "Tantum ergo" in B flat major (142 K.), for soprano solo, with a - responding phrase for the chorus, closing with a lively Amen, is not - remarkable. A second composition, in D major, (197 K.) for full chorus, if - by Mozart at all, must have been written very hurriedly. - </p> - <p> - A Motett in C major (117 K.) must, according to the handwriting, be - ascribed to a very early date.<a href="#linknote-130043" - name="linknoteref-130043" id="linknoteref-130043"> 43 </a> A lively chorus - Benedictus sit Deus, without actual thematic elaboration but with a free - arrangement of the parts, forms the introduction to a soprano air, - Introibo domum tuam domine treated like a cavatina, simply, although not - altogether with out embellishment. The conclusion is formed by a second - lively chorus, Jubilate Deo, of which the second subject is the eighth - psalm tone—[See Page Image] supported by the four parts of the - chorus in succession, to a florid accompaniment of the orchestra, the full - chorus each time responding with a lively "Jubilate." <a - href="#linknote-130044" name="linknoteref-130044" id="linknoteref-130044"> - 44 </a> - </p> - <p> - An Offertorium of uncertain date, "Benedicite angeli" (342 K.), is - exclusively founded on the fifth psalm tone. The verse—[See Page - Image] is repeated in unison eight times by the whole chorus, while the - orchestra, consisting of stringed instruments with two <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p278.png">[278]</a></span> - horns, keeps the whole together, and gives it intensified expression by - means of a lively and varied accompaniment. - </p> - <p> - Some smaller choral works are some of them harmonic, some in more or less - strict counterpoint. To the former belongs the "De profundis" (93 K.), in - which the words of Psalm cxxix. and the appended doxology are set to music - without abridgment, with little more rhythmical flow than the declamation - of the words demands, and in the simplest harmonic progressions. A - symmetrical work, quiet and serious, though without great depth of tone, - is formed out of these very simple materials. - </p> - <p> - The "Te Deum" (141 K.) resembles in its first movements many of the - shorter masses; the words are sung once, without a developed theme or - well-defined passages. The essential character of the work is modulatory, - the connection depending on the arrangement of the harmonies and the - harmonic groups; the voices merely sustain the harmonies, without any - prominent melodic peculiarities. The conclusion forms an exception, the - words, "In Te Domine speravi, non confundar in ætemum" being worked into a - conventional, moderately long fugue, issuing into a powerful and effective - closing phrase. - </p> - <p> - A motett, "Misericordias Domini" (222 K.), which Mozart composed at Munich - in 1775 as an exercise, is in counterpoint throughout. Padre Martini, to - whom he sent it (September, 1776), pronounced, as his judgment on it, that - it contained all which modern music demands—good harmonies, rich - modulations, moderation in the violin passages, a natural and good - arrangement of the parts—and he added that he congratulated the - composer on the progress he had made. It was not without intention that - the representative of counterpoint on the principles of the old Roman - school emphasised modern music, the "buon gusto" of which did not - altogether content him.<a href="#linknote-130045" name="linknoteref-130045" - id="linknoteref-130045"> 45 </a> - </p> - <p> - Mozart divided the sentence "Misericordias Domini cantabo in æternum" - (Psalm lxxxviii.). The first words, <span class="side">MISERICORDIAS, - 1775.</span> <span class="pagenum"><a href="pgimages/p279.png">[279]</a></span> - "Misericordias Domini," are delivered in slow notes, the second half in an - agitated fugal passage, without change of tempo (moderato). The two - alternate, and are developed with much originality, especially the first - movement, where long-sustained notes for the voices serve as an - organ-point against a passage for the violins, and give rise to striking - harmonic transitions and progressions. The counterpoint of the second part - is artistic and elaborate; besides the principal subject of the fugue - there are two others leading out of it, treated in part independently, in - part in combination with the principal subject and each other; the - episodes are in strict counterpoint. The subject, as Stadler remarked,<a - href="#linknote-130046" name="linknoteref-130046" id="linknoteref-130046"> - 46 </a> is borrowed from an offertory by Eberlin, "Benedixisti Domine"; - but Mozart's treatment, as a glance at the opening will show, is - thoroughly original.<a href="#linknote-130047" name="linknoteref-130047" - id="linknoteref-130047"> 47 </a> This admirable work has been overrated by - Ulibicheff,<a href="#linknote-130048" name="linknoteref-130048" - id="linknoteref-130048"> 48 </a> but very unfairly criticised by Thibaut.<a - href="#linknote-130049" name="linknoteref-130049" id="linknoteref-130049"> - 49 </a> He says:— - </p> - <p> - The words are capable of division into two short sections: Misericordias - Domini (the mercy of the Lord), cantabo in æternum (I will sing for ever), - but the division is not a real one. For there can be only one fundamental - idea—either "Misericordias Domini" or "cantabo in æternum." If the - former, then the "cantabo" should be subordinate; if the latter, the - "Misercordias" must be included in the exultation. Mozart has so far given - way to the love of the picturesque, to which Handel also made many - sacrifices, that the "Misericordias" is to be sung softly, but the - "cantabe in æternum" energetically and in a lively fugued passage. When - the last motif has been worked out, the Grave is repeated, and then again - the fugue. - </p> - <p> - It is evident that the law by which thoughts are expressed in <i>speech</i> - does not altogether apply to <i>musical</i> expression, but that with the - introduction of a new element new rules are <span class="side">CHURCH - MUSIC.</span> <span class="pagenum"><a href="pgimages/p280.png">[280]</a></span> - imposed. Since the words, intelligently interpreted, give the keynote to - the whole conception, it is the musician's task to embody the sentiments - inspired by them in such forms as he has at his disposal. The necessity - for avoiding contradictions or inconsistencies is no barrier, but rather - an incentive to his creative energy. But a contradiction may arise not - only from a misconception of ideas, but from the undue prominence of some - one point which, detached from the context, injures the effect of the - whole. This would be the case here, if, as Thibaut seems to indicate, the - idea of the mercy of God, and that of the praise offered to it, were - treated in absolute opposition and mechanical alternation one with the - other. But this is not so. The motifs given to the words "cantabo in - ætemum," both in themselves and in their working-out, express nothing but - firm conviction and desire to act upon that conviction; we seem to view - the spiritual condition of a human being who, in spite of adverse fate and - sorrowful experiences, is never weary of praising the Lord. The "cantabo" - is placed just as Thibaut demands that it should be, as a contrast to the - "Misercordias Domini and the contrast is so harmoniously expressed and so - consistently sustained as in no way to injure the musical effect of the - work as a whole.<a href="#linknote-130050" name="linknoteref-130050" - id="linknoteref-130050"> 50 </a> - </p> - <p> - A very interesting composition, belonging to the year 1776, is the - Offertorium de Venerabili (260 K.), "Venite populi," for two choruses, - scored in eight parts.<a href="#linknote-130051" name="linknoteref-130051" - id="linknoteref-130051"> 51 </a> It is imitative throughout, less strict - in form than usual; the voices seem to take actual delight in their free - movement; the two choruses and the separate parts are clearly divided - while maintaining natural relations with each other, and the whole work is - sharply cut and characteristic both in harmonies and in rhythm. The - principal movement is divided in the middle by a short, slow movement, - having the same motif, but in different combinations. - </p> - <p> - <span class="side">VOICES AND ORCHESTRA.</span> <span class="pagenum"><a - href="pgimages/p281.png">[281]</a></span> - </p> - <p> - A "Sancta Maria, mater Dei" (273 K.), for chorus, composed in September, - 1777, and an "Alma redemptoris mater" (277 K.), for solo and chorus, of - about the same date, judging by the style, are very differently conceived: - they are simple in design and in treatment, quiet and mild in expression. - Delicate lights and shades betray the hand of a master conscious of his - power to stir the feelings and satisfy the sense of beauty of his hearers. - Equal genius is displayed in the selection of simple meins, and the ease - with which the right effect is given at the right moment; and every now - and then a delicate harmonic inflection, or a charming little motif in the - accompaniment, leaves us in no doubt as to Mozart's individuality.<a - href="#linknote-130052" name="linknoteref-130052" id="linknoteref-130052"> - 52 </a> - </p> - <p> - The survey we have taken of Mozart's church music will give some idea of - the industry with which he strove to master the various forms of his art, - as well as of the ease and fertility of his production, and the truth of - his artistic feeling. Remembering his activity in operatic music, we are - amazed at the wealth of his many-sided genius; but the unceasing exercise - of all his musical powers serves to explain in part that marvellous - acquaintance with all the technicalities and forms of his art which not - even the possession of great genius can account for in so youthful a - composer. - </p> - <p> - External circumstances influenced not only the conception and treatment of - church music, but the means at disposal for its performance. Mozart's - chief dependence in Salzburg was on the chorus, as is shown in a letter - (November 4, 1777), where he says that none of his masses can be performed - at Mannheim, because the chorus was bad, and the orchestra must be the - first consideration. This is confirmed by the works themselves, of which - the choruses are always the main substance; Mozart found his materials - ready to hand in the carefully instructed church singers and chapel choir. - He had himself received vocal training. Even as a boy the correct delivery - and good management of his voice excited <span class="side">CHURCH MUSIC.</span> - <span class="pagenum"><a href="pgimages/p282.png">[282]</a></span> - astonishment; and though he lost his voice on attaining manhood, his - intercourse with trained singers gave him an accurate knowledge of the - voice and its treatment. Careful as Mozart is to arrange each part easily - and conveniently for performance, yet he always reckons on well-trained - singers, and even exacts from the choristers, where occasion requires, not - a little skill in taking intervals and in execution and intonation. Above - all, he demands the intelligent delivery of a singer who knows how much - depends upon it. - </p> - <p> - The treatment of the solo voices as regards execution does not differ in - church and operatic music. Frau Haydn and Meissner, Marie Anna Braunhofer - and Jos. Spitzeder, had received good practical training, but they were - not such remarkable performers as to call forth new or original creations. - When the solo voices are not treated with a view to executive display they - are altogether in the style of chorus parts. - </p> - <p> - The organ, as the instrument appropriate to the church, invariably - accompanies the singing, so that in all Mozart's church compositions the - bass part is carefully figured, sometimes by his father's hand; it is - sometimes, but rarely, employed obbligato, as in the Benedictus (259 K.), - and then treated in easy style. Next to the organ come three trombones, - essentially the support of the chorus, played in virtue of his office by - the "stadtthürmermeister" and two of his subordinates. <a - href="#linknote-130053" name="linknoteref-130053" id="linknoteref-130053"> - 53 </a> - </p> - <p> - Following ancient tradition they sounded in the tutti in unison with the - three lower voices of the chorus; the trombones were generally left - unindicated in the score, and only the places marked where they were to be - silent. This curious prominence of the brass instruments, whereby the - soprano part is left unrepresented, was usual at that time, and could not - be dispensed with in the church. Trombones are seldom used independently - by Mozart, and then in the simplest manner. - </p> - <p> - The stringed instruments served as independent orchestra, and were - generally only two violins and violoncello; the <span class="side">ORCHESTRA.</span> - <span class="pagenum"><a href="pgimages/p283.png">[283]</a></span> tenors - strengthened the violoncello, which went with the organ bass. The stringed - instruments were strengthened as far as possible and treated so as to - counteract the disadvantage they were at in contrast with the chorus, - trombones and organ. When the violins are not with the voices, the - passages are disposed so as to have the best effect, and they frequently - play in unison; this explains the partiality for running passages for the - violins, which are not expressive in themselves, but serve to amplify the - rest. It was a higher task to give the violins a character really - independent of the chorus—to make them carry out their own motif - either in one part only, in opposition to the chorus, or in joint - development. In almost all Mozart's masses the effort is visible, at any - rate in some places, to treat the stringed instruments independently; as - his artistic sense matured, they were used more freely, and with more - careful reference to sound effects. As a variation in later works, the - damper was sometimes employed, and more rarely, the <i>pizzicato</i>. - </p> - <p> - Besides stringed instruments, trumpets and drums were generally used, - being almost indispensable for solemn high mass. The constant use of - trumpets, as of trombones (sackbuts), was founded on the Bible, which - speaks of their employment in the Jewish temple worship; and also careful - and highly elaborated trumpet music played so considerable a part in court - festivities, that it could not well be dispensed with in church - ceremonials. In two masses (139, 167, K.), Mozart has employed, in - addition to the two usual trumpets called "clarini," a tromba, which has - only to sound the low notes C and G, and to strengthen the drums.<a - href="#linknote-130054" name="linknoteref-130054" id="linknoteref-130054"> - 54 </a> As regards other wind instruments, we know that in 1757, "Oboes - and German flutes were seldom heard in the cathedral, and the French horn, - never."<a href="#linknote-130055" name="linknoteref-130055" - id="linknoteref-130055"> 55 </a> - </p> - <p> - This severity was afterwards relaxed, until the oboe was used alone or as - the principal wind instrument, generally to support the voice or to - strengthen the harmony. It was <span class="side">CHURCH MUSIC.</span> - <span class="pagenum"><a href="pgimages/p284.png">[284]</a></span> allowed - to assert its own individuality at a later time, but this could only be - when it retained its proper place among the different combined wind - instruments. Flutes were only rarely used to replace the oboe in soft - passages; there were no clarinets in Salzburg. Bassoons served, as a rule, - only to strengthen the bass; in various places where they, like the - violoncello, were treated with some degree of independence it was so - indicated in the score. Also when the tenors were associated with the wind - instruments to complete the harmony they were supported by the bassoons. - The horns at first closely followed the trumpets, but gradually attempts - were made, by the use of sustained notes, to produce the sound effects - peculiar to this instrument. The freer treatment of the wind instruments - passed to the church from the opera, and those pieces which were - altogether more freely treated than masses, prepared the way for the - change. The orchestra of Mozart's two last Litanies is just as elaborate - and careful as that of his operas, and the later one does not only employ - obbligato solo instruments, but in many of its sections approaches modern - instrumentation. - </p> - <p> - We are unfortunately in considerable ignorance as to what masters were - studied by Mozart. What has usually been said of his diligent study of - Bach, Handel, and the Italian masters, is neither demonstrable nor - probable. There would scarcely be much opportunity at Salzburg for the - study of any but Salzburg or south German musicians. It is well known that - some of these, such as Eberlin, Michael Haydn, and Adlgasser, were - earnestly studied and highly esteemed by Mozart. But he first became - acquainted with Sebastian Bach<a href="#linknote-130056" - name="linknoteref-130056" id="linknoteref-130056"> 56 </a> through Van - Swieten in Vienna, although he may have come across detached organ or - pianoforte compositions in Salzburg. He heard Handel's oratorios as a boy - in London, but that was all, and even at Mannheim he took no great - interest in the "Messiah." It was again Van Swieten who led him to this - master. - </p> - <p> - We may grant a stronger influence to the Italian masters, <span - class="side">ITALIAN INFLUENCE.</span> <span class="pagenum"><a - href="pgimages/p285.png">[285]</a></span> although the older Italian - church music was only exceptionally used at Salzburg. - </p> - <p> - Leopold Mozart speaks of a Gradual with which he had been much pleased as - being the work of "the celebrated long-since deceased Lotti" (November 13, - 1777). But we have seen with what zeal Mozart studied in Italy; and a - youth with his genius learned rapidly, and could at once apprehend and - retain whatever would be likely to benefit him. He must also have taken - home with him from Italy much material for future use, as we have seen in - the case of the compositions of Padre Martini. But what direction these - studies took, and how far they extended, we are not informed. It is not - probable that Mozart studied the old masters with the intention of forming - his own style on theirs, but rather that he might gain that surer practice - in technicalities which the tasks before him required. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - - <hr /> - <p> - <a name="chap_14" id="chap_14"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XIV. INSTRUMENTAL MUSIC. - </h2> - <p> - DURING the last half of the eighteenth century<span class="pagenum"><a - href="pgimages/p285.png">[285]</a></span> it had become the fashion - in Italy and elsewhere to perform detached instrumental pieces as - introductions or intermezzi during the pauses in Divine service.<a - href="#linknote-14001" name="linknoteref-14001" id="linknoteref-14001"> 1 </a> - They were written in the then customary symphony form; music of a lively - and secular tone not being thought out of place in churches.<a - href="#linknote-14002" name="linknoteref-14002" id="linknoteref-14002"> 2 </a> - Brilliancy of effect was provided for by doubling the orchestra and other - mechanical means,<a href="#linknote-14003" name="linknoteref-14003" - id="linknoteref-14003"> 3 </a> besides forcible composition. Further - innovations were made in allowing solo vocalists an opportunity of - displaying their powers in church music; <span class="side">INSTRUMENTAL - MUSIC.</span> <span class="pagenum"><a href="pgimages/p286.png">[286]</a></span> - and, as a necessary consequence, distinguished instrumental performers - also were allowed to add their share to the attractions of Divine worship.<a - href="#linknote-14004" name="linknoteref-14004" id="linknoteref-14004"> 4 - </a> Instrumental concertos were played usually at the conclusion of the - service, without any regard to an ecclesiastical character.<a - href="#linknote-14005" name="linknoteref-14005" id="linknoteref-14005"> 5 - </a> We gather from Dittersdorf's account<a href="#linknote-14006" - name="linknoteref-14006" id="linknoteref-14006"> 6 </a> of his competition - with Spagnoletti at the festival of St. Paul at Bologna and its result, - that fine performances were thought as much of in the churches as in - theatres and concerts. - </p> - <p> - At Salzburg, as Mozart tells Padre Martini (p. 244), a sonata was - introduced between the epistle and the gospel, until Archbishop Hieronymus - replaced it by a gradual in 1763.<a href="#linknote-14007" - name="linknoteref-14007" id="linknoteref-14007"> 7 </a> Seventeen - compositions by Mozart of this kind are preserved. The earliest of certain - date belongs to 1775 (212 K.), and others to 1776 (241, 244, 245, 263, K.) - and 1777 (274, 278, K.), but there are several almost certainly of earlier - date. His sacred sonatas were performed even during his absence, according - to his father (September 25, 1777). After his return, he composed three - pieces of the kind, the last in March, 1780 (328, 329, 336, K.). - </p> - <p> - They are all inscribed as sonatas, and all consist of a lively movement of - moderate length in two parts, and in regulation sonata form. The church - sonatas (sonad di chiesa) differ, indeed, from chamber sonatas (sonad di - camera) in being serious, dignified, often fugued and in counterpoint, but - the style has nothing in it that suggests a sacred performance. The tone - is neither solemn nor devotional, nor is the style severe. The tone and - treatment of the commencement remind us of the first movements of the - smaller sonatas and quartets; the subjects are small, sometimes very - pretty'; the treatment is free and skilful, and in the later pieces not - without touches of Mozart's originality. They are usually written for two - violins and violoncello, to which the organ was always added, but never - <span class="side">ORGAN SONATAS—NOBLE AMATEURS.</span> <span - class="pagenum"><a href="pgimages/p287.png">[287]</a></span> obbligato nor - with any regard to executive display; it has often only its customary - office of accompaniment to the violoncello, in which case a figured bass - part is written. Even when the organ part is independent it is for the - most part limited to what the skilful organist can make out of the <i>continuo;</i> - its independence is very modest, and it never aspires to a solo or any - passages. Sometimes trumpets and drums are added (263 K.) as well as oboes - (278 K.) and horns (329 K.). With the extension of the orchestra the - design and treatment became grander and more impressive, but still kept - within comparatively narrow limits. Unhappily these organ sonatas give us - not the faintest idea of Mozart's much-admired organ-playing. - </p> - <p> - Not only were these compositions composed for special occasions, but all - instrumental music at that time was in this sense occasional music. - Orchestral compositions were, with few exceptions, written with a definite - aim and under given conditions. - </p> - <p> - Musical performances were the customary evening entertainments given by - distinguished or wealthy persons, in default of better, such as the - theatre. Those who maintained their own <i>Kapelle</i> required daily - performances, and in the evening, whether they were alone or entertaining - company, a well-appointed concert. Sometimes noble gentler men became so - proficient on some instrument that it pleased them to take personal part - in such concerts. Not to mention the noted examples of Frederick the Great - and the Emperor Joseph, the Elector Maximilian III. of Bavaria was a - performer on the bass-viol, and took part in the court concerts, where his - sister, Maria Antonia of Saxony, appeared as a singer; sometimes also he - played the violin in the symphony.<a href="#linknote-14008" - name="linknoteref-14008" id="linknoteref-14008"> 8 </a> The flute was an - instrument much in vogue with noble amateurs, and was played by the - Margrave Friedrich von Bayreuth,<a href="#linknote-14009" - name="linknoteref-14009" id="linknoteref-14009"> 9 </a> Duke Karl von - <span class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p288.png">[288]</a></span> Curland,<a - href="#linknote-140010" name="linknoteref-140010" id="linknoteref-140010"> - 10 </a> and Prince Joseph Friedrich von Hildburghausen;<a - href="#linknote-140011" name="linknoteref-140011" id="linknoteref-140011"> - 11 </a> the Elector Karl Theodore, played the violoncello,<a - href="#linknote-140012" name="linknoteref-140012" id="linknoteref-140012"> - 12 </a> Prince Nicolaus Esterhazy the baritone,<a href="#linknote-140013" - name="linknoteref-140013" id="linknoteref-140013"> 13 </a> Archduke - Maximilian the tenor.<a href="#linknote-140014" name="linknoteref-140014" - id="linknoteref-140014"> 14 </a> Archbishop Hieronymus adopted the violin<a - href="#linknote-140015" name="linknoteref-140015" id="linknoteref-140015"> - 15 </a> as his instrument, after the example of the Emperor Peter III.<a - href="#linknote-140016" name="linknoteref-140016" id="linknoteref-140016"> - 16 </a> and the Crown Prince Karl Wilhelm Ferdinand von Braunschweig, and - he amused himself with it alone after dinner;<a href="#linknote-140017" - name="linknoteref-140017" id="linknoteref-140017"> 17 </a> in the evening - he took part in the concerts given by his choir.<a href="#linknote-140018" - name="linknoteref-140018" id="linknoteref-140018"> 18 </a> L. Mozart - writes to his son, who had a great dislike to violin-playing in court - music: "As a connoisseur, you will not be ashamed of the violin-playing in - the first symphony, any more than the Archbishop and all the cavaliers who - take part in it." The distinguished amateurs did not indeed always improve - the orchestra. On one occasion, the Empress Maria Theresa having remarked - in an undertone to Haydn that she wondered what would become of four noble - amateurs, who were performing with him, if left to themselves, he played - her the joke of quietly absenting himself with his next colleague, and - enjoyed the complete discomfiture of the gentlemen. Brunetti, who always - stood at the Archbishop's side, used at difficult places quietly to take - down his viola and strike in; the Archbishop let it pass, and used even to - say when he came to these places, "now Brunetti will come in." Mozart had - not the most favourable opinion of the Archbishop's musical knowledge. He - writes to his father (Vienna, September 26, 1781) about the famous bass - singer, Fischer, "who has certainly an excellent bass voice, although the - Archbishop told him he sang too low for a bass, upon which I assured His - Grace that he would sing higher next time." - </p> - <p> - <span class="side">COURT CONCERTS—-THEIR LENGTH.</span> <span - class="pagenum"><a href="pgimages/p289.png">[289]</a></span> - </p> - <p> - Public performers took the principal parts in these concerts, which fact - was taken into consideration in forming the choir; care was taken to - attract foreign artists, and in the larger towns many public performers - depended on the daily concerts for their means of subsistence.<a - href="#linknote-140019" name="linknoteref-140019" id="linknoteref-140019"> - 19 </a> The performances were long, and included a great deal of - orchestral music. Count Firmian's musical soirées lasted from five to - eleven o'clock, and at one concert several symphonies by J. C. Bach and - four symphonies by Martini were played.<a href="#linknote-140020" - name="linknoteref-140020" id="linknoteref-140020"> 20 </a> Dittersdorf - produced twelve new violin concertos by Benda on one evening;<a - href="#linknote-140021" name="linknoteref-140021" id="linknoteref-140021"> - 21 </a> at a concert given by the Elector of Bavaria Burney heard two - symphonies by Schwindl, a song by Panzacchi, a scena by the Electress of - Saxony, a trio for bass-viols by the Elector, a song by Rauzzini, a song - by Guadagni, and a bass-viol solo by the Elector;, and at a private - concert in Dresden both parts contained a symphony, a violin concerto, a - flute concerto, and an oboe concerto.<a href="#linknote-140022" - name="linknoteref-140022" id="linknoteref-140022"> 22 </a> The evening's - amusement was generally further provided for by card-playing and - conversation. Archbishop Hieronymus limited the duration of his concerts. - L. Mozart wrote to his son (September 17, 1778) that they only lasted from - seven to a quarter past eight, and included only four pieces—a - symphony, a song, another symphony or concerto, another song, and then <i>addio</i>.<a - href="#linknote-140023" name="linknoteref-140023" id="linknoteref-140023"> - 23 </a> The court composer took the direction of the court music in turn - with the kapellmeister every alternate week, and the director for the time - being had the choice and <span class="side">INSTRUMENTAL MUSIC.</span> - <span class="pagenum"><a href="pgimages/p290.png">[290]</a></span> - arrangement of the music<a href="#linknote-140024" - name="linknoteref-140024" id="linknoteref-140024"> 24 </a> except so far - as it was dictated by superior authority. - </p> - <p> - The position of Mozart's father gave him constant opportunities of - bringing his son's instrumental compositions before the public. The fame - of the band was enhanced by the performance of works by one of the - members, and at every festival something new was performed. Dittersdorf - relates that for the fête-day of the Bishop of Grosswardein he composed - not only a grand cantata with choruses and a solo cantata, but also two - grand symphonies at the beginning and close, a middle symphony, with - obbligato wind instruments, and a violin concerto.<a - href="#linknote-140025" name="linknoteref-140025" id="linknoteref-140025"> - 25 </a> In a similar position, under Prince Esterhazy, Josef Hadyn - produced his incredibly numerous instrumental compositions. Mozart's - fertility during the period of his independent activity at Salzburg, from - 1770 to the autumn of 1777, was equally great, but the merit of industry - and fertility was one which these great masters shared with many - contemporary lesser ones. - </p> - <p> - The skilful treatment of the orchestra rests mainly on the composer being - so imbued with the spirit of the work as a whole as to be able to render - the separate parts conducive to the general effect. This can only be - accomplished by continuous practical study. - </p> - <p> - Most especially fortunate was Mozart, whose numerous appointed tasks, not - being merely abstract exercises, served him as studies for his works. The - danger was indeed great that the influence of the schools and the force of - traditional forms would tend to mechanical routine, but it afforded - another proof of Mozart's creative nature, that his unintermittent labour - in mastering the technicalities of his art never interfered with the - spiritual side of his genius. - </p> - <p> - Many forms were in use for instrumental composition during the last - century, of which, at the present day, we can scarcely even distinguish - the names or define the limits. The so-called French symphony (or - overture) introduced by Lulli, and established through the school of - Scarlatti, <span class="side">SYMPHONIES OR OVERTURES.</span> <span - class="pagenum"><a href="pgimages/p291.png">[291]</a></span> consists of a - short slow movement preceding a longer and more varied one, and repeated - at the close. This was opposed to the Italian symphony, which contained - three movements: an allegro at the beginning and another at the end, - separated by a slow movement in effective contrast to them both. The first - and the last allegro were, however, different in character, the second - being the quicker and more cheerful of the two. - </p> - <p> - It was easy to sever the slender connection between the symphony and the - opera; and operatic symphonies were soon performed alone, as may be proved - by the symphonies to the "Finta Semplice," the "Sogno di Scipione" and - "Lucio Silla." - </p> - <p> - The continual demand for new symphonies co-operated with the increasing - capacity of the instrumentalists, and the fuller appointments of the - orchestra, in developing their importance and independence. In Italy, - Sammartini, commissioned by the governor, Pallavicini, first wrote - symphonies for full orchestra; he divided the tenors from the violoncelli, - gave the second violins an independent part, and rendered service also to - the technicalities of playing.<a href="#linknote-140026" - name="linknoteref-140026" id="linknoteref-140026"> 26 </a> In Germany the - composers of the Mannheim Kapelle, who were of the first rank, introduced - this kind of composition with great success;<a href="#linknote-140027" - name="linknoteref-140027" id="linknoteref-140027"> 27 </a> but Jos. Haydn, - who surpassed them all in his inexhaustible wealth of productive power and - in his thorough knowledge of his art, threw them quite into the shade, and - may justly be considered as the creator of the symphony. - </p> - <p> - The three movements were originally connected; but when the symphonies - became independent of the opera, this was only exceptionally the case (74, - 181, 184, K.). - </p> - <p> - The last Symphony of the year 1773 shows that even in its maturity an - artistic mind may cling to long-established customs. The delicately - elaborated Andante, full of original <span class="side">INSTRUMENTAL - MUSIC.</span> <span class="pagenum"><a href="pgimages/p292.png">[292]</a></span> - and tender sentiment, forms the climax of the work. The animated Allegro - which precedes it is, with just discrimination, toned down towards the end - to prepare for the Andante, whose yearning pathos leaves the mind - unsatisfied, and whose subjects are arranged to favour the transition to - the lively and restless concluding movement. As a rule, however, each - movement was treated as a self-contained whole, which gave freer scope for - the development of a definite idea. - </p> - <p> - In the formation of the separate movements the clavier sonata (in the - perfect form given to it by Ph. Eman. Bach, acknowledged as a master by - Haydn himself)<a href="#linknote-140028" name="linknoteref-140028" - id="linknoteref-140028"> 28 </a> had a very considerable influence. - </p> - <p> - The first allegro was always in two parts; a short slow movement, perhaps - a reminiscence of the French symphony, was prefixed to it by Haydn often, - by Mozart rarely. A compact arrangement of well-defined subjects takes the - place of the long-drawn thread of loosely connected phrases of the older - symphonies. The first subject gives the tone of the movement, a second - follows, contrasting in expression and structure, and generally a third is - added; the connection is by means of free passages. It was long held as a - fixed rule that the first theme should close on the subdominant, and that - the second theme should be in the key of the dominant, in which also the - first part of the movement concludes. In the second part the elaboration - of the subjects begins. The composer might please himself as to which of - the subjects, or how many or in what new combinations they were to be - carried on; nor was there any definite rule as to the method of - elaboration, except that it always led back to the principal key and the - first theme, which closed on the dominant, and was followed by the second - theme, also in the principal key; the first part might either be simply - repeated with these modifications, or the change of key might be - thoroughly carried out. Sometimes the second part was also repeated; and - then followed the final winding-up by a coda, which recurs to one or more - of the chief subjects, and which was employed even when the <span - class="side">THE SYMPHONY.</span> <span class="pagenum"><a - href="pgimages/p293.png">[293]</a></span> second part was not repeated. - The elements of this form had already been given in the aria, with its one - main idea and its contrasting motifs; but the organic perfection of the - form was first attained by instrumental music. - </p> - <p> - Ph. Eman. Bach declared that the chief and best quality of music was - melody,<a href="#linknote-140029" name="linknoteref-140029" - id="linknoteref-140029"> 29 </a> and this principle once recognised, the - laws of song were adopted by instrumental music, although with many - modifications, to suit the different characters of the instruments and the - necessities of thematic elaboration. The chief improvement was the - spirited development of one or more subjects to replace the tedious middle - movement of the aria. The artistic development of the separate elements, - according to their true significance, introduced both contrast and climax; - unity was assured, since nothing foreign either to the form or the - substance was admitted; while the repetition of the first part, like a - dialectic exposition of an argument, provided a clear and satisfying - conclusion. This working-out part did not always receive its due share of - honour, and was often treated as a form of harmonic transition; but it - asserts itself more and more as the proper nucleus of the whole movement, - and has an important reaction on the formation and phrasing of the first - part. This becomes, as it were, the foundation prepared for the future - development which first displays the whole extent of the conception. The - coda was usually confined to a lengthened development of the closing - phrase, and gathered to a point in pregnant brevity the most essential - elements of the movement. It had its counterpart in the cadenza of the - aria. After what manner great vocalists constructed their cadenzas we are - unfortunately ignorant, but instrumental cadenzas reproduced the principal - subjects of the movement, just as was the case in the coda. Beethoven, who - brought the coda to perfection, has himself worked out the cadenzas in the - Concerto in E flat major; the cadenza in the first part is identical in - mechanism with the coda of one of his great symphonies. - </p> - <p> - The original middle movement has preserved a slower <span class="side">INSTRUMENTAL - MUSIC.</span> <span class="pagenum"><a href="pgimages/p294.png">[294]</a></span> - tempo and a moderate tone, with simplicity both of design and composition. - The point of departure is the air (lied, romanze), or the cavatine of - operatic creation. Mozart, for instance, took a melodious duet from his - opera of "Hyacinthus," for the Andante of a symphony (p. 94). There is no - question here of artistic symmetry or elaboration of subjects; one main - subject dominates the whole, often smothered with embellishments, as the - original stem of a tree is hidden by the creepers which grow from its - roots. The Andante is often, though not necessarily, divided into two - parts, one or both of them to be repeated, sometimes with a coda added. In - the second part a new statement of the subject generally takes the place - of its actual development, and the contrast of major and minor keys is - made use of. Frequent repetition of a simple theme led to the introduction - of variations, sometimes strict, sometimes free in form, but in depth and - originality always far inferior to thematic elaboration in the proper - sense of the term. The Andante, therefore, long continued to be of minor - importance, both as to length, form, and substance. - </p> - <p> - It required not only the mastery of musical theory, but the complete - absorption of the individual in the artist before the innermost sentiments - of the human heart in all their depth and fulness could be expressed in - simple form, as the poet expresses them in lyric verse. The Adagio of - instrumental music is, in its most perfect form, essentially a German - creation, but it became what it is apart from the influence of the newly - awakened German poetry; each in its separate sphere felt the vivifying - spirit of the age like the fresh breath of spring, and awoke together to - life and beauty.<a href="#linknote-140030" name="linknoteref-140030" - id="linknoteref-140030"> 30 </a> As the substance of the slow movement - grew in interest and importance, the form also became fuller and richer, - without, however, any essential alteration; the most magnificent of slow - movements have all the main points that we have <span class="side">SUITE—MINUET.</span> - <span class="pagenum"><a href="pgimages/p295.png">[295]</a></span> noticed - above, and are only in details freer and more full of life and - significance. - </p> - <p> - The closing movement, generally in 3-8, 6-8, or 2-4 time, has something of - a dance tone, though not of set purpose. The rondo form, very freely - treated, soon became predominant. The impressiveness of frequent - repetition of the same melody, the freedom and ease with which the - connecting phrases could be treated, the surprises to which ingenious - returns to the theme gave rise, all made this easy form very appropriate - to a closing movement. What was demanded from instrumental music was such - a pleasant sense of enjoyment as should relax the mind without straining - the attention, and a cheerful conclusion was considered essential. But by - a singular inconsistency the last movement was sometimes made the field - for the display of skill in counterpoint; masters of the art required that - a genuine artist should know how to render cheerfulness and whimsicality, - spirit and fun, even in the strictest forms. So it is customary to this - day to introduce contrapuntal work into the scherzo, the proper field for - musical wit and humour. This, too, is a production of German instrumental - music. - </p> - <p> - To the three original movements of the symphony the minuet was added as a - fourth, suggested probably by the Suite. The Suite, whether for orchestra - or clavier, came to perfection in the seventeenth century, and consisted - of a succession of dances in the same key, but differing in time, rhythm, - and expression, and for the most part highly characteristic. Mattheson - enumerates them as follows: minuet, gavotte, bourrée, rigaudon, gigue, - polonaise, anglaise (country-dances, ballads, hornpipes), passepied, - sarabande, courante, allemande;<a href="#linknote-140031" - name="linknoteref-140031" id="linknoteref-140031"> 31 </a> others give - allemande, courante, gigue, passa-caille, gavotte, minuet, chaconne, the - chief forms being allemande, courante, sarabande, and gigue. An - introduction, prelude, fantasia, or overture, preceded the dances, - consisting, after the French fashion, of a slow and a lively <span - class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p296.png">[296]</a></span> movement, the latter generally - elaborated, and returning to the former as a conclusion.<a - href="#linknote-140032" name="linknoteref-140032" id="linknoteref-140032"> - 32 </a> It is evident that the suite was the foundation of the Italian - operatic symphonies—not of our modern symphony and sonata forms—but - much was doubtless borrowed from the long list of dances as embellishment - to the symphony proper. Whether or not Josef Haydn was the first to - introduce the minuet into the symphony, it was he undoubtedly who gave it - its peculiar and typical character. The minuet was the dance of good - society, affording opportunity for the display of dignity, grace, and - deportment. We cannot hear those minuets which best reflect the character - of the dance without thinking of powder and hoops; and now that the - manners it suggests have become obsolete, it can only be humorously - reproduced.<a href="#linknote-140033" name="linknoteref-140033" - id="linknoteref-140033"> 33 </a> Haydn did not parody the minuet of his - time, but he divested it of its distinguishing dignity; he took it as it - was danced by the middle-classes, and filled it with national cheerfulness - and good-humour. He represented a certain amount of joviality and - rollicking fun which would have been inadmissible in the <i>salons</i> of - the <i>noblesse</i>, and he was inexhaustible in witty suggestions and - surprises, without any taint of vulgarity or carelessness of musical - treatment. This was being popular in the best sense of the word; the - spirit was genuinely national, the form truly artistic; and so the minuet - took its place in the symphony, and kept it. The position given to it in - relation to the longer movements varied in early days; Mozart generally - places it after the andante. - </p> - <p> - Mozart's first symphonies have only three movements, and it is perhaps not - merely accidentally that the minuet is first introduced in the symphonies - composed at Vienna in 1767 and 1768, but it is sometimes wanting in later - works. - </p> - <p> - It is interesting to trace in his youthful works Mozart's <span - class="side">MOZART'S SYMPHONIES.</span> <span class="pagenum"><a - href="pgimages/p297.png">[297]</a></span> gradual progress in mechanism - and practical skill. At first there is little melodious invention, but a - sense of effect and a knowledge of form always exist, and by degrees the - symphonies acquire body and character. Command of the orchestra makes - itself felt by degrees; first the separate parts become free and - independent, a special movement is given to the second violins by - characteristic passages and imitative treatment, and the basses too gain - life and independence; they are in free imitation for the first time in a - Symphony in G major (no K.) belonging to the year 1771. As development - proceeded the subjects became fuller, and the whole work gained in - consistency and substance, although it still wanted finish and - elaboration. The peculiar character of the string quartet became more and - more prominent; for a long time it formed the nucleus of the symphony, the - wind instruments strengthening the harmonies and emphasising some - particular melody, but only very gradually contributing to effects of - light and shade. Oboes and horns, trumpets too (generally without drums), - are combined according to rule, and gave the orchestra a sharp clear tone, - which was then admired; flutes were employed in movements of a gentle - character, usually with muted stringed instruments. It was not until later - that the bassoons were made independent of the basses, and then they - served, like the tenors, for middle parts. Many and diverse experiments - were made in the employment of new instrumental forces before the various - parts of the orchestra were successfully combined into a self-contained - and living whole. - </p> - <p> - Nothing whatever is known of Mozart's models in his instrumental music. We - may take for granted that he knew Josef Haydn's symphonies, and that they - were not without some influence on his genius; but few actual traces of - them can be discovered, while his conception of the minuet was altogether - different, and remained peculiarly his own.<a href="#linknote-140034" - name="linknoteref-140034" id="linknoteref-140034"> 34 </a> - </p> - <p> - <span class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p298.png">[298]</a></span> - </p> - <p> - The jovial humour and the delight in musical drollery which are Haydn's - characteristics are never predominant with Mozart; he preserves a national - tone, truly, but the interest it excites is due to the ennobling and - beautifying spirit which he throws into it. This side of Mozart's nature - appears even in his earlier works, and makes us the more ready to ascribe - any lapse into fun and drollery to the direct influence of Haydn. The last - symphony, in E flat major, which is avowedly ambitious in conception, - betrays undoubted external influence. Both the minuet and the lengthy and - elaborate concluding rondo are decided imitations of Haydn. The andante is - somewhat constrained ami unnatural, but there is a second and later - andante at the close, which is much simpler. - </p> - <p> - Mozart's instrumental compositions up to the year 1772 are only - interesting in so far as they show us how gradually and surely he gained - possession of all the means his art could place at his command;<a - href="#linknote-140035" name="linknoteref-140035" id="linknoteref-140035"> - 35 </a> but from this date they begin to acquire an independent interest. - It is remarkable that we possess no symphonies composed by Mozart between - 1775 and 1777. Reflecting how carefully all the compositions of this time - have been preserved, it is not probable that any can have been lost by - accident. On the other hand most of the great serenades and concertos for - violin and piano fall within these years; and it is quite possible that - Mozart's growing discontent with his position and the displeasure of the - Archbishop may have caused him to desist <span class="side">MOZART'S - SYMPHONIES.</span> <span class="pagenum"><a href="pgimages/p299.png">[299]</a></span> - from writing symphonies which were primarily intended for performance at - court concerts. We have further proof that Mozart wrote no symphonies - during these years in a letter from his father, on September 24, 1778, - where he says: "When a thing does you no credit, it is better that it - should be forgotten. I have sent you none of your symphonies because I - feel sure that when you have come to riper years, and have a clearer - judgment, you will be glad that they are forgotten, even though you may be - satisfied with them now." - </p> - <p> - Even the more important among the later symphonies are sparing in the use - of means, and precise in form, as indeed they were obliged to be, - considering that several symphonies were performed in one evening. - </p> - <p> - And yet Mozart writes to his father from Paris (September 11, 1778) that - he could not produce his symphonies there, since they did not suit the - French taste: "We Germans like long pieces, but in truth they are better - short and good." Progress is shown in greater freedom of treatment; the - first movement of a Symphony in D major (202 K.) and the last movement of - the Symphonies in G major (199 K.) and C major (200 K.), all belonging to - 1774, are full of life and vigour. These qualities presuppose more - individuality in the details, the interludes are developed with more - independence, and the loosely connected violin and violoncello passages - disappear altogether. Many of Mozart's special characteristics exist side - by side with turns of expression common to the time; for instance, the - second theme is sometimes an offshoot from the first, and the introduction - of a new subject at the close of the part often gives a new impetus to the - movement. - </p> - <p> - The Symphonies in G minor (183 K.) and in A major (201 K.) may serve as - very opposite examples of Mozart's works of the kind. The first has a - serious tone from the first subject onwards, the minuet and finale more - especially being almost gloomy in tone, and the andante the same, only - somewhat softened down. The second is full from beginning to end of - cheerful humour and tender grace, and may serve as an example of the way - in which a work of art <span class="side">INSTRUMENTAL MUSIC.</span> <span - class="pagenum"><a href="pgimages/p300.png">[300]</a></span> of perfect - mechanism and delicate shading may be produced from the simplest - materials. - </p> - <p> - If the minuets alone of the two symphonies be compared, it will be - acknowledged that an artist who within such confined limits can produce - impressions of delicate wit and humour on the one hand, and of gloomy - discontent and agitation on the other, has a full mastery of the forms and - capabilities of instrumental music. - </p> - <p> - The symphonies of that time do not, as a rule, attempt to express passion - or tragic emotion. They were, with few exceptions, intended to promote - social enjoyment; consequently their essential characteristics are - animation and brilliancy, or else calm serenity. The composer concentrated - his efforts on the form and mechanism of his composition; to express deep - feeling or the secrets of his own heart would have been alike impossible - to him as an artist and contrary to the spirit of the time. A sharp line - of division was drawn in theory and practice between human and artistic - emotions, and any display of subjective emotion was discouraged. In the - year 1774 "Werther" appeared; the strivings and conflicts of the time - which produced it had their influence on music; but music had to pass - through a longer and more arduous struggle before attaining to a like - freedom of inspiration and expression. - </p> - <p> - The evident striving of the youthful Mozart to express himself and his - innermost feelings in his music affords a significant indication of his - development as an artist. Life had not taught him the lessons of passion - and disappointment, and his nature was too sound and healthy to attempt to - anticipate or represent emotions which had not touched him; he shows - himself to us as he is. - </p> - <p> - The symphony was not then, as it is now, the grandest and most - comprehensive form of orchestral music. The first place was given to the - so-called serenata, a name originating in the circumstances of its - composition, and scarcely applied to a fixed or well-defined form. The - serenata was distinguished from the symphony in its narrow sense by - greater variety and wealth of ideas and treatment. Several instruments are - often grouped together in different combinations, <span class="side">THE - SERENADE.</span> <span class="pagenum"><a href="pgimages/p301.png">[301]</a></span> - and solo instruments are variously employed; also the number of separate - movements often reaches as many as eight. - </p> - <p> - For the arrangement and manipulation of the movements the perfected forms - of the symphony are employed, but with numerous modifications. - </p> - <p> - Serenades were introduced and sometimes also concluded by a march (39, - K.). This was concise in form and simple in treatment, very often without - even a trio; it was generally lively and cheerful. The detached marches by - Mozart which are preserved were doubtless intended for introductions to - serenades; they were often transferred from one to another, and so were - written separately. - </p> - <p> - The minuet is almost invariably inserted between each andante and allegro, - and therefore occurs two or three times in the symphony. The omission of - all the other forms of dance music, so amply represented in the suite, is - a proof that this form of instrumental music was not intended for - practical use, at least in this juxtaposition. Variations were sometimes - made in the character of the minuets by changes in the instrumentation, - more especially in the trio. Several trios were frequently given to one - minuet with appropriate instrumentation, making use of obbligato violins - (185, 203, 204, 250, K.), flutes (204 K.), trumpets (250 K.), and - sometimes the stringed instruments alone (100, 250, K.). - </p> - <p> - A grand allegro in two parts, as a commencement, and an allegro or presto - at the close, sometimes introduced by a short adagio, form the main - substance of the serenade as well as of the symphony, and the movements - are similarly treated. The slow movement between them is in its turn - between two minuets (62 K.), and there are sometimes two slow movements, - each with a minuet appertaining to them (99 K.), and characterised by - varied instrumentation. As time went on, an allegro was inserted between - the two slow movements, which, however, was rendered distinct from the two - principal quick movements by its lighter colouring and tone; the - instruments, too, are grouped with more diversity. For instance (185 K.), - the oboe and horn are employed obbligato in the first andante and the - <span class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p302.png">[302]</a></span> following allegro, and in the - second andante flutes are combined with the stringed instruments. - </p> - <p> - A singular use is sometimes made of obbligato violins in the serenade - (185,,203, 204, 214, 215, 237, 239, 250, K.). After the first allegro, the - solo violins lead in three movements, viz.: andante, minuet, and allegro - (rondo, 250 K.) which are in a measure complete in themselves, and form, - apart from their surroundings, a complete symphony. The expression - "finalmusik," which frequently occurs in Mozart's letters, seems to prove - that these lengthy compositions, with their concerted solo instruments, - formed the conclusion of the concert. The "concertantsymphonie" of the two - last serenades belonging to 1774 and 1775 (204, 250, K.), are conspicuous - from their peculiar instrumentation. In the other movements the usual - oboes, horns, and trumpets are used as accompaniment to the obbligato - violins, flutes, horns, and bassoons, and in the last movement especially - the combination and treatment are quite modern. These two serenades show - altogether a marked improvement on the earlier ones, which do not - essentially differ from symphonies. The orchestra is firmly handled, and - the orchestral subjects freely elaborated. Each of the many movements of - the last serenade is worked out as carefully and lovingly as if it were - the only one, and the ideas and motifs are so full of meaning and of - jovial good-humour that it is impossible not to feel that Mozart has here - put forth his best powers. - </p> - <p> - A short serenata (239 K.), consisting of a march, minuet, and rondo, - interrupted by a short adagio, was written in January, 1776, for stringed - instruments and drums only. A sort of chorus of two solo violins, - accompanied by violas and violoncelli, is opposed to another, composed of - two violins, viola, and violoncello, with the drums, all treated as tutti - parts. Such admirable use is made of the contrast and combination of the - two choruses, of the tutti parts and of varied sound effects, such as <i>pizzicato, - &.c</i>., and even the drum is so skilfully employed, that this little - work has taken a highly original colouring; with true tact the separate - movements are made short, in order that the <span class="side">SERENADES—CASSATIO, - 1771.</span> <span class="pagenum"><a href="pgimages/p303.png">[303]</a></span> - singular charm of the piece may not suffer from the fatigue of the ear.<a - href="#linknote-140036" name="linknoteref-140036" id="linknoteref-140036"> - 36 </a> - </p> - <p> - The same praise may be bestowed on a nocturne (286 K.) for four - orchestras, each consisting of a stringed quartet and two horns, so - arranged as to represent a threefold echo. When the first orchestra has - played a connected phrase the second orchestra falls in at the last bar - with the same, or with the four last bars of the same, the third follows - the second at the last bar with the three last bars, and the fourth comes - in in the same way with the two last bars; then the first orchestra - continues the theme. In this way all the three movements—andante, - allegro, and minuet—are managed, with but slight modifications; only - the trio of the minuet is played by one orchestra alone, or by all - together. It need scarcely be said that the omission of the echoes does - not affect the connection of the parts. The main point in such a trifle as - this is to carry it out with as little visible constraint as possible. - </p> - <p> - There is an especially good effect in the minuet where short passages - follow each other in rapid succession, falling in at different parts of - the bars, and the way in which in the first part the horns alone conclude - a phrase with—[See Page Image] cutting each other short in the most - impatient manner, is truly comical. - </p> - <p> - Similar instrumental compositions to this are called by the name of - divertimento or cassatio (which last term has never been satisfactorily - explained), in which the various parts are simply arranged.<a - href="#linknote-140037" name="linknoteref-140037" id="linknoteref-140037"> - 37 </a> The first of these (113 K.), composed in Milan in 1771, "Concerto - ossia Divertimento," has the four movements of the symphony, the last in - rondo form, and <span class="side">INSTRUMENTAL MUSIC.</span> <span - class="pagenum"><a href="pgimages/p304.png">[304]</a></span> resembles the - symphonies of that time also in the brevity and preciseness of its - arrangement. The strings are not obbligato, the wind instruments—two - clarinets and two horns—although not concertante, are more than - usually independent. For a later performance, probably in 1773, two oboes, - two English horns, and two bassoons were so added that the clarinets might - be omitted.<a href="#linknote-140038" name="linknoteref-140038" - id="linknoteref-140038"> 38 </a> The stringed instruments were left - untouched; the strengthening of the wind instruments was utilised for the - alternations, with slight and clever modifications. - </p> - <p> - In the next divertimento, belonging to June, 1772 (131 K.), consisting of - seven movements, the combination of the different instruments (four horns,<a - href="#linknote-140039" name="linknoteref-140039" id="linknoteref-140039"> - 39 </a> flutes, oboes, and bassoons) is varied with evident care. The - first adagio is for strings alone, the second for wind instruments; the - first minuet is for strings, the wind instruments alternate with each - other in the three trios, and all the instruments unite in the coda. In - the second minuet the four horns are especially prominent; in the third - movement, an allegretto, the flute is obbligato and the horns are silent; - in the first and last movements all the instruments work together. - </p> - <p> - A divertimento, singular in many respects, in six movements, for oboes and - two horns, together with stringed instruments, seems to have been written - quickly for some special occasion in July, 1776 (54 K.), and then to have - been laid aside. The score is hurriedly jotted down on already used music - paper of different shapes, with abbreviations, directions for the copyist, - and various corrections. The second minuet has no trio, but is three times - varied. The oboe is prominent and striking, not in passages, but in - sustained notes and tuneful melodies. The stringed instruments, without - being actually concertante, enliven the whole <span class="side">DIVERTIMENTI, - 1776-77.</span> <span class="pagenum"><a href="pgimages/p305.png">[305]</a></span> - by their free arrangement of parts. The national German character of the - melodies is very noticeable; they remind us in style of popular German - songs. - </p> - <p> - The alliance of the horns with the strings was a favourite one at the - time, although the instruments do not readily blend. The freer the - thematic elaboration of the string parts the more difficult it became for - the horns to keep pace with them, although now and then fine effects might - be produced by their means. - </p> - <p> - The difficulty was so to engraft, as it were, the horns on the stringed - instruments as to leave them free play for their own natural effects, and - to produce a certain richness and depth of colouring not attainable - without their aid. - </p> - <p> - In a divertimento, written about 1773 or 1774 (205 K.), two horns are in - union with violin, tenor, and violoncello, strengthened by a bassoon. It - is short and precise, but cleverly written. The adagio is a duet for - violin and tenor, to a very simple bass, the horns being silent. It must - be remembered that such pieces as these were always accompanied on the - clavier. - </p> - <p> - Two divertimenti or cassationi, as they are oftener called in the letters, - for string quartet, with two horns (247, 287, K.),<a - href="#linknote-140040" name="linknoteref-140040" id="linknoteref-140040"> - 40 </a> were written in June, 1776 and June, 1777, for the fête-day of the - Countess Ant. Lodron; they are finished works of the genuine Mozart type. - Both have six elaborately worked-out movements, and abound in grace and - fertility of invention, and in skilful harmonic treatment. The style is - that of a true quartet, that is, the instruments have each their - independent part, but the first violin, as a solo part, is markedly - predominant; in the first divertimento, in F major (247 K.), it sustains - the melody in every movement, but is bravura and concertante only in the - adagio. - </p> - <p> - In the second divertimento, in B flat major (287 K.), which is grand in - design and composition, the first violin is treated as a solo instrument - throughout, with a strong <span class="side">INSTRUMENTAL MUSIC.</span> - <span class="pagenum"><a href="pgimages/p306.png">[306]</a></span> - tendency to bravura, the remaining instruments co-operating in such a way - as to display the creative spirit of an artist in every detail, however - delicate or subordinate. In the very first thematically elaborated passage - the solo passages for the violin occur, which it is the chief concern of - the second part to elaborate. The second place—which in the former - divertimento (247 K.) was given to a simple, exceedingly graceful andante - grazioso, a kind of song without words—is occupied in the latter - (287 K.) by an air with variations, in which all the instruments take - part, but the violin more prominently, and with more of executive bravura - than any of the others. This is most apparent in the two minuets, but it - is very decided also in the broadly conceived adagio, where the second - violin and tenor are muted, the violoncello plays pizzicato, while the - first violin leads a melody richly adorned with figures and passages, and - requiring the execution of a finished performer. The use of muted strings, - especially in slow movements, was very frequent at that time in - accompaniments, as well as in symphonies and quartets, and was intended to - produce variety of tone-colouring; the violoncello not being muted, but <i>pizzicato</i>, - afforded a contrast of tone. The concluding movement is introduced by an - andante with a recitative for the first violin, not too long, and so - worked out that the whole compass of the instrument is characteristically - displayed. A long molto allegro follows this introduction, in 3-8 time, - which keeps the violinist in constant movement, and gives him an - opportunity of displaying the variety of his technical skill; but the - movement is carefully planned and composed, due consideration being given - to each part in its place. The recitative recurs at the end, followed by a - short and brilliant conclusion. The tone of this movement is not as - cheerful as usual; it is full of impulsive haste and changeful humour, and - its stronger accent betrays a certain intensity, even in the introductory - recitative. - </p> - <p> - The third divertimento, in D major (334 K.), may be most fitly noticed - here, although it was not composed till 1779 or 1780, since it accords in - every respect with the two last <span class="side">"HARMONIEMUSIK."</span> - <span class="pagenum"><a href="pgimages/p307.png">[307]</a></span> - mentioned.<a href="#linknote-140041" name="linknoteref-140041" - id="linknoteref-140041"> 41 </a> In breadth of conception and grandeur of - composition, it stands nearest to that in B flat major; the first violin - is perhaps less elaborately treated, and the tone of the whole is somewhat - calmer and more cheerful. Mastery of form in plan, grouping, and - arrangement is perfect in both compositions, as well as freedom and ease - in the elaboration of the subjects, as if they sprang spontaneously forth - as expressions of thought, each in its proper place and degree. Perhaps - the first movement is grander in design, and has broader motifs than the - later work; but the adagio is deeper and more elaborate, and the last - movement is more original in the B flat major divertimento. The remaining - movements are fairly equal.<a href="#linknote-140042" - name="linknoteref-140042" id="linknoteref-140042"> 42 </a> - </p> - <p> - It was the B flat major divertimento that Mozart played at Munich in 1777, - "as if he was the first violinist in Europe," so that "every one stared." - It is evident that difficulty of execution in his composition for the - violin, which is more noticeable after 1773, kept pace with Mozart's - progress as a violinist.<a href="#linknote-140043" - name="linknoteref-140043" id="linknoteref-140043"> 43 </a> - </p> - <p> - A style of composition much in vogue at that time was the so-called - "harmoniemusik," for wind instruments alone. Sometimes it was used as - serenades, sometimes people of rank had performances of six- or eight-part - harmoniemusik morning and evening, during meals, in which they were - imitated by the more pretentious tavern-keepers. There was opportunity - enough for cultivating this branch of composition at Salzburg. - </p> - <p> - In form these compositions, which were generally called divertimenti or - partite (partie) resembled those just described. They consist of three, - four, or sometimes more movements, which were grouped without any fixed - rule. One <span class="side">INSTRUMENTAL MUSIC.</span> <span - class="pagenum"><a href="pgimages/p308.png">[308]</a></span> divertimento - (186 K.) closes with a contredanse en rondeau; another (240 K.) has an - andante as first movement; then follows a minuet, and then a polonaise; a - third (253 K.) begins with an andante and variations. - </p> - <p> - The two first pieces of this kind are both scored for ten parts, two - oboes, two clarinets, two English horns, two French horns, and two - bassoons. Since one of the divertimenti (166 K.) was composed at Salzburg - on March 24, 1773, and the other probably at much the same time; and since - there were no clarinets in the usual Salzburg orchestra, they must have - been composed for some very special occasion. But neither the plan nor the - composition are on a larger scale than usual; the work is wanting both in - extent and expression, and the instrumentation is neither free nor - forcible. - </p> - <p> - There are two striking partites, one consisting of ten, the other of six - movements, which were written for two flutes, five trumpets (in C and D), - and four drums (in C, G, D, A) (187, 188, K.), about the year 1773 or - 1774, apparently to employ the trumpet orchestra on some festival - occasion. Whether the union of flutes with trumpets was founded on - precedent or not I cannot say. The flutes lead the melody, and have - allotted to them musical passages, connected, but short and unimportant in - substance and style. The trumpets seldom take part in the melody, but are - for the most part employed either together or separately as accompaniment; - the object has apparently been to preserve the effect of a body of sound - in the trumpets as far as possible, while aiming at giving them a definite - musical form. In the earlier and more prosperous times of the trumpeters' - guild, accomplished masters of horn-playing would not have needed the - support of flutes. - </p> - <p> - It is of more interest to note how a great master works within narrow - limits, and with small means at his command, by a consideration of the six - divertimenti for two oboes, two bassoons, and two horns (213, 240, 252, - 253, 270, 289, K.), which were composed between 1775 and 1777. - </p> - <p> - The destination of these trifling pieces, as table-music or such-like, - allows neither greatness of conception nor any <span class="side">THE - QUARTET—JOS. HAYDN.</span> <span class="pagenum"><a - href="pgimages/p309.png">[309]</a></span> expression of deep feeling; all - must be pleasing, cheerful, and quickly over. But Mozart was not content - with satisfying these conditions; his harmonie-musik is full of delicacy - and grace, tender and pure in conception, and touched with the firm hand - of a master. The details are carefully and neatly handled, without any - exaggeration; little side touches are scattered freely about—here an - imitation, there an original passage or turn in the middle parts, making - the whole interesting and full of life; happy instrumental effects abound, - and by varied combinations and changes of tone-colouring the outline of - the symmetrical structure is thrown into clear relief, in spite of the - limited means at command; just as a painter in monochrome shades his one - colour with such skill as to give a plastic roundness to his forms.<a - href="#linknote-140044" name="linknoteref-140044" id="linknoteref-140044"> - 44 </a> - </p> - <p> - This species of instrumental composition as it developed became limited, - curiously enough, to stringed instruments, for the most part in quartets - for two violins, tenor, and bass (replaced by the violoncello), more - rarely in quintets, with either the tenor or the violoncello doubled, or - in trios. They were still called divertimento or cassation, and did not - originally differ from this class of composition, either in form or in - liberty as to the number and arrangement of movements. - </p> - <p> - The rule that the quartet (as the whole species came to be called) should - consist, like the symphony and the sonata, of four fixed movements, was - laid down by Joseph Haydn. It was his inexhaustibly fertile invention and - his freedom in the treatment of form which nourished and developed the - germ of this chamber-music, until it bore the most beautiful blossoms of - German musical art. Mozart, destined later to surpass in this direction - his freely acknowledged example, displays evident tokens of Haydn's - influence even in his youth. On the whole, however, quartet music does not - seem to have enjoyed much favour in Salzburg; Mozart's <span class="side">INSTRUMENTAL - MUSIC.</span> <span class="pagenum"><a href="pgimages/p310.png">[310]</a></span> - not very numerous attempts fall in earlier years, and were not all written - in Salzburg. - </p> - <p> - Mozart's first quartet, in G major (80 K.), was composed on the first - journey to Italy, at Lodi, on March 15, 1770, at seven o'clock in the - evening—a circumstance of which he preserved the memory long - afterwards. The concluding rondo is written in a later hand on different - paper; and perhaps the whole consisted originally of only three movements—adagio, - allegro and minuet.<a href="#linknote-140045" name="linknoteref-140045" - id="linknoteref-140045"> 45 </a> A clear insight into the essential - conditions of quartet style, freedom and independence of all the parts, a - concentration of the whole work into a well-defined form, together with a - perfection of thematic elaboration, are all plainly discernible in this - first attempt, which, unimportant and wanting in originality as it may be, - yet gives the impression of a well-rounded piece of workmanship. The - second violin is worked out independently, with special care, in which the - tenor participates; less success has attended the effort for a free - movement for the bass. Attempts in counterpoint—as, for instance, at - the beginning of the second part—are, as might be expected, - learner-like, but they show that he knew what he was about. The last - movement betrays a firmer hand from the very beginning. - </p> - <p> - Three short divermenti follow, in D, B flat, and F major (136-138, K.), - each having three movements, composed at Salzburg in 1772, precise and - fresh in treatment, but evidently only meant for exercises. - </p> - <p> - On the journey to Milan at the end of October, 1772, Wolfgang beguiled the - tedium of the way by composing a "quattro"; and in Milan he was again - (February 6, 1773) busy with a quartet under his father's directions. This - no doubt belongs to a succession of six quartets in D, G, C, F, B flat, - and E flat major (155-160, K.), which, judging from style and handwriting, - fall within this period. They consist each of three movements, two closing - with the minuet (156, 158, K.), while the presto, 3-8, with which the - first begins has quite the form of a closing movement. The adagio <span - class="side">QUARTETS, 1772.</span> <span class="pagenum"><a - href="pgimages/p311.png">[311]</a></span> which follows it is unusually - serious—a simple melody with a uniform accompaniment in rich - harmonies. This is erased and another substituted, which is longer and - more elaborate, with a freer movement of the parts and a lighter - expression. In other cases the andante begins (as in 137 K.), and is - followed by the allegro. These quartets are not of wide scope, nor are the - different movements actually elaborated, but greater practice in - composition is evident throughout. - </p> - <p> - The different motifs are better adapted for elaboration, and there is a - remarkable increase of skill in dealing with the smaller divisions of each - part, on the working out of which depend the life and unity of the whole - conception. The opening phrases, repetitions, &c., are freer and - better fitted in; two-part imitation is sometimes neatly introduced and - fluently and gracefully carried out. - </p> - <p> - The composer's power has evidently grown as he worked, and the later - quartets are by far the most original. The second movement of the fifth - (159 K.), an allegro 3-4 in G minor, following an andante in B flat major, - has, through its rhythm and modulation, an expression of dry humour that - is quite suggestive of one of the later scherzos. - </p> - <p> - Six quartets, composed in August and September of the same year, at - Vienna, stand on a far higher level, and were probably written to order - (168-175, K.). The superscription of the first shows that the whole six - were planned together; they were written in quick succession, and their - variety represented the different tendencies of the quartet style. In - Vienna, of all places, the birthplace and domain of Haydn's chamber-music, - the ambitious youth would exert himself to satisfy the demand for the - highest class of compositions. Most of them have the approved four - movements, and the composer's invention and execution keep pace with the - more extended scope of the composition. The quartets are manlier and more - mature than in the earlier works of the kind; but the singular beauty of - form, the grace and freshness of Mozart in his full development, only show - themselves in momentary gleams of inspiration. - </p> - <p> - An effort to mould the raw material into form by means of skilful - workmanship, and to make it subservient to the <span class="side">INSTRUMENTAL - MUSIC.</span> <span class="pagenum"><a href="pgimages/p312.png">[312]</a></span> - spirit, is apparent throughout. We can see traces already of the study and - preparatory work which resulted in the fine and serious compositions of - the following year—the Masses in F and D major, and the Litany in D - major. First and foremost is apparent the effort to analyse and vary the - musical materials ready to hand by means of counterpoint. The first and - last quartet end with a thoroughly worked-out fugue, complete with stretto - and inversions. The close of the first fugue ended abruptly; Mozart has - therefore erased the last four bars, and has substituted the subject in - unison, thereby producing a lengthened and very effective conclusion. The - second fugue is not by any means so fresh and lively as the earlier one, - but it is richer in artistic work. Nor are Mozart's studies in - counterpoint apparent here only. An adagio (168 JK.) begins with a - four-part canon and retains the same character, although not so strictly - carried out; in tone and substance this is one of the best of the series. - Imitation is the rule in the elaboration of the first movements; and in - the last quartet the whole of the first movement in D minor is built upon - one characteristic motif. A free movement of the parts, a skilful - employment of passages, variety of instrumentation, and other such means - for giving life and animation to the music, are carefully provided, more - especially in the minuets. An examination into details will discover - traces of careful and delicate handling throughout the work. - </p> - <p> - There are more instances of fantastic ideas, generally rhythmical in form, - than are usually found in Mozart; this is owing, no doubt, to Haydn's - influence. The slow movements are for the most part expressive of simple - feeling, the andantino grazioso of the last quartet being especially - tender and graceful. The closing rondos are least significant; they are - not worked out, and the different parts are put together without any true - connection. The demands on the instruments are increased in comparison to - the earlier quartets, but there is still no bravura; the first violin - leads the parts, but is not treated as a solo instrument. In fact all four - instruments are treated in essentials as on an equality, so that the tone - and character of the <span class="side">QUINTET, 1772.</span> <span - class="pagenum"><a href="pgimages/p313.png">[313]</a></span> whole - regulate every detail, thus fulfilling a fundamental law in the - composition of quartets. - </p> - <p> - It must have been as a result of his Vienna studies that Mozart wrote a - quintet (174 K.) after his return in December of the same year; perhaps - the example of Michael Haydn had some influence. Mozart writes from Munich - (October 6, 1777) that he had invited Herr Dubreil, a pupil of Tartini, - and that they played "Haydn's two quintets." Joseph Haydn declares, in - answer to A. Romberg, who asked him why he has not written any quintets, - that he had never been commissioned to do so;<a href="#linknote-140046" - name="linknoteref-140046" id="linknoteref-140046"> 46 </a> on the other - hand, three quintets by Michael Haydn in F, C, and G major, dating between - 1770 and 1780, now lie before me. Mozart's quintet shows unmistakable - progress; both the plan and execution are broader, and there is more of - the true Mozart spirit in the conception of the motives. It is especially - interesting to compare two different elaborations of the finale which - exist.<a href="#linknote-140047" name="linknoteref-140047" - id="linknoteref-140047"> 47 </a> Mozart has taken the primary subject of - the first work, and treated it independently in the second, thereby - providing a just standard of criticism against himself. The first theme in - the later elaboration is quite new, and gives the key to the character of - the movement; then follows as a contrasting motif the chief subject of the - former work with suitable alterations. Originally this consisted of eight - bars, and was in three parts—[See Page Image] <span class="side">INSTRUMENTAL - MUSIC.</span> <span class="pagenum"><a href="pgimages/p314.png">[314]</a></span> - but afterwards the two first bars form the subject, taken up by one part - after the other; while the minims, which are appended to the rapid - semiquavers, give an effect of rhythmical and harmonious climax:—[See - Page Image] - </p> - <p> - It results from this that the divisions next following are easier and more - flowing; while, on the other hand, the preparation for the third principal - motif is broader and calmer. This third motif gives occasion for an - especially happy modification. Originally it ran thus—[See Page - Image] - </p> - <p> - and was then repeated entire; but now only the first four bars are - retained, the four last are omitted, and movement and expression are - provided by a shake passage. The conclusion of the first part is rendered - more impressive by a new and broader motif, and more homogeneous and - concentrated by the recurrence of the first subject. The working-out of - the second part, which was confined to the elaboration of the two first - bars of the original motif, is partially retained; but it is extended by - the recurrence and elaboration of the <span class="side">MOZART'S STUDIES.</span> - <span class="pagenum"><a href="pgimages/p315.png">[315]</a></span> - principal theme. Finally, a new and important climax is introduced in the - coda by the opposition of the two chief subjects. - </p> - <p> - This work may be taken to prove that Mozart was a severe self-critic, and - was not by any means always content with his first attempts. It can only - be by chance that no other example of remodelling a composition has been - preserved; the earlier attempts and studies would, no doubt, be generally - destroyed. The greater part of Mozart's works of this period have been - preserved in carefully written fair copies. We are amazed at the vigour - and ease with which he worked, but it would be wrong to represent him as - able to dispense with studies and preparatory sketches, even for his great - works. The creative power of genius is indeed a gift of nature, but a - mastery of art is only acquired by hard labour and pains; strength to - labour indefatigably and ability to make the labour bear fruit are the - prerogatives of genius. It would be doing Mozart an injustice to deny him - the reputation of true and conscientious industry; the beauty of perfect - work proves not that no labour has been bestowed on it, but that the - labour has been successful. Mozart's youth was occupied with his - endeavours to master the forms and materials which he found ready to hand, - and he would not be likely to neglect studies and exercises to this end, - though he might not think them worth preserving. - </p> - <p> - There must have been little encouragement accorded to quartet music in - Salzburg:<a href="#linknote-140048" name="linknoteref-140048" - id="linknoteref-140048"> 48 </a> after 1773, Mozart composed none until - 1784, when he was in Vienna.<a href="#linknote-140049" - name="linknoteref-140049" id="linknoteref-140049"> 49 </a> <span - class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p316.png">[316]</a></span> There can be no doubt that the - talent for violin-playing which Mozart displayed at a very early age was - carefully cultivated by his father. He performed in public on his first - journey and at the beginning of the first Italian tour; but by the time - they reached Rome he had ceased to play in public, though he still - continued his studies regularly. It was part of his official duty in - Salzburg to take the violin at court concerts. His father admired - Wolfgang's effrontery in taking a violin from one of the orchestra at - Vienna in 1773, and performing a concerto upon it (p. 146). He afterwards - devoted more serious attention to the instrument, and became a first-rate - performer on it, but evidently more from his father's impulse than his own - inclination. Not only was the violin-playing at court a burden to him, but - he seems to have had little liking for the instrument, and no real - confidence in his own powers of execution. "You have no idea yourself how - well you play the violin," writes his father (October 18, 1777); "if you - only do yourself justice, and play with fire, heartiness, and spirit, you - may become the first violinist in Europe." But, nevertheless, he practised - regularly and industriously, and his father wrote after he had left home - (October 6, 1777): "I feel a little melancholy whenever I go home, for as - I get near the house I always imagine that I shall hear your violin - going." After 1774, Mozart's violin compositions take more of the bravura - type, and afford a good standard of his technical development. He had as a - rival the well-established solo violinist, Brunetti, favoured by the - archbishop as being an Italian, but considered by L. Mozart as inferior to - his son. "He played your concerto very well," wrote L. Mozart (October 5, - 1777), "but was twice out of tune in the allegro, and once almost stuck - fast in a cadenza." When Brunetti's inconvenient rival had left Salzburg, - he was ready to do full justice to his performances. "Brunetti cannot - praise you enough," writes the father (October 9, 1777); "and the other - day, when I said you played the violin 'passabilmente,' he cried out, - 'Cosa? cazzo! se suonava tutto! questo era del Principe un puntiglio mal - inteso, col suo proprio danno.'" - </p> - <p> - <span class="side">MOZART AS A VIOLINIST.</span> <span class="pagenum"><a - href="pgimages/p317.png">[317]</a></span> - </p> - <p> - After Mozart had left Salzburg in September, 1777, he played the violin in - public both at Munich and Augsburg, and was somewhat ironical over his - success. "They all stared," he writes from Munich (October 6, 1777); "I - played as if I were the first violinist in Europe." And from Augsburg - (October 24, 1777): "I played a symphony and Wanhall's Concerto in B flat - for the violin with universal applause. At supper-time I played the - Strasburg Concerto. It went like oil, and every one praised the beautiful, - pure tone." But these communications ceased later on, and L. Mozart writes - in anxiety (October 9, 1777): "Have you left off practising the violin - since you were in Munich? I should be very sorry." (November 27, 1777): - "Your violin hangs on its nail; of that I am pretty sure." And so it must - have been. He was obliged to play the violin afterwards in Salzburg; but - after his stay in Vienna he never made proficiency on the instrument his - primary object, and it is well known that in later years, if he had to - take part in a quartet or other concerted piece, he selected the viola in - preference. - </p> - <p> - Mozart's most important compositions in this department are of course his - violin concertos, which were doubtless written in the first place for his - own use. According to his custom, he went thoroughly into the subject from - its very foundation, gaining proficiency by continuous work in the one - direction; in 1775 he composed five concertos for the violin (207, 211,' - 216, 218, 219, K.), to which was added a sixth (268 K.), not by any means - slight, fugitive attempts, but carefully conceived works of considerable - compass in three movements, allegro, andante or adagio, and rondo. - </p> - <p> - The first movement, which was the most elaborate, is more suggestive still - of the aria than is the corresponding movement of the symphonies. There is - the same fixed alternation between solo and tutti passages, the same - adornment of the solo part with passages and cadenzas, and indeed the - whole movement is a reminiscence of the serious aria. On the other hand, - the structure is more condensed and more animated; the passages grow out - of the principal <span class="side">INSTRUMENTAL MUSIC.</span> <span - class="pagenum"><a href="pgimages/p318.png">[318]</a></span> subjects, - connecting and adorning them. The movement falls usually into three main - divisions; the middle one, corresponding to the same division in the - symphony, passes into another key, and elaborates one or more motifs more - freely than in the symphony, and chiefly by changes of modulation and - modification of the passages, whereby the repetition of the first division - is effected. Abundant variety of detail is produced, chiefly by the - different combinations of the solo part and the orchestral accompaniment; - the solo passages are not usually of great length, solo and tutti - alternating often and quickly. - </p> - <p> - The second movement is simple, and rests essentially on the tuneful and - artistic delivery of the cantilene; embellishments are not excluded, but - they are kept in the background. The character of the movement is - generally light and pleasing, but a deeper, though always a cheerful mood, - sometimes makes itself felt. The tone is that of a romance; the - polonaise-like rhythm of the Concerto in D major (211 K.) is peculiar to - it; while the G major concerto (216 K.) has a regular and more broadly - conceived adagio. An adagio in E major (261 K)—composed for Brunetti - in 1776, because another, probably the interesting adagio of the A major - concerto (219 K.), was too "studirt," as L. Mozart writes (October 9,1777)—maintains - a kind of medium; it is more serious in expression and broader in - conception than the romance-like andantes, but on the whole it is pleasing - and pretty rather than grand. - </p> - <p> - The last movement is, as a rule, in the form of a rondo,<a - href="#linknote-140050" name="linknoteref-140050" id="linknoteref-140050"> - 50 </a> in which the solo part moves more freely, especially in the - connecting middle passages; the passages altogether have now scope for - expansion, the tone being light and cheerful, the form easy. It is not - unusual for passages in different time and measure to alternate in the - rondo, as in the D major concerto (218 K.), where an andantino grazioso, - 2-4, and an allegro ma non troppo, 6-8, alternate. In the G major <span - class="side">VIOLIN CONCERTOS.</span> <span class="pagenum"><a - href="pgimages/p319.png">[319]</a></span> concerto (216 K.), a cheerful - passage in 3-8 is interrupted by an andante in G minor—[See Page - Image] followed by an allegretto in G major—[See Page Image] that - leads back to the first subject. In the A major concerto (219 K.), the - chief subject is tempo di menuetto, interrupted by a long allegro, 2-4, in - A minor—[See Page Image] - </p> - <p> - In both these cases the clearly expressed popular tone of the interpolated - passages is remarkable, and has a striking and pleasing effect. The - allusion in the letters to the concerto, "with the Strasburg" points to - one of these passages: "The Strasburg dance, which consisted merely in - graceful movements of the arms and poses of the body, was generally - executed by a very youthful couple within the circle of waltzers."<a - href="#linknote-140051" name="linknoteref-140051" id="linknoteref-140051"> - 51 </a> - </p> - <p> - A decided progress is observable in the concertante for violin and viola<a - href="#linknote-140052" name="linknoteref-140052" id="linknoteref-140052"> - 52 </a> with orchestral accompaniment (364 K.), which was probably written - in 1780. It displays perfect finish in the conception of the separate - subjects and passages, power and melody in the development of the - orchestral accompaniments, and true artistic skill in the placing of turns - and phrases where they will be most effective. It is in the usual three - movements, but a more solid foundation and wider scope than usual are - given to the form, in order that the two solo instruments may have free - play; the <span class="side">INSTRUMENTAL MUSIC.</span> <span - class="pagenum"><a href="pgimages/p320.png">[320]</a></span> tutti - passages are longer and more important, which entails more participation - by the orchestra in the solo portions. This gives a symphony-like - character to the whole, to which the solo instruments add a peculiar - brilliancy. In relation to each other they are simply treated. They - generally relieve each other, either repeating whole phrases or sharing - them between them; when together, they are mostly in thirds and sixths, - and there seldom occurs a true two-part passage in which the two - instruments move freely and independently. - </p> - <p> - In this respect the concertone composed in 1773 (190 K.) is more artistic - in design and in workmanship. Here the orchestra is in contrast with two - solo violins, to which the oboe is added as a solo instrument; the - violoncello, though not so freely treated as the others, is also often - solo. The usual concerto form is given to the three movements, the middle - movement being romance-like, but more elaborate than usual, to give - employment to the solo instruments. The violoncello, though it does not - take a leading part in this movement, has an independent passage as - accompaniment throughout. The last movement is "tempo di menuetto," - resembling those in the violin Concerto in A major (219 K.), the bassoon - concerto (191 K.), the clavier concerto in C (246 K.), the triple concerto - (242 K.), and the clavier trio in B flat (254 K.); the form of the minuet - with several trios is treated with some freedom, and approaches that of - the rondo. The forcible and independent treatment of the orchestra, both - in the tutti and the solo passages, gives to the whole of this composition - the character of a symphony; but the solo parts are grouped with greater - variety, since there are four of them, and they do not as a rule repeat - the same passages or join in unison. Sometimes the violins alternate with - each other, sometimes the oboe joins them or opposes them, sometimes the - oboe and violoncello are both in opposition to the violins, and sometimes - all the four instruments move independently side by side. A strict and - ingenious fugal structure was required to give unity to this manifold - variety. In the first allegro especially the motifs are chiefly - imitatively treated, and <span class="side">MOZART'S TREATMENT OF THE - VIOLIN.</span> <span class="pagenum"><a href="pgimages/p321.png">[321]</a></span> - sometimes the varied rendering of a phrase necessitates a change of - instruments; the coming and going of the instruments and their - combinations are carefully planned, as well as the part taken by the - orchestra in producing the general effect. In the two last movements - alternation is the predominant principle, and the parts are only - ingeniously interlaced here and there. The work displays throughout more - of skilful mechanism and clever elaboration than of original invention and - beauty. - </p> - <p> - The judgment of connoisseurs on Mozart's technical treatment of the violin - tends to show that the difficulties even in solo parts are comparatively - small, but that an acquaintance with the idiosyncrasies of the instrument, - which could only be gained violin in hand, is always apparent; all is made - as smooth and easy as possible for the performer, at the same time that - effects of striking originality are produced. Our idea of Mozart as a - violin-player will gain in interest by a knowledge of his judgment on - other violinists. As a child, he had become acquainted at Mayence with the - violinist Esser, of whom the father writes later from Salzburg (December - 7, 1780): "Esser is a merry old simpleton; but he plays (when he is in - earnest) with a firm and remarkable execution, and has a finer adagio - touch than is the case with most allegro players. But when he is in a - joking mood he plays on the G string alone with the greatest ease, and - plays pieces with a lead pencil on the strings wonderfully correctly and - quickly.<a href="#linknote-140053" name="linknoteref-140053" - id="linknoteref-140053"> 53 </a> He plays the viola d'amour charmingly.<a - href="#linknote-140054" name="linknoteref-140054" id="linknoteref-140054"> - 54 </a> But what struck me as particularly childish was his whistling of a - recitative and aria equal to any singer, with all the expression, - flourishes, shakes, &c., in a truly marvellous manner, accompanying - himself on the violin <i>pizzicato</i> At the same time he laments that, - like the rest of them, he cannot play without grimaces and absurdities." - On this point, little Wolfgang, unimpressed by Esser's tricks and <i>tours - de force</i>, had said that he played well, but made too much of it, and - would do better to stick to what was written. - </p> - <p> - <span class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p322.png">[322]</a></span> - </p> - <p> - Of Ign. Frànzl (b. 1730), whom he heard at Mannheim, he wrote to his - father (November 22, 1777): "I have had the pleasure of hearing Herr - Frànzl play a concerto on the violin. I was extremely pleased. You know - that I am no great lover of difficulties. He plays difficult passages so - that one does not know that they are difficult, and thinks one can imitate - him; which is true art. He has also a good round tone, every note is - correct and clear; he has a charming <i>staccato</i> in one bow up as well - as down, and I never heard such a double shake before. In a word he is, in - my opinion, no juggler, but a very good substantial violinist." - </p> - <p> - Mozart wrote an oboe concerto for the celebrated oboist Gius. Ferlendi, of - Brescia, who was in the Salzburg band in 1775; it does not seem to have - been preserved. He tells his father (November 4, 1777) that he has made a - present of it to the oboist Ramm at Mannhein, who was wild with delight, - and played it five times with the greatest applause. He sent from Vienna - for the little book containing the Ferlendi concerto, for which Prince - Esterhazy had promised him three ducats. Another composition of Mozart's - was a concerto for the flute, which, according to Schiedenhofen, was - performed by Cosel in a serenade arranged by Wolfgang for his sister; this - may have been the Concerto in G major (313 K.), which evidently belongs to - this period. A certain Baron Thad. von Dümitz was an amateur on the - bassoon; Mozart composed three concertos for him, one in C and two in B - flat major (191 K.), short and unpretentious, as the instrument required; - also a duet for bassoon and violoncello (292 K.).<a href="#linknote-140055" - name="linknoteref-140055" id="linknoteref-140055"> 55 </a> - </p> - <p> - Although from his earliest years Mozart had excited lively admiration by - his clavier and organ-playing, it will be better to consider his - performances on these instruments later on, when we shall have the - assistance of more direct testimony. We know little more of his studies<a - href="#linknote-140056" name="linknoteref-140056" id="linknoteref-140056"> - 56 </a> than that he practised <span class="side">CLAVIER COMPOSITIONS.</span> - <span class="pagenum"><a href="pgimages/p323.png">[323]</a></span> the - clavier much and diligently, which, indeed, requires no proof. - Compositions by Wagenseil, Paradies, Bach, and Lucchesi are incidentally - mentioned as subjects for home practice. - </p> - <p> - There now remains to consider only the compositions for the clavier, of - which there are curiously few known. Some may have been lost, but it is a - fact that after his first childish attempts Mozart composed comparatively - little for the clavier during his residence in Salzburg. There was little - opportunity of performing clavier compositions, the instrument was not - used solo in the court concerts, private concerts were not profitable in - Salzburg, and in society Mozart generally made use of the clavier to - improvise or prelude. The lessons which he gave to ladies of rank afforded - him an opportunity for composing, but for these pupils he could only write - show-pieces. - </p> - <p> - To the earliest authentic clavier compositions belong the variations (179 - K.) on a very popular minuet by the celebrated oboist Fischer, a bravura - piece for the time, full of what were then considered difficulties.<a - href="#linknote-140057" name="linknoteref-140057" id="linknoteref-140057"> - 57 </a> - </p> - <p> - He had them sent to Munich in 1774 in order to make a show with them, and - on the journey to Paris we hear that he had recourse to the Fischer - variations when he was obliged to play in polite society; proving that he - was not provided with many compositions of the kind. - </p> - <p> - There were some clavier sonatas written at that time too, which Nannerl - was instructed to bring to Munich (December 21, 1774), the result being a - commission from Baron Dürnitz for six sonatas (279-284 K.); they are often - mentioned by Mozart on the Paris journey of 1777, and he played them - frequently in Munich, Augsburg and Mannheim with great success. They - consist, after the old fashion, of three movements; the fourth forms an - exception to the general rule, containing a long adagio, two minuets (the - second instead of a trio), and an allegro; the last is another exception, - the first allegro being followed by a rondeau en polonaise—like the - violin concerto (218 K.)—ending with variations. Mozart <span - class="side">INSTRUMENTAL MUSIC.</span> <span class="pagenum"><a - href="pgimages/p324.png">[324]</a></span> spoke of sonatas as difficult - which are now given as lessons to beginners (February 2, 1778). - Nevertheless it is no small praise to him that, after the lapse of ninety - years, the judicious treatment of the instrument, the healthy freshness - and finished form of these compositions entitle them still to be - considered as the best foundation for a musical education. Any one capable - of appreciating a work of art will find all its essential conditions - fulfilled in these simple sonatas. - </p> - <p> - L. Mozart mentions in a letter (December 8, 1777) two four-hand sonatas, - written by Wolfgang for himself and his sister. One may be the well-known - B flat major sonata (358 K.) which Mozart wrote for from Vienna (June 27, - 1781). The form is concise and little elaborated; the essential condition - that each player shall contribute his independent share to the general - effect is kept duly in view. A second sonata is not authenticated.<a - href="#linknote-140058" name="linknoteref-140058" id="linknoteref-140058"> - 58 </a> - </p> - <p> - A trio for clavier, violin, and violoncello (254 K.), belongs to August, - 1776, which, according to Mozart's Munich letters (October 6,1777), - Nannerl played at Salzburg with Janitsch and Reicha. It displays, like all - the compositions of this period, completeness and roundness of form with - maturity and cleverness of conception, and surprises us by its animation - and the tender beauty of many of its turns of expression. The clavier is - the chief instrument, then the violin, more simply treated, but - independent. The violoncello does not yet receive full justice; it is only - used as a bass, often effectively, but never overstepping its narrow - province. - </p> - <p> - After the (violin?? DW) Concerto in D major (175 K.), composed in - December, 1773, and played with applause at Mannheim (February 14, 1778), - and, with a new finale, at Vienna (March 22, 1782), Mozart wrote no - clavier music until January, 1776, when he composed a clavier Concerto in - B flat major (238 K.), another in April in C major for the Countess Lützow - (246 K.), and in January, 1777, one in E flat major for Madame Jenomy (271 - K.). This industry <span class="side">CLAVIER CONCERTO (271 K.)</span> - <span class="pagenum"><a href="pgimages/p325.png">[325]</a></span> was not - the result of caprice or chance. Composition went hand in hand with his - development as a virtuoso, and we can measure his progress by the - increasing difficulty of his works. Unless he was to remain in Salzburg - all his life,<a href="#linknote-140059" name="linknoteref-140059" - id="linknoteref-140059"> 59 </a> a professional tour, to make himself - known to the world, became more and more a necessity. Both brilliant - execution as a virtuoso and a supply of original compositions would be - necessary conditions for such a tour; Wolfgang's prudent, worldly-wise - father took care that he should be prepared on all points to insure the - success of the undertaking. - </p> - <p> - The most remarkable of the clavier concertos, which in form and treatment - resemble the violin concertos, is the last (271 K.), which, in its freedom - of form, breadth of design and passion of expression, approaches very near - to the divertimento in B flat major (287 K.), which belongs to the same - period. The very beginning is original, the clavier striking in with the - first bars, and so giving a peculiar tone to the whole movement. Not less - original is the entrance of the solo passage proper, the clavier falling - in to the last bars of the gradually expiring tutti passage, with a shake - of several bars length, out of which the subject springs; the same turn is - afterwards made use of at the close of the first movement. The middle - movement is called andantino, but expresses deep and painful emotion, and - the cantilene repeatedly assumes a recitative-like character (in one - beautiful climax the violins are in imitation), ending with a perfect - recitative.<a href="#linknote-140060" name="linknoteref-140060" - id="linknoteref-140060"> 60 </a> The last rondo (presto), a capital - exercise for the fingers in its unceasing rapid movement, has a far more - important character than is usual with concluding movements. A long - cadenza leads back to the subject; the second time, however, it does not - lead to the subject, but to a <span class="side">INSTRUMENTAL MUSIC.</span> - <span class="pagenum"><a href="pgimages/p326.png">[326]</a></span> - "menuetto cantabile," which, kept in check by an orchestral accompaniment, - has more and more the character of a free fantasia, and at last goes back - to the subject in a new cadenza, which leads to a brilliant conclusion. - </p> - <p> - A concerto for three claviers, written in February, 1776, in F major (242 - K.), displays an increase in solo powers; a title-page, carefully written - by the father, announces it as "Dedicato al incomparabile merito di S. - Exc. la Sgra. Cont. Lodron, nata Cont. d* Arco et delle sue figlie le - Sgre. Cont. Aloisia et Giuseppa." We must not look for the same - contrapuntal independence of the three instruments which we find in Bach's - concertos, but there is no mistaking the cleverness and delicate sense of - effect which are displayed in the varied combinations of the instruments—the - doubling of parts, the strengthening of the melody or of the bass, the - position of the accompaniment, and the alternation of the instruments. The - main object of the first movement is to give equal and yet individual - effect to each of the three claviers, although the third is hardly on a - level with the other two; in the two last movements the third instrument - is still more in the background, being chiefly confined to accompaniment, - so that in the finale it does not even take part in the cadenzas. This - made it easier for Mozart to arrange the concerto for two instruments; the - solo parts, so altered, are preserved in his handwriting. The tone of the - concerto is lively and cheerful; the whole is treated in an easy and happy - vein of humour, which entertains the players quite as much as the - audience. Mozart seems to have been fond of this concerto, and he informs - his father with some satisfaction that it had been successfully performed - both at Augsburg (October 24, 1777), and at Mannheim (March 24, 1778). - </p> - <p> - The orchestra has a perfectly independent part in this composition; but - there is no very marked distinction between tutti and accompaniment; the - orchestra and clavier mutually support and further each other, and their - union results in a perfect work of art. - </p> - <p> - It is easy to estimate the claims made by Mozart upon the clavier-player. - The principal are simple and tuneful delivery of the melody, clearness and - precision in the <span class="side">MOZART AS VIRTUOSO.</span> <span - class="pagenum"><a href="pgimages/p327.png">[327]</a></span> - embellishments (which were more numerous than at the present day, to suit - the instrument then in use), skill and steadiness in the running passages - and shakes. Technical difficulties, such as passages in octaves, thirds, - or sixths, occur seldom or never at this period. The use of the left hand - is also limited; rapidity is only required in accompaniment passages, and - independence in the execution of left-hand melodies. What the composer was - able to accomplish with the limited means at his command lies clear before - us; the life which the virtuoso threw into his works by performances full - of spirit and genius cannot be reproduced by any observation of form and - mechanism. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_15" id="chap_15"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XV. EARLY MANHOOD. - </h2> - <p> - OUR examination of the development<span - class="pagenum"><a href="pgimages/p327.png">[327]</a></span> of Mozart's - youthful genius, as it is - to be traced in the multiplicity and variety of his studies, may fitly be - concluded by a rapid survey of what he had accomplished and the position - which he held at his entry into manhood. - </p> - <p> - At twenty-one years of age he could hold his own with the first masters of - his time as a performer on the clavier, the organ, and the violin, and his - powers as an executant were far surpassed by his accomplishments in every - branch of composition. Remembering his numerous and successful - contributions to theatrical music in serious and comic operas, to church - music of every kind and description, to instrumental music, both concerted - and solo, we are amazed at the ease and fertility of his producing powers - not less than at the steady perseverance and earnestness of his studies. - He never begins at random and breaks off short, never yields to chance - impulses, to be abandoned before their object is attained; his will is - always consciously fixed on a definite end, and to that end he bends all - the force and energy of his mind. - </p> - <p> - No small share of the merit of this happy development <span class="side">EARLY - MANHOOD.</span> <span class="pagenum"><a href="pgimages/p328.png">[328]</a></span> - must be accorded to his father, whose careful and well-digested - educational plan, as earnest and conscientious as it was far-seeing and - full of love, counteracted the son's easy and excitable nature, and - concentrated his whole strength on his artistic cultivation. But the - greatest share, after all, falls to the admirable organisation of Mozart - himself. His nature was so genuinely artistic that musical perfection was - the very germ of that inner being of which his works were the natural and - inevitable expression. - </p> - <p> - The precocity of his talent, which had produced these works at an age when - most minds are only beginning to put their thoughts into articulate form, - had in it nothing forced, strained, or disturbed; he seized instinctively - on what was in harmony with his genius, absorbed it completely, and made - it the stepping-stone to his upward progress. - </p> - <p> - We have seen how he laboured to become absolute master of every kind of - form in his art, and how, step by step, his labours were rewarded. But no - amount of external readiness and skill would satisfy him unless he could - also give due expression to what moved his innermost soul, and impelled - him to production. And so it is that even in his earliest works we find no - opposition between their form and their substance; so it is that they are - always a <i>whole</i>—at first insignificant enough both in - substance and treatment, but still a whole—contained in a definite - expression of artistic form. Looking back at the history of an art which - has been begotten and fostered by any nation, we see how it is now - favoured, now hindered, by external circumstances, how it strives and - struggles through the long ages, possessing itself here by fits and - starts, there by easy transitions, of all the means and forms necessary - for its perfect practice. When at last the spiritual and intellectual life - of the nation has become free and impelled to artistic activity, the great - master arises, who, disposing at will of the inheritance of knowledge and - genius bequeathed to him by his fathers, accomplishes the highest task of - art in his representations of ideal beauty. The glorious contemplation of - the organic development of a gifted nature, turning all to good account, - <span class="side">FAMILY LIFE IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p329.png">[329]</a></span> and rejecting what impedes its - growth so soon as it has served its turn, is open for us in Mozart. To him - it was given to master the external conditions of his art on every side - without injury to his individuality and creative force. Artist and man - grew together; the deeper the passion and the more intense the emotion, - the more grand and impressive became the forms in which they were - embodied. And it is in this that consists the successful cultivation of - any art in youth: in this mastery of the means whereby the man in his - maturity makes his genius felt without apparent effort. Whatever study and - discipline could attain, Mozart had attained before he left Salzburg; it - was time that he should emerge from his narrow surroundings, that he - should win freedom and independence, both as a man and an artist, by - contact with the world. - </p> - <p> - The position held by Mozart at Salzburg, disproportionate alike to his - performances and their promise, could not but fail to satisfy him as soon - as he became aware of his own powers. - </p> - <p> - His life would have been simply unendurable had it not been for the - healthy family life which had been from earliest childhood the foundation - of his moral and social existence. - </p> - <p> - He grew up in an atmosphere of conjugal and parental affection, of sincere - religion and conscientious morality, and of well-ordered economy, which - could not fail in its effect on his character. "After God, papa comes," - was his motto as a boy and as a man; it was the keynote of the <i>whole</i> - household, and we have seen, and shall see further, how fully Leopold - Mozart deserved the trust reposed in him. - </p> - <p> - It was absolute confidence, not timid fear, which bound wife and children - to him, and candour and truth ruled all the family intercourse. Not only - the parents and children, but the brother and sister, were devoted to each - other; the similarity of their talents, far from exciting emulation or - jealousy, only bound them closer together; the sister witnessed the - brilliant successes of her younger brother with pure delight, and bore his - teasing with unfailing good-humour, sure, in her turn, of his ready and - hearty sympathy in her joys and sorrows, whether great or small. Such a - true <span class="side">EARLY MANHOOD.</span> <span class="pagenum"><a - href="pgimages/p330.png">[330]</a></span> family life as this, in which - the servants<a href="#linknote-15001" name="linknoteref-15001" - id="linknoteref-15001"> 1 </a> and even the pet animals<a - href="#linknote-15002" name="linknoteref-15002" id="linknoteref-15002"> 2 - </a> had their share, became all the firmer and heartier in proportion as - circumstances narrowed the circle composing it. - </p> - <p> - The primary motive-power was the father's earnest devotion to duty, and - his example gave weight to his unsparing demands on the labour and - industry of his children. He considered the accomplishments of an artist - as no mere pastime for hours of recreation, no passing breath of visionary - inspiration; but as the ripe food of ceaseless labour, of untiring - progress in moral and artistic self-knowledge. He was not content to - recognise in the wonderful receptive and productive powers of his son a - passport to easy indolence, but strove to make him consider them as - deposits to be turned to the best account by study and cultivation. He - accustomed his children to work from their youth up, and made it his first - object that their outer circumstances should afford them no excuse for - idle hours. "Custom." said he, "is an iron path." For this reason he gave - up every occupation (except the duties demanded by his official position) - which might withdraw him from his children, especially all lessons, - thereby entailing a considerable pecuniary sacrifice, for which the - profits of his first professional journey could only partially compensate. - But he had so firm a confidence in Wolfgang's future, and he kept this - object so clearly and continually in view, that nothing could divert him - from it. In the boy himself there was no cause for anxiety; his trust in - his father was unbounded, his nature was pliable, and his zeal for his art - so great that it was never necessary to incite him to industry; indeed, - his father often praises his energy and laboriousness. A further proof of - the father's beneficial influence is the fact that Wolfgang did not yield - to the temptation common to talented and lively youth in following <span - class="side">MOZART'S EDUCATION.</span> <span class="pagenum"><a - href="pgimages/p331.png">[331]</a></span> momentary and one-sided - impulses; but that he advanced step by step in a thorough and judicious - cultivation of all his powers. The great number of his compositions of - every kind which we have already noticed gives us no small idea of his - industry; and we must remember that these performances were only possible - as the result of continuous study and exercise, of which no outward sign - remains. The father insisted on Wolfgang's making clear copies on quarto - music paper, both of his own compositions and of examples of other - composers. A long list of such exercise-books, in gray-blue covers, with - every kind of composition in Mozart's handwriting, arranged and titled by - his father, affords the most speaking proof of the industry and regard for - order and neatness in which Wolfgang was trained. - </p> - <p> - Added to this was the continual hard practice on organ and clavier which - made him the finished performer he was, then his official duties at court - and church, his frequent engagements to play in private circles, and - finally the lessons which he was obliged to give—one wonders in fact - where he found time for it all in a day of only four-and-twenty hours. - Nothing but the anomalous union of extraordinary genius with regularity - and order could have produced so anomalous a result. Then again, L. Mozart - was too far-seeing and cultivated a man to be satisfied with an - exclusively musical education for his son. He took care that he should - attain proficiency in foreign languages; he had learnt Latin in early - youth (p. 61), and some knowledge of it was indispensable for sacred - composition, on which account his father enjoins him (October 15, 1777) - always to use a Latin prayer-book. He learnt to speak French and Italian - fluently on his journeys, and his father was careful to keep up his - knowledge of them. No opportunity was lost of acquiring "any kind of - useful knowledge," as Leopold writes (December 18, 1777), "in order to - cultivate the understanding by the reading of good books in different - languages." Unfortunately we are not told what books Wolfgang read, nor in - what direction his literary taste lay. It is characteristic of the father - that both the children were obliged every evening to write a short account - <span class="side">EARLY MANHOOD.</span> <span class="pagenum"><a - href="pgimages/p332.png">[332]</a></span> in a journal of what they had - learnt and done throughout the day, in order to cultivate their - observation of themselves and the things around them. - </p> - <p> - L. Mozart knew well that hot-house plants fade quickly, and was careful - not to overtax the powers of his son, but to preserve him in healthy - freshness, both of mind and body, by means of due diversion and - recreation. He sought also to render him self-possessed and unconstrained - in his intercourse with all classes of men, which Wolfgang's natural - amiability rendered an easy task; it was far more difficult to impress him - with the necessity for prudence and reserve, which not even the bitter - experiences of after-life could teach him. Tied and hampered, as L. Mozart - was, in all these endeavours by the conditions of his life in Salzburg, - one support remained of which he could not be deprived; this was the - beauty of the surrounding scenery. True, he makes no mention of it in his - letters, but the dwellers in beautiful neighbourhoods seldom express - enthusiastic admiration unless it is called forth by the observation of - strangers. Whether consciously or not, however, the influence of rich and - beautiful scenery must be felt by a finely organised mind, and the good - fortune of a youth passed amid such impressions of surrounding nature is - not less to be prized than any other happy dispensation which wakens to - life the slumbering powers of the soul. - </p> - <p> - Intercourse with cultivated and art-loving men, so indispensable to a - liberal education, was not easy of attainment in Salzburg. Such men were - few, and almost exclusively belonged to the higher nobility. Two Counts - Firmian, brothers to the Governor-General of Lombardy (p. no), were men of - a lively interest in and appreciation of science and art. While still at - the university they had founded a literary society which had considerable - influence in spite of the strong opposition which its free scientific - tendencies drew upon it.<a href="#linknote-15003" name="linknoteref-15003" - id="linknoteref-15003"> 3 </a> One of the brothers, Vigilius Maria, who - was provost of the cathedral, possessed a carefully selected library, and - was familiar with the literature of all the <span class="side">THE - NOBILITY OF SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p333.png">[333]</a></span> European countries; the other, - Franz Lactantius, Lord High Chamberlain to the Archbishop, was a - connoisseur of painting and possessed an excellent collection of pictures. - But he seems to have had little idea of music; for although he was - extremely well disposed towards Wolfgang, the latter writes to his father - (July 9, 1778) that nothing can be done for music in Salzburg until it is - altogether left to the kapellmeister, so that the Lord High Chamberlain - may have no power to interfere: "for you cannot make a kapellmeister out - of a cavalier, although you may make a cavalier out of a kapellmeister." - Canon Count Anton Wilibald Wolfegg had travelled extensively in order to - make himself acquainted with manufactures and industries, and had - specially studied architecture. The Master of the Horse, Count Leopold - Joseph Küenberg, was a well-read and accomplished man; the Bishop of - Chiemsee, Count Ferdinand von Zeil, was as distinguished for intellect and - cultivation as for nobility of disposition.<a href="#linknote-15004" - name="linknoteref-15004" id="linknoteref-15004"> 4 </a> We may gather that - all these men were well disposed towards Mozart. The Chamberlain, Count - George Anton Felix von Arco, the Court Marshal, Count Nicolaus Sebastian - von Lodron, and the Captain of the Body-Guard, Count Leopold von Lodron, - were also among his patrons. He had free entry into their houses, played - at their entertainments, and gave lessons to their daughters, all the - ladies, old and young, vying with each other in attentions to the - distinguished virtuoso. Wolfgang sends a respectful kiss of the hand from - Milan (February 17, 1770) to her Excellency Countess Arco, and thanks her - for the kiss she had sent him, which he prized more highly than many a - salute from a younger person. Differences of rank, however, and of - personal circumstances rendered difficult any such friendly intercourse as - would have been of advantage to Mozart both socially and professionally. - </p> - <p> - The circle was not an artistic one. Wolfgang praises Count Salem in Munich - (October 2, 1777), and calls him a <span class="side">EARLY MANHOOD.</span> - <span class="pagenum"><a href="pgimages/p334.png">[334]</a></span> true - connoisseur. "He says 'Bravo!' when the other cavaliers take a pinch of - snuff, or blow their noses, or cough, or begin a conversation." - </p> - <p> - The smaller or, as it was called, the "wilde" nobility lived for the most - part on the numerous smaller court offices, the incomes of which did not - enable them to make a show in proportion to their rank; they strove to - indemnify themselves by pride and haughtiness, although there were some - few cultivated families among them.<a href="#linknote-15005" - name="linknoteref-15005" id="linknoteref-15005"> 5 </a> With some of - these, and more particularly with their younger members, we find Wolfgang - in close intercourse, but the friendship was in most instances a - superficial one, which did not stand the test of years and absence. Herr - von Mölk, son of the Court Chancellor, is mentioned as a friend of - Wolfgang's, and an unsuccessful suitor of his sister Marianne; it was he - who was so amazed and delighted with the performance of the opera at - Munich that the Mozarts were ashamed of him, because it was evident that - he had seen nothing all his life but Salzburg and Innspruck.<a - href="#linknote-15006" name="linknoteref-15006" id="linknoteref-15006"> 6 - </a> Mozart was more attached, at least in his early years, to Fräulein W. - von Mölk, to whom he sends a message that he would like the same reward - from her that he had for the last minuets; she knows what that is. That - his heart was somewhat susceptible of impression in youth is evident from - the mysterious allusions which Wolfgang makes in his letters to his - sister; she is to visit—she knows whom—to give tender - messages, &c. When he went to Italy in 1772, an expression in a letter - from his father points to a daughter of Dr. Barisani as his reigning - goddess. Other friends of Mozart's youth were Herr von Hefner, son of the - town syndic; Herr von Aman, of whom he was very fond as a boy, though the - intimacy afterwards died out, and Joachim von Schiedenhofen, who disgusted - Mozart by marrying for money. Von Schiedenhofen kept in his youth a "diary - of his own doings," extracts from which, relating to the years 1774-1777, - take note of all the visits of <span class="side">SOCIETY IN SALZBURG.</span> - <span class="pagenum"><a href="pgimages/p335.png">[335]</a></span> the - Mozart family. These extracts prove that the Mozarts were on friendly - terms with many other court officials. They visited each other in the - afternoons and evenings, and either played cards or had music. Regular - entertainments are mentioned, such as meetings for the bolt-shooting which - we shall presently describe, and a card club; the friends also went to - concerts and masquerades together. - </p> - <p> - Intercourse with families of the citizen class, which could not fail to - result from the position held by the Mozarts, and from their many years - residence in the place, was more of a recreation for idle hours than a - means of intellectual improvement; occasional allusions to Salzburg - society are not of a favourable nature.<a href="#linknote-15007" - name="linknoteref-15007" id="linknoteref-15007"> 7 </a> Among their - intimate friends was our old acquaintance Hagenauer, a merchant, and for - many years their landlord. We may gather from the confidential letters - addressed to him by L. Mozart on the first journey that he was not only - sincerely attached to them and always ready with advice and help, but that - he had cultivation and tastes in advance of his surroundings. His wife, - judging from some remarks of L. Mozart, was somewhat bigoted and fond of - priestly intercourse. The closest friend of the family, however, who - possessed the confidence both of father and children, was Jos. Bullinger, - a priest, who had been educated at the Jesuit seminary in Munich and was - tutor in the family of Count Arco at Salzburg. "The faithful Bullinger" - was "always a chief person" in the Mozarts' house; in Wolfgang's letters - home he not only always sends messages to his "good friend Bullinger," but - he begs that his letters may be read to him, and sometimes that important - secrets may be told to no one but Nannerl and Bullinger. After the - mother's death in Paris, Wolfgang intrusted him with the mournful task of - breaking the news gently to his father, which Bullinger did <span - class="side">EARLY MANHOOD.</span> <span class="pagenum"><a - href="pgimages/p336.png">[336]</a></span> with equal tact and sympathy; - and when Wolfgang was forced, much against his will, to return to - Salzburg, it was to his friend Bullinger that he poured out his heavy - laden heart (August 7, 1778). And the attachment was mutual. When Wolfgang - was on his way home from Paris, and his father and sister, anxious for - news of him, confessed and communicated with many prayers for the - preservation of their dear one, "the faithful Bullinger" also "prayed for - him daily in the holy mass" (October 19, 1778). The father, too, had good - cause to declare that Bullinger was his best and truest friend, from whom - he had received "much courtesy and kindness," and who, when he was in - embarrassment during Wolfgang's journey, assisted him by a considerable - loan. - </p> - <p> - He placed the fullest confidence in Bullinger, shared with him all his - plans for Wolfgang, and took counsel with him on many occasions. The - friendship between them was well known in Salzburg; and in the efforts - that were made to recall Wolfgang from Vienna Bullinger was employed as a - go-between. He seems to have had some taste for music; at least, we hear - of his taking part in some private concerts, which were held every Sunday - at eleven o'clock; and Wolfgang writes, after his departure (October 11, - 1777), begging him to "hold an official discourse, and give his - compliments to all the members of the Academy." - </p> - <p> - Opportunities for social gaiety were more freely afforded to - pleasure-loving Salzburg under Archbishop Hieronymus than under his - predecessor Sigismund, whose tastes were not nearly so cheerful nor so - liberal.<a href="#linknote-15008" name="linknoteref-15008" - id="linknoteref-15008"> 8 </a> Salzburg society was characterised as - follows: "The country gentlemen hunt and go to church; those next below - them go to church and hunt; the next lower rank eat, drink, and pray; and - the lowest of all pray, drink, and eat. The two latter classes conduct - their love affairs in public, and the two former in private; all alike - live in sensual indulgence." - </p> - <p> - <span class="side">AMUSEMENTS IN SALZBURG.</span> <span class="pagenum"><a - href="pgimages/p337.png">[337]</a></span> - </p> - <p> - In 1775 a spacious hall, with some side apartments, were added to the town - hall, and there, during the carnival, masked balls were given under the - supervision of the magistrate, as well as concerts and other - entertainments. Mozart, who was fond of dancing and jokes, excelled in - masquerading; Schiedenhofen mentions his having amused every one as a - peasant bridegroom, and another time as a young dandy. - </p> - <p> - But even in Salzburg the most popular entertainment was the play; a - theatre was built expressly for the court on the right bank of the - Salzach, and there in winter performances were given by the Munich or some - other travelling company,<a href="#linknote-15009" name="linknoteref-15009" - id="linknoteref-15009"> 9 </a> sledge parties and others being formed for - the purpose of attending. In summer, excursions were made to the numerous - objects of interest in the neighbourhood, a very favourite one being to - the royal park of Hellbronn.<a href="#linknote-150010" - name="linknoteref-150010" id="linknoteref-150010"> 10 </a> The Mozarts - rarely participated in these pleasures. - </p> - <p> - Although the father was able to write to his son (February 12,1778): - "Consider whether I have not always helped you to procure every possible - pleasure that was harmless and sensible, often at the cost of great - personal inconvenience," yet his limited circumstances prohibited any very - frequent indulgence in such pleasures. - </p> - <p> - The increasing expenses, which he justly ascribed to the parsimonious - system of the government,<a href="#linknote-150011" - name="linknoteref-150011" id="linknoteref-150011"> 11 </a> necessitated - the strictest economy on his part. He laid these circumstances clearly - before his son (February 16, 1778):— - </p> - <p> - It has been very hard work for me ever since your birth, and even before, - to support a wife and seven children, besides your grandmother and several - others, on twenty florins a month, taking into account child-births, - deaths, and illnesses. If you calculate these expenses you will readily - believe that not only have I never had a kreutzer to spend on my own - pleasure, but that it has only been by the grace of God and hard work that - I have kept free from debt. I have sacrificed my whole time to you two - children in order that when the time came you might be able <span - class="side">EARLY MANHOOD.</span> <span class="pagenum"><a - href="pgimages/p338.png">[338]</a></span> both to maintain yourselves, and - also provide me with the means of spending a peaceful old age, occupied - only with thoughts for the safety of my soul, and preparations for a happy - death." - </p> - <p> - But L. Mozart's economy was judicious. "Buy nothing that is bad," he wrote - to his wife (October 26, 1771), "there is no saving in buying bad things." - The simplicity of the manners of the household, and the modest nature of - the enjoyments, may be proved by the extreme and constant popularity among - the whole circle of a game called "bolt-shooting" (bölzelschiessen). A - number of intimates formed themselves into a sort of little guild, and met - every Sunday at the various houses of the members. Each player in turn - threw a bolt or quoit, and numerous were the jokes to which the game gave - rise. A sort of rivalry grew up in the furnishing of each quoit with - inscriptions bearing on the foibles and peculiarities of the different - players, and the tendency to joking and sarcasm of the good Salzburgers - was thereby encouraged and indulged. A pleasant sociable kind of - intercourse grew out of these constant meetings. The following instance - will show the kind of pleasantry that was allowable on such occasions. - Leopold tells his son (November 11, 1780) how one of the lady members, who - was a little bit of a coquette, happened one day to trip on the step of a - shop she was entering in full daylight, and to fall in a very inelegant - posture. This was duly portrayed with appropriate verses on the quoit, to - the uncontrollable merriment of the whole party. The bolt-shooting is - never forgotten in the family correspondence; amusing quoit pictures are - forwarded to absent members, and their share of the winnings received by - their proxies. Mozart writes to his sister from Vienna (July 4, 1781) : - "Is it not about time for the shooting supper? Pray do not forget to drink - the health of a faithful shooter with due honours, and tell me when it - comes to my turn, that I may paint a quoit." - </p> - <p> - Under these circumstances, the encouragement which Wolfgang needed to - render his arduous labours pleasant and satisfactory could only be looked - for from the sympathy of his colleagues, and the favour with which his - performances were received. But, unfavourable as the state of things <span - class="side">INTERCOURSE WITH FELLOW-MUSICIANS.</span> <span - class="pagenum"><a href="pgimages/p339.png">[339]</a></span> was in - Salzburg in other respects, on this point it was simply intolerable. - Individual musicians, such as the faithful Schachtner, who were free from - envy, and had cultivation and industry enough to appreciate intercourse - with the Mozart family, formed a close and constant friendship with them. - But, with the majority, intimacy was on many accounts out of the question, - even when, as in the case of Michael Haydn and Adlgasser, they deserved - all recognition as artists.<a href="#linknote-150012" - name="linknoteref-150012" id="linknoteref-150012"> 12 </a> It was in - contrast to Salzburg that L. Mozart praises the orchestra at Mannheim as - "young men of good morals, neither tipplers nor gamblers, nor miserable - blockheads, whose conduct and performances are alike admirable" (July 19, - 1763). Wolfgang made similar observations in after years, and wrote to his - father from Paris (July 9,1778) how businesslike everything was under - Cannabich's conductorship, how implicitly he was obeyed, and what much - better lives the musicians lived there than at Salzburg. "One of my chief - reasons for detesting Salzburg is the impossibility of associating, as an - honest man, with the coarse, stupid, dissolute musicians belonging to the - court; one is quite ashamed of them, and it is they who bring music - generally into disfavour." We can well understand how frequently the - Mozart family would give offence to men of small cultivation and - ill-regulated tastes. As a childish prodigy Mozart had amused them by his - childlike candour and engaging confidence; but as a growing youth his - performances became an intolerable source of annoyance and envy to them, - not lessened by the brilliant recognition which he met with outside the - walls of his native town. Their ill-will was doubtless also increased by - the reserve of the Mozarts, their claims to superior cultivation, and the - justification sometimes accorded to these claims; and although the - father's prudence and the mother's good nature would prevent any open - rupture with their colleagues, yet a tendency to severe criticism, - sometimes jokingly, sometimes sarcastically expressed, is common to all - the Mozarts. If we may judge of the tone of their actual <span class="side">EARLY - MANHOOD.</span> <span class="pagenum"><a href="pgimages/p340.png">[340]</a></span> - intercourse by the numerous allusions in their letters (and Wolfgang's - forte was certainly not prudent reserve), then, indeed, Salzburg might - well dread the sharpness of the Mozart tongue. - </p> - <p> - The family were on least friendly terms with the Italians attached to the - service of the Archbishop. Almost everywhere in Germany the idea was - firmly rooted that the reputation of the musical establishments could only - be upheld by summoning composers and virtuosi from Italy. When Wolfgang - wrote to his father from Munich (September 29, 1777): "So it is! All the - great people have a rage for foreigners!" His father consoled him by - answering (October 4,1777): "The rage for Italians is almost confined to - Munich; it exists in an exaggerated degree. In Mannheim, everything is - German, except a couple of male sopranos. At Trêves, under the Elector, - Prince Clement of Saxony, the Maestro alone is Italian; Mayence is - altogether German; and at Würzburg the only foreigner is Signor - Fracassini, a violinist, now, I believe, kapellmeister, and that only for - the sake of his German wife, a vocalist and a native of Würzburg. There - are no foreigners at any of the smaller Protestant courts." - Notwithstanding, however, the reduction of the operatic and court - establishment of Stuttgart in 1768, by the dismissal of some of its chief - members, the taste and feeling, as well as the majority of the <i>personnel</i>, - continued to be purely Italian;<a href="#linknote-150013" - name="linknoteref-150013" id="linknoteref-150013"> 13 </a> and at Bonn - many Italians belonged to the court establishment, under the leadership of - Lucchesi.<a href="#linknote-150014" name="linknoteref-150014" - id="linknoteref-150014"> 14 </a> L. Mozart does not allude to North - Germany, since it lay out of Wolfgang's projected path. The natural - consequence of the intrusion of foreigners was ceaseless contention - between the German musicians, who saw themselves slighted and aggrieved, - and the Italians, who made their superiority most offensively felt.<a - href="#linknote-150015" name="linknoteref-150015" id="linknoteref-150015"> - 15 </a> Mozart had to suffer from foreign intrigues <span class="side">ITALIANS - IN SALZBURG.</span> <span class="pagenum"><a href="pgimages/p341.png">[341]</a></span> - not only in Milan while composing his opera (p. 130), but perhaps also in - Munich, and certainly in Salzburg. Archbishop Hieronymus, who set a low - value on anything belonging to Salzburg, although he paid a high price for - many a native manufacture bearing a foreign stamp,<a - href="#linknote-150016" name="linknoteref-150016" id="linknoteref-150016"> - 16 </a> introduced Italians into his band, because it had been blamed as - "rough and rapid in execution, and not delicate nor in the best taste."<a - href="#linknote-150017" name="linknoteref-150017" id="linknoteref-150017"> - 17 </a> The kapellmeister Lolli, having become old and incapable, was - replaced by Fischietti in 1772; this was a disappointment to L. Mozart, - whose claims to the office were well founded, since he was considered to - have placed music on its then excellent footing.<a href="#linknote-150018" - name="linknoteref-150018" id="linknoteref-150018"> 18 </a> Among the - soloists Brunetti was appointed to the violin, Ferrari to the violoncello, - Ferlendi to the oboe, and Ceccarelli was male soprano. These Italians were - not only better paid than native artists, but the "foreign asses," as - Michael Haydn called them, relying on the favour of the Archbishop, - conducted themselves with insolence and ill-breeding.<a - href="#linknote-150019" name="linknoteref-150019" id="linknoteref-150019"> - 19 </a> There can be no question that the annoyance to the two Mozarts was - great at seeing strangers, far below them in social position and talent, - preferred before them, while all the hard labour devolved upon themselves. - Fischietti's compositions were few and far between; Wolfgang was always - ready to compose operatic or sacred, vocal or instrumental music, as - occasion arose. All this implanted a rooted dislike to foreigners in - Mozart's young mind which the experiences of his later years did much to - confirm. But the artistic element of his nature was far too strong and too - pure to allow personal consideration to influence his judgment on Italian - music; his heart was so sound and good that he <span class="side">EARLY - MANHOOD.</span> <span class="pagenum"><a href="pgimages/p342.png">[342]</a></span> - could overcome his dislike to the nation in his intercourse with - individuals: it only transpires every now and then. - </p> - <p> - It was not very likely that the Mozarts—father or son—would be - in high favour at court. We do not know much of their dealings with - Archbishop Sigismund; but the difficulty L. Mozart had in renewing his - leave of absence proves that the Archbishop was not overpleased with his - repeated and lengthened stays abroad.<a href="#linknote-150020" - name="linknoteref-150020" id="linknoteref-150020"> 20 </a> Wolfgang - received an official post and the title of Concertmeister some time before - 1770, but no salary; and even after the production of "Ascanio in Alba" L. - Mozart was in doubt as to whether the Archbishop would remember his son if - any vacancy occurred (p. 134). It is not known whether the salary of 150 - gulden a year which he drew as Concertmeister had been granted to him by - Sigismund; in any case it was not raised until 1777 by his successor, - whose own sister, the Countess Schönborn, as Wolfgang writes (September - 26, 1777), "positively refused to believe that he had had a monthly - keepsake of twelve florins thirty kreutzers." - </p> - <p> - Mozart's position was still more unfavourable under Hieronymus, who never - forgave the inhabitants of Salzburg their strongly expressed opposition to - his election as Archbishop.<a href="#linknote-150021" - name="linknoteref-150021" id="linknoteref-150021"> 21 </a> He knew himself - to be unpopular, and, instead of courting popularity, openly displayed his - contempt for his subjects.<a href="#linknote-150022" - name="linknoteref-150022" id="linknoteref-150022"> 22 </a> He was a man of - acute and enlightened intellect, and carried out some important reforms in - his government <span class="side">ARCHBISHOP HIERONYMUS.</span> <span - class="pagenum"><a href="pgimages/p343.png">[343]</a></span> with a firm - hand; but he was self-willed, parsimonious, and unscrupulous.<a - href="#linknote-150023" name="linknoteref-150023" id="linknoteref-150023"> - 23 </a> He seldom expressed satisfaction with his officials. His - disdainful mode of address to all but those of the highest nobility, and - the irritable tone of his conversation, kept all about him in timid - subordination. Even his appearance (although he was of mean stature and - sickly complexion)—the sharp glance of his grey eyes, the left eye - rarely fully open, and the decided lines round his mouth—commanded - respect and fear.<a href="#linknote-150024" name="linknoteref-150024" - id="linknoteref-150024"> 24 </a> There were other circumstances besides - their German extraction and Salzburg birth which rendered the two Mozarts - obnoxious to the Archbishop. Count Ferdinand von Zeil, afterwards Bishop - of Chiemsee, to whose generous withdrawal Hieronymus owed his election,<a - href="#linknote-150025" name="linknoteref-150025" id="linknoteref-150025"> - 25 </a> was one of Mozart's warmest and most constant supporters, and for - him Mozart, like all Salzburg, felt the deepest love and respect. This was - not the way to the favour of Hieronymus. L. Mozart's independent - demeanour, doing his duty and going his way without obsequiousness or - flattery, and Wolfgang's open-mouthed candour, causing him occasionally to - forget his official position and the reserve it should have entailed, were - so many reasons for additional tyranny on the part of the Archbishop. - Added to this was the fact that Mozart, with his slender figure and boyish - countenance, made a poor personal impression on Hieronymus, who was - singularly apt to be imposed upon by men of commanding height and - appearance.<a href="#linknote-150026" name="linknoteref-150026" - id="linknoteref-150026"> 26 </a> He refused any recognition of Wolfgang's - musical accomplishments, and was unsparing in his criticism of them,<a - href="#linknote-150027" name="linknoteref-150027" id="linknoteref-150027"> - 27 </a> telling him—as <span class="side">EARLY MANHOOD.</span> - <span class="pagenum"><a href="pgimages/p344.png">[344]</a></span> Leopold - wrote to Padre Martini (December 22, 1777)—that he knew nothing of - his art, and should go and study at the Naples Conservatoire that he might - learn something; a sufficiently unreasonable proposal to an academician of - Bologna and Verona—to a young man who had traversed Italy in triumph - as a composer and virtuoso. True, Mozart had no great respect for the - Archbishop's critical judgment, but in the mouth of his Prince such an - expression of opinion was of very unpleasant significance; for, in point - of fact, Hieronymus was well aware of Mozart's genius, and never failed to - honour him with commissions when any new composition was required, for - which he never paid him a penny. Even if otherwise, those around him would - have put him right on the point; it was of set purpose that he gave vent - to these insults. He imagined that contemptuous expressions of opinion as - to his performances would be the most effectual means of preventing the - younger Concertmeister from preferring his claim to a higher salary than - 150 gulden a year. - </p> - <p> - Such were the continual insults and opposition borne by the father and - son, each on behalf of the other. "I hope" wrote Wolfgang, "that you are - less annoyed than when I was in Salzburg, for I must acknowledge that I - was the cause of it. I was badly treated; I did not deserve it. You - naturally took my part, but too strongly; I assure you that was the chief - reason that I hurried out of Salzburg." To this his father answers - (November 17, 1777): "You are quite right as to my extreme annoyance at - the tyrannical treatment you received; it gnawed at my heart, and - prevented my sleeping; it was always in my thoughts, and would in the end - have destroyed me. My dear son, when you are happy, I am happy; and your - mother and sister—we are all happy; and this happiness I hope for, - by the grace of God and my confidence in your own good sense." L. Mozart - saw from the beginning that Wolfgang would never fill a position worthy of - him in Salzburg; and he exerted himself in vain to procure a post for him - at some other court. The greatest caution was necessary to keep his - negotiations a secret at Salzburg; for his <span class="side">PLANS FOR - MOZART'S FUTURE.</span> <span class="pagenum"><a href="pgimages/p345.png">[345]</a></span> - enemies would not fail to seize the opportunity of injuring him, perhaps - of displacing him altogether. Aware of the folly of endangering his - assured position, uncomfortable though it might be, he strove to allay the - growing impatience of his son. The latter desired that the whole family - should gain their livelihood by a grand professional tour, until they - could find a secure and happier position in some place or other. His - father, wiser and more experienced, pointed out to him (December 18, 1777) - how entirely their circumstances had altered since his childhood, how hard - it would be to gain subsistence for a whole family journeying about, how - uncertain their means of maintenance would be; Leopold duly appreciated - also the cares and dangers of a nomadic life. Nor was he more inclined to - trust his son entirely alone. He knew Wolfgang's incapacity in all the - concerns of practical life, particularly in travelling, since he "did not - know the differences of coinage, and had no conception of packing up, or - anything of that sort." He saw the hindrances which envy and mistrust - would be sure to lay in the path of a young man who was striving to win - his way by surpassing talent and great doings. Above all, he feared the - temperament of his son, knowing that his careless frankness and good - nature, coupled with his excitability and proneness to hasty rejoinder, - would make him the easy prey of any one who might wish to use or to injure - him. He addresses Wolfgang in words of warning (February 16, 1778):— - </p> - <p> - My dear Son,—You are too hot and hasty in all your affairs. Your - character has entirely changed since your childhood and boyhood. You were - grave and earnest as a child; and when you were busy over your music, no - one might venture the least jesting with you. Even your countenance was so - grave that many people in different countries believed that your - precocious talent and serious face betokened an early death. Now, on the - contrary, it appears to me that you are far too ready to answer jestingly - on every occasion, which is the first step to a kind of familiarity which - one should eschew if one desires to win respect in the world. It is your - good heart which causes you to see no fault in a man, to give him your - full confidence, provided he only extols you to the skies; whereas, as a - boy, your excess of modesty made you cry when people praised you too much. - </p> - <p> - <span class="side">EARLY MANHOOD.</span> <span class="pagenum"><a - href="pgimages/p346.png">[346]</a></span> - </p> - <p> - L. Mozart knew also that Wolfgang would be so engrossed in his art as to - forget everything else, more especially whatever would be to his own - advantage. He trembled for the dangers which would beset the inexperienced - youth, leaving the narrow sphere of provincial life to encounter the - temptations of the great world. He strove with all his might, therefore, - to instil patience into his son, and represented to him that his probation - in Salzburg was a necessary preparation for the tour, which would have far - more certainty of success when he was somewhat maturer in age and - education. - </p> - <p> - But even this patience had its limits. Wolfgang had not left Salzburg - since he had produced the "Finta Giardiniera" at Munich, in 1775; if he - did not wish to be altogether forgotten, he must again display his powers - as a composer and executant. He had prepared himself for such a tour as he - proposed by prolonged study and solo compositions. The numerous fair - copies in the little books we have named had been made with the same - object in view; they could be readily packed, and always at hand for - performance, or to be copied again as presents. When everything was ready, - the father and son applied to the Archbishop for permission to travel; - this, as well as a petition for an increase of salary, was roundly - refused; the Archbishop giving as his reason that he would not have his - subjects "going on begging expeditions." - </p> - <p> - But the cup was now full to overflowing; Wolfgang begged leave to resign - his post at Salzburg, and the Archbishop, enraged at having the tables - turned upon him, accepted the resignation in the most ungracious manner. - It was even expected that his anger would extend to the father, and that - he had given orders to strike L. Mozart's name off the list of his - musicians. This, however, was not the case; with an ungracious remark the - Archbishop allowed him to retain his place. - </p> - <p> - Wolfgang's resignation excited much notice in Salzburg; and the universal - regret was shared even by those immediately round the Archbishop. Count - von Firmian, who was extremely fond of Wolfgang, was rejoicing on his - return from a journey (as L. Mozart relates, October 4, 1777) in <span - class="side">RESIGNATION OF SERVICE AT COURT.</span> <span class="pagenum"><a - href="pgimages/p347.png">[347]</a></span> the pleasure that a riding-horse - he had purchased for him would give his young friend, when he was met by - the lamentable intelligence. When he paid his respects to the Archbishop, - the latter remarked: "We have one musician less since you left." He - answered, "Your Grace has lost a great performer." "How so?" "He is the - greatest clavier-player that I ever heard in my life; he has done your - grace good service on the violin, and he is a first-rate composer." - Whereupon the Archbishop was silent. Canon Count Jos. Starhemberg too, - declared later (June 29, 1778) that Mozart's complaints were fully - justified, and that all visitors to Salzburg had admired young Mozart, by - whom he himself was quite captivated. - </p> - <p> - But this turn of affairs gave L. Mozart the deepest anxiety; all the - difficulties and objections to the journey pressed upon him with redoubled - force now that it was to be undertaken under such unfavourable - circumstances. It was, however, rendered inevitable. It would be - incompatible with pride or self-respect to purchase Wolfgang's continuance - in his office at the cost of abject submission to the Archbishop. It only - remained, by energy and foresight, so to make use of circumstances as to - preserve their honour with the Archbishop, and to insure a fixed position - for Wolfgang. The visits must be arranged to the larger towns, especially - residences, where concerts might cover the cost of the journey, and - commissions for compositions might render possible a lengthened stay, - ending, perhaps, in a settled engagement. The tour was planned with these - ends in view, and Leopold was never weary of impressing upon his son that - his sole endeavour must be to win a name, to make money, and to obtain a - position; personal gratification and mere amusement must be kept - altogether in the background. "Money-making," he writes (October 15, - 1777), "must engross all your attention, and economy must be all your - care, otherwise a journey is of no profit; on the contrary, it brings a - man into debt." And again (November 27, 1777): "The object of the journey - is, was, and must be the acquirement of a fixed position and the making of - money." His extensive connections and great local knowledge enabled him to - trace his <span class="side">EARLY MANHOOD.</span> <span class="pagenum"><a - href="pgimages/p348.png">[348]</a></span> son's path out, and to gain him - excellent introductions, and his zeal and activity were indefatigable. - Wolfgang was enjoined to become acquainted with persons and events, to - grasp quickly his probable prospects in any place, and either at once to - turn them to good account, or if unfavourable, to leave the place. But - Wolfgang had neither the experience nor the practical shrewdness of his - father; he felt secure of his art, in which alone he lived, and imagined - the rest would come of itse(l)f. The prospect of at last escaping from - detested Salzburg was apparently too engrossing to allow him to pay much - heed to his father's warnings. The father knew all this, and knew that he - must not go alone; he could not accompany him himself, and he therefore - took the hard resolve of parting with his wife and sending her forth with - their son. - </p> - <p> - He was quite aware that, as a woman, she could not occupy the same - position towards Wolfgang as he himself; and he must have felt, too, that - intense as her love for Wolfgang was, she had not the energy or - superiority of intellect necessary to guide him. But she knew the world, - and was an experienced traveller, and so he hoped that she would supply - the carefulness and economy which Wolfgang lacked; she was specially - enjoined to keep an exact account, and at once to inform her husband of - any propositions that were made, that he might advise and direct. She does - not seem, however, to have quite answered his expectations, partly because - she could not always withstand her son's impatient restlessness, and - partly because she yielded to her own inclinations, although she often - declared "she was ready to drop with the fatigue of packing-up." But - Leopold could rely on her influence on the most important point of all. - The mother's presence was a guarantee that her tenderly reared and devoted - son would be careful of his health. He hoped, too, that her presence would - preserve him from any dangerous or immoral intercourse, on which point he - gives Wolfgang the benefit of his own experience (February 16, 1778):— - </p> - <p> - I sought only the acquaintance and friendship of persons of the higher - classes, and even among them I avoided idle young fellows, whatever their - rank. I invited no one to visit me frequently, and always preferred - visiting others when I pleased. For if I do not care for a man, or am - <span class="side">PREPARATIONS FOR TRAVELLING.</span> <span - class="pagenum"><a href="pgimages/p349.png">[349]</a></span> busy or - engaged, I can stay away; but if he comes to me, I am at a loss to get rid - of him; and, even if a pleasant visitor, he may hinder me at my work. You - are a young man of twenty-two, so that it is not the gravity of your years - which will prevent worthless fellows, old or young, from making your - acquaintance and endeavouring to entice you to follow their example. One - is led on irresistibly, and finds, when too late, that there is no return. - </p> - <p> - I will not enter on the subject of women, wherein nature herself is our - enemy, and he who does not strenuously resist at first will strive in vain - to escape from the labyrinth, and will find no release but death. How - blindly one is often led on by jokes, flattery, &c., until returning - sense awakens one to shame, you may have, perhaps, already experienced in - some degree. I do not mean to reproach you. I know that you love me not as - your father alone, but as your closest and surest friend. - </p> - <p> - Separation from his wife was not the only sacrifice made by the father to - the well-being of his son. He foresaw that the profits of the journey - would hardly cover its expenses, and that he must arrange to have a sum - always in hand in case of emergencies. He had no private property; the - profits of the first journey had already disappeared; he was obliged to - borrow, and debt was abhorrent to so conscientious a man; but his friends - Hagenauer and Bullinger readily came to his assistance. He not only cut - down to their lowest point the expenses of his housekeeping with Nannerl, - but he undertook once more "the very uncongenial work of giving lessons," - badly paid and fatiguing as it was. A father who made such sacrifices for - his son had a right to demand in return, not indeed filial love, and the - gaining of artistic fame—that came freely and spontaneously—but - a degree of prudence and forethought which should suffice for the demands - of practical life. "I have, my dear Wolfgang," he says (February 16, - 1778), "not only not the smallest mistrust in you, but I place all - confidence and all hope in your future. It all depends on the sound good - sense which you certainly possess, if you would only pay heed to it, and - on fortunate circumstances. These last are not to be forced, but you can - always take sense to your counsel, and that I hope and pray you will." - </p> - <p> - Thus was everything planned and prepared, the necessary means were - provided, the outfit purchased, and a carriage - <span class="pagenum"><a href="pgimages/p350.png">[350]</a></span> - in readiness which would contain the two travellers and their luggage, - clothes, and instruments. This was the approved method of travelling at - that time, and Leopold Mozart was determined to send his son forth into - the world, not as an itinerant musician, but as an artist commanding - respect and honourable treatment, even from his outward surroundings. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="chap_16" id="chap_16"> </a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XVI. MUNICH AND AUGSBURG. - </h2> - <p> - EARLY on the morning of September 23,1777, <span class="pagenum"> - <a href="pgimages/p350.png">[350]</a></span>Wolfgang and his mother took - their departure from Salzburg, leaving L. Mozart far from well, and - inconsolable in his solitude. - </p> - <p> - "After you had set off," he wrote (September 25, 1777), "I went upstairs - quite exhausted, and threw myself on a couch. It was with a great effort - that I had restrained myself at parting, in order not to add to our grief, - and in the confusion I had forgotten to give my son the paternal blessing. - I ran to the window and sent it after you both; but as I did not see you - drive through the gate, I came to the conclusion that you had already - passed, and that I had sat immersed in my grief longer than I supposed." - Nannerl wept till she made herself ill, and did not recover till the - evening, when the two consoled themselves with a game of piquet. - </p> - <p> - Wolfgang, on the contrary, breathed more freely as soon as he had turned - his back upon Salzburg; the feeling of relief from the galling oppression - of years dispelled the sorrow of parting with his father and sister. In - his former journeys he had experienced nothing but encouragement and - success, and had been shielded from all the harassing cares of ordinary - life; and so he took his way with artless confidence into the wide world. - He little dreamt that he had in fact made the first step along a thorny - path, to be met from henceforth to the end by difficulty, opposition, - pain, and sorrow. <span class="side">MUNICH, 1777.</span> <span - class="pagenum"><a href="pgimages/p351.png">[351]</a></span> His mind was - fresh and youthful enough to be diverted by all the little incidents of - such a journey. When he sat down in the evening, "<i>undecima hora noctis</i>," - at Wasserburg, to acquaint his father of their safe arrival, he could - think of nothing more important to tell him than of their having seen a - cow "all on one side." He had met a fat gentleman who remembered having - seen Wolfgang a year ago during a performance of "Mirabell"; he was in - company with Herr von Unhold, of Memmingen, and they both sent their - compliments to Wolfgang's father and sister. It is plain that the boy - rejoiced in the feeling of freedom and independence: "<i>Viviamo come i - principi</i>, and want nothing but my dear father; but it is God's will, - and all will go well. I hope you will be well and as contented as I am. I - am getting quite expert, and, like another papa, taking care of - everything. I have always to pay the postilions, for I can talk to the - fellows better than mamma. Pray take care of your health, my dear father." - </p> - <p> - Their first stay was at Munich. The state of affairs there, coupled with - their former failure, gave little hope of a prosperous visit; but it was - necessary to make the attempt. Furnished with his diplomas of the - Academies of Bologna and Verona, and with recommendations from Padre - Martini, Wolfgang might present himself before the Elector Maximilian as a - thoroughly trained musician; and might hope to gain such favour from - influential patrons as would justify his undertaking new works. They took - up their abode with their old acquaintance Albert,<a href="#linknote-16001" - name="linknoteref-16001" id="linknoteref-16001"> 1 </a> known as "the - learned host." Wolfgang's first visit was to Count Seeau, the inspector of - plays.<a href="#linknote-16002" name="linknoteref-16002" - id="linknoteref-16002"> 2 </a> He met with a friendly reception, and was - advised by the Count to seek an audience of the Elector without delay, and - if he did not succeed, to address him by letter; there was no doubt that a - first-rate composer was wanted in Munich. - </p> - <p> - Wolfgang next paid his respects to the Prince Bishop of Chiemsee, Count - Zeil, who was residing in Munich on a <span class="side">MUNICH AND - AUGSBURG.</span> <span class="pagenum"><a href="pgimages/p351.png">[352]</a></span> - diplomatic mission. He conversed freely on Mozart's plans, and promised to - do his best for him with the Elector and his consort. But some days later - the Bishop said to him, "very politely" (September 29,1777): "I do not - think you will do much here. I spoke privately on the subject to the - Elector at Nymphenburg, and he answered, 'It is too soon yet, let him - travel in Italy, and make himself a name; I do not refuse anything, but it - is too soon yet.'" The Electress promised to do what she could, but - "shrugged her shoulders," and doubted of success. - </p> - <p> - These unfavourable prognostics were justified when Mozart, introduced by - the influential violoncellist, Frz. Xav. Wo-schitka (b. 1730), presented - himself to the Elector, who was on the point of going hunting with his - court. He gives the following account of the interview to his father - (September 30, 1777)— - </p> - <p> - When the Elector approached me I said: "I trust your highness will allow - me to lay myself and my services at your highness's feet." "Indeed! have - you left Salzburg altogether?" "Altogether, your highness." "Inded! Why? - Were you kept too close?" "May it please your highness, I asked permission - to travel, which was refused, whereupon I took a step which had long been - in my mind, for Salzburg is no place for me, that is certain." "<i>Mein - Gott</i>, young man! But your father is still at Salzburg?" "Yes, may it - please your highness; he lays his humble duty, &c. I have been in - Italy three times already, have written three operas, and been elected - Member of the Academy at Bologna, after writing a trial composition in one - hour which usually takes candidates four or five hours of hard labour; all - this proves that I am in a position to serve any court. My greatest wish - is to serve your highness, who is himself a great"—"Yes, my dear - fellow, but I have no vacancy." "I assure your highness that I should do - honour to Munich." "No doubt, no doubt; but there is no vacancy." This he - said as he was going, and I could only take my humble leave. - </p> - <p> - The Elector being unable, as L. Mozart was aware, to engage any one unless - there were a vacancy, no court office could be looked for at Munich, but - there seemed fair prospects of an assured position in another direction. - Count Seeau had interest enough to retain so distinguished a composer, - whose energy and productiveness promised good services. He was not only - manager, but also part <span class="side">MUSIC AT MUNICH, 1777.</span> - <span class="pagenum"><a href="pgimages/p353.png">[353]</a></span> - proprietor of the theatre; the Elector paid the band and the ballet, and - gave a yearly contribution of 9,000 gulden to the expenses, which was - received by Seeau. In return the latter provided the opera and the play, - and engaged the members of the two companies, chiefly natives of Munich, - who were to be had for eight to twelve gulden a month.<a - href="#linknote-16003" name="linknoteref-16003" id="linknoteref-16003"> 3 - </a> The Italian opera was only given during the carnival, and at great - court festivals, and then generally without remuneration; German operas - were the rule, that is, adaptations from the French or Italian, for as yet - original German opera did not exist. What a brilliant success might be - expected, from the lively interest of the Munich public in all matters - theatrical, if a man of Mozart's genius were to devote himself to German - opera! Seeau inquired of the Bishop of Chiemsee if Mozart did not receive - enough from home to allow him to remain there on a small salary; he should - like to keep him; the Bishop doubted this. Count Seeau preferred receiving - a proposal, and remained silent; but Mozart could perceive that he was - turning the matter over in his mind. He himself was all on fire at the - idea of having operas to compose. He gives his father an animated account - of the impression made upon him by the performance of a German opera, and - by the vocalist (October 2, 1777):— - </p> - <p> - The prima donna is named Keiserin; she is the daughter of the cook of a - nobleman here, a pleasant girl, and pretty on the stage; I have not seen - her nearer yet. She is a native of Munich. I heard her the third time that - she played, and thought she had a beautiful voice, not very strong, but - not weak either, and a pure, good intonation. Valesi is her teacher, and - her style shows that her master understands singing as well as teaching - singing. When she had to sustain a note for a couple of bars, I was - surprised at the beauty of her <i>crescendo</i> and <i>decrescendo</i>. - She has a slow shake, which I like extremely; it is all the clearer and - purer when she wants to make it quicker, and the quicker it is the easier - it is. She is an immense favourite with the people here, and I agree with - them. Mamma was in the body of the theatre; she went at half-past four, in - order to secure a seat I did not go till half-past six, for I am well - enough known to have the <i>entrée</i> to any of the boxes. I watched - Mdlle. Keiserin with my glass, and she drew more than one tear from <span - class="side">MUNICH AND AUGSBURG.</span> <span class="pagenum"><a - href="pgimages/p354.png">[354]</a></span> me; I cried "Brava, bravissima," - very often, remembering that this was only her third appearance. The piece - was called "The Fisher-Girl" (La Pescatrice), a good translation, with - Piccinni's music, but with nothing original in it. They want to have a - German opera seria soon—and they wish me to compose it. - </p> - <p> - Among the "wishers" was a certain Professor Huber, whom Mozart had met at - the Messmers' during his last visit to Vienna (1771); they renewed their - acquaintance at Herr Albert's, where the professor was a frequent visitor. - He was the deputy-manager of the theatre, and had, as Mozart expressed it, - "to read all the pieces submitted for performance, to improve, spoil, - accept, reject them." This censorship was necessary, since the management - performed all that was sent in, and was bound to put in study every native - production. And as at that time "almost every student and official in - Munich was bitten with the mania for authorship,"<a href="#linknote-16004" - name="linknoteref-16004" id="linknoteref-16004"> 4 </a> they were - overwhelmed with trash. Huber must have felt it a matter of importance to - retain such a remarkable genius as Mozart for the Munich theatre. - </p> - <p> - The wish, indeed, was generally felt; Baron Rumling paid Wolfgang the - compliment of saying: "The theatre is my delight, with good actors and - actresses, good singers, male and female, and such a capital composer as - you are!" Of this Wolfgang says (October 2, 1777): "It is only talk, - certainly—and talk does not go far—but he never spoke so to me - before." Wolfgang played several days in succession before Count Jos. von - Salem, the chief director of music and the opera (b. 1718);<a - href="#linknote-16005" name="linknoteref-16005" id="linknoteref-16005"> 5 - </a> he played a good deal "out of his head," then the two "cassatione" - (247,287, K.) composed for the Countess Lodron, and the finalmusik (250 - K.):— - </p> - <p> - You cannot think how delighted the Count was; he understands music, for he - cried "Bravo!" every time that other fine gentlemen take a pinch of snuff, - blow their noses, cough, or begin a conversation. I said to him that I - wished the Elector were there, that he might hear what I could do, of - which he knows nothing. All these great people believe whatever is told - them, and refuse to judge for themselves. It is always the way. I offered - him a trial; he was to get together all the artists in <span class="side">PROSPECTS - OF SUCCESS IN MUNICH.</span> <span class="pagenum"><a - href="pgimages/p355.png">[355]</a></span> Munich, and any he chose from - Italy, France, Germany, England, and Spain; I would undertake to write - against any of them. I told him what had happened in Italy, and begged - him, if the talk turned upon me, to remember all this. He said: "I have - very little influence; but what I can do I will, with all my heart." - </p> - <p> - He had some intercourse with musicians, too; Consoli had met him on his - entrance into the town, and lost no time in visiting him, and his old - friend Becke, the flautist, soon made his appearance. Albert arranged a - little concert ("with a wretched clavier, alas! alas!"), and invited a - clergyman, Dubreil, a pupil of Tartini, with the idea that he was a good - judge, and a clever performer; but this turned out to be a mistake. - </p> - <p> - We first played Haydn's two quintets, but it was dreadful; I scarcely - heard him; he could not play four bars without mistakes; his fingering was - bad, and he left out all the <i>sospiri</i>.<a href="#linknote-16006" - name="linknoteref-16006" id="linknoteref-16006"> 6 </a> He was very - polite, and praised the quintets, but—Then I played my concerto - (clavier) in C, in B flat, in E flat major (238, 246, 271, K.), and my - trio (254 K.). The accompaniment was fine; in the adagio I had to play six - bars of his part. Last of all, I played the last cassation in B (287 K.), - and they all stared. I played as if I were the greatest fiddler in Europe - (October 6, 1777). - </p> - <p> - Herr Albert, who took great interest in Wolfgang, far beyond merely - entertaining him,<a href="#linknote-16007" name="linknoteref-16007" - id="linknoteref-16007"> 7 </a> made him a proposal which might render it - possible for him to remain in Munich. He promised to bring ten friends - together, who should each contribute one ducat a month, or 600 florins - a-year; it would be easy to get commissions from Count Seeau which would - raise his income to 800 florins. "What do you think of this idea?" writes - Wolfgang, overjoyed; "is it not an act of friendship? and should I not - accept it, if it is really in earnest?" There was the immediate future to - be provided for, and for this he was assured that the concerts would begin - in November, and last until May (one was given in Herr Albert's hall every - Saturday), and then strangers came to the town; if he only stayed now, he - was quite certain of <span class="side">MUNICH AND AUGSBURG.</span> <span - class="pagenum"><a href="pgimages/p356.png">[356]</a></span> an - engagement. Wolfgang's mother thought well of this proposal; but his - father, as a man of the world, had many scruples (October 4, 1777):— - </p> - <p> - Herr Albert's proposition is, indeed, as great an act of friendship as one - can imagine; but, though it does not appear to have occurred to you, the - difficulty, to my mind, will be to find the ten people who are to give the - ducat a month. Who are these philanthropists and lovers of music? What is - their connection with you, and what services will they demand in return? I - do not see where they are to come from. Herr Albert would scarcely be able - to speak to them all without delay; some of them may be away from Munich. - For myself, I should prefer mercantile men to noblemen. It all depends - upon whether they keep their word, and for how long. If the thing is - feasible, well and good; it ought to be accepted; but, unless it can be - settled at once, you cannot stay there spending money and losing time, for - no profit is to be expected in Munich, in spite of all their compliments - and promises. - </p> - <p> - He turned out to be right: the ten philanthropists and lovers of music did - not come forward, and Wolfgang had to submit more than once to reproaches - for his readiness to believe in "fires of straw, which burn up quickly and - end in smoke." But even without such aid, Wolfgang thought he might - maintain himself in Munich for the present (October 2, 1777). - </p> - <p> - It would not be impossible for me to get on alone; I should get, at least, - 300 florins from Count Seeau; I need not concern myself as to my board; I - should be always invited out, and even if I were not, nothing pleases Herr - Albert more than my taking my meals with him. - </p> - <p> - I should contract with Count Seeau (on the advice of my best friends) to - supply him yearly with four German operas, some <i>buffe</i>, some <i>serie</i>. - Then if I had a <i>sera</i>, or benefit, on each, as is the custom here, - that would give at least 500 florins, which would bring my income up to - 800 florins, and probably more, for Reiner, a comedian and singer, took - 200 florins for his <i>sera</i>, and I am a <i>great favourite</i> here; I - should become a far greater if I helped to raise the German drama by my - music. - </p> - <p> - Mozart had clearly some confidence in his own powers; he did not think it - much to offer to write four German operas every year, and a salary of - +three hundred gulden did not strike him as being poor pay for the work. - But Count Seeau appears to have been too prudent to risk even so much as - this, and L. Mozart was still less inclined to consent to a <span - class="side">MOZART AND COUNT SEEAU.</span> <span class="pagenum"><a - href="pgimages/p357.png">[357]</a></span> plan which based all its - calculations on future and uncertain profits, and would not redound to - Wolfgang's honour. "You might certainly manage to live alone in Munich," - he wrote (October 6, 1777), "but what good would this do you? How the - Archbishop would sneer! You can do that anywhere else as easily as in - Munich. You must not make little of your talents, and throw yourself away; - there is certainly no need for that." Wolfgang's sister was of the same - opinion: "It would be no honour to you to remain in Munich without any - official position. It would be better to seek one at some other court; you - will soon find it." The father desired, therefore, that they should leave - Munich as soon as possible. "Fine words and bravissimos pay neither the - postboy nor the host. As soon as you find there is nothing to be got, you - had better move on." The good friends he had made might go on working for - him in his absence, and preparing the way for a future position for him. - He suggested this to Count Seeau, as he tells his father (October 3, - 1777). - </p> - <p> - "I have come to explain my affairs correctly to your excellency. I have - been told that I ought to travel in Italy. I was sixteen months in Italy, - and wrote three operas, as is well known. What happened further your - excellency will see by these documents." I showed him the diplomas. "I lay - all this before your excellency in order that if there is any talk of me, - and any injustice done me, your excellency may be able to set it right." - He asked me if I was going to France now. I said I should remain in - Germany. He thought I meant Munich, and said, with a joyful laugh: "What! - you are going to remain here?" I said: "No; I should like to have stayed; - and, to tell the truth, I only sought service under the Elector in order - that I might supply your excellency with my compositions, and that without - any personal interest; I should have taken pleasure in it." Whereupon he - pushed back his nightcap. - </p> - <p> - This then was the end of all the fine promises and honours. But other - prospects were opened to Wolfgang during his stay in Munich, which excited - his liveliest interest. Misliweczeck, his Italian friend (p. 126), had - produced at the carnival in Munich his opera, "Ezio,"<a - href="#linknote-16008" name="linknoteref-16008" id="linknoteref-16008"> 8 - </a> and during Lent his <span class="side">MUNICH AND AUGSBURG.</span> - <span class="pagenum"><a href="pgimages/p358.png">[358]</a></span> - oratorio, "Abraamo ed Isaaco," both with astonishing success; he was - engaged for the next carnival at Naples, and only kept in Munich by - illness.<a href="#linknote-16009" name="linknoteref-16009" - id="linknoteref-16009"> 9 </a> He gave Wolfgang prospects of a <i>scrittura</i> - in Naples, and wrote a letter on his behalf to the impresario, Don Gaetano - Santorio. Mozart, with his "inexpressible longing to write an opera once - more," wrote joyfully to his father (October 10, 1777):— - </p> - <p> - I have my hundred ducats certain in the carnival; and, when I have once - written at Naples, I shall be in request everywhere. As you know, in - summer and autumn there is an opera buffa to be picked up here and there, - which will do to keep one's hand in. It is true that one does not make - much, but it is always something, and one gains more honour and credit - than by a hundred concerts in Germany. I am more pleased, too, because I - have to compose, which is my sole passion and delight, Then, if I obtain - service, or the hope of it, the <i>scrittura</i> will be a great - recommendation. I speak exactly as I feel from my heart, and if you can - prove to me that I am wrong, I shall be ready, although unwillingly, to - submit; for, if I only hear the name of an opera, I am quite beside - myself. - </p> - <p> - But the father was not against it, and only thought that this interlude - must not cause the main object of the journey to be lost sight of. He - therefore corresponded with Misli-weczeck, but soon observed that the - latter only mentioned the <i>scrittura</i> when he had some favour to ask - for himself. In point of fact, nothing came of this proposal. - </p> - <p> - The same ill-success attended the father's effort to obtain for Wolfgang a - commission to write an opera for the Feast of the Ascension in Venice; the - impresario Michele dall' Agata returned no answer to two letters addressed - to him (February 12, 1778). - </p> - <p> - On October 11 the travellers left Munich, and reached Augsburg the same - evening. Following L. Mozart's minute directions they established - themselves at "The Lamb" in <span class="side">VON LANGENMANTEL—STEIN.</span> - <span class="pagenum"><a href="pgimages/p359.png">[359]</a></span> the - Kreuzgasse, "where you pay thirty kreutzers for dinner, get nice rooms and - good society, English, French, &c." Wolfgang was well received by his - uncle, and contracted a close friendship with his lively cousin Marianne, - which may have compensated in some degree for the coldness of his - reception generally in his father's native town. - </p> - <p> - In obedience to his father's strict injunctions, he waited at once upon - "his Grace" the town-councillor Von Langen-mantel, with whom L. Mozart had - been well acquainted in former years. But Wolfgang gained little - encouragement from this audience, of which he gives his father the - following account:— - </p> - <p> - My first visit was to the town-councillor, Master Longotabarro; my cousin, - a dear, good man and an honest citizen, accompanied me, and had the honour - of waiting in the ante-room like a lackey until I came out from the - arch-town-councillor. I did not fail to begin by presenting my father's - humble respects. He was pleased to remember all about it, and asked me: - "How has the gentleman been all this time?" to which I answered: "God be - praised, quite well; I hope that your health has also been good." - Afterwards he was still more polite, and said, "Sir," and I said, "Your - Grace," as I had all along. Nothing would satisfy him but that I should go - up with him to his son-in-law (on the second floor), and my cousin waiting - on the steps all the while. It was with difficulty that I refrained from - saying something, with all my politeness. Upstairs I had the honour of - playing for three-quarters of an hour upon a good clavichord, by Stein, in - the presence of the stiff and starched son of his long-necked, gracious, - lady-wife, and her silly old mother. I played fantasias, and then - everything he had <i>prima vista</i>, among others some very pretty pieces - by a certain Edlmann. They were all exceedingly polite, and I was - exceedingly polite, for it is my custom to be to people as I find them; it - is the best way. - </p> - <p> - The next visit was to the celebrated organ and clavier maker, Georg Andr. - Stein (1728-1792). The father conceived the idea that Wolfgang should - present himself to Stein under a feigned name, and should pretend that he - came from Innspruck with a commission to inspect some instruments. Such a - joke was quite to Wolfgang's mind, and he told his father how it had - passed. During his visit to the town-councillor he had expressed his - intention of calling upon Stein after dinner:— - </p> - <p> - <span class="side">MUNICH AND AUGSBURG.</span> <span class="pagenum"><a - href="pgimages/p360.png">[360]</a></span> - </p> - <p> - The younger gentleman thereupon volunteered to accompany me. I thanked him - for his kindness, and promised to come at two o'clock. I came, and we set - out in company with his brother-in-law, who looks exactly like a student. - Although I had begged them not to say who I was, Herr von Langenmantel - blurted out, "I have the honour to introduce to you a virtuoso on the - clavier." I protested, and said I was an unworthy disciple of Herr Sigl, - of Munich, by whom I was charged with many compliments, &c. He shook - his head, and at last said: "Have I the honour of seeing Herr Mozart?" - "Oh, no," said I; "my name is Trazom, and I have a letter to you." He took - the letter and was going to open it. I did not give him time, and said, - "Why should you read the letter now? Let us go into the hall and see your - pianofortes, which I am most curious to do." "With all my heart; but I do - not think I am deceived." He opened the door of his show-room. I ran to - one of the three claviers which stood there. I played. He could scarcely - take time to open the letter, his curiosity was so excited. He read only - the signature. "Oh!" he screamed, and embraced me, and crossed himself, - and made grimaces, and was altogether very delighted. - </p> - <p> - Mozart, for his part, was equally delighted with Stein's pianofortes, of - which he gives his father the following detailed account:— - </p> - <p> - Before I had seen Stein's work I preferred Späth's claviers to all others, - but now I must give the preference to Stein's, for they mute much better - than Späth's. If I strike hard, whether I raise my finger or not, the - sound passes the instant I have heard it. I may come upon the keys as I - like, the tone is always the same; it does not block, it neither becomes - stronger nor weaker, nor does it cease altogether; in a word, it is all - equal. Such a pianoforte, it is true, cannot be had under 300 florins, but - the trouble and labour bestowed on it are inestimable. His hammers fall - the instant the keys are struck, whether they are held down or not. When - such an instrument is finished (he told me himself), he sits down and - tries all sorts of passages, runs, and jumps, and works away until he is - satisfied. He often said: "If I were not such a passionate lover of music - myself, and were not able to play a little on the clavier, I should long - ago have lost patience with my work; but I am a lover of instruments which - do not tax the player, and which wear well." And his claviers do wear - well. He guarantees that the sounding-board shall not spring. When a - sounding-board is ready for a piano, he exposes it to air, rain, snow, - sun, so that it may warp, and then he puts on slips and glues them down, - so that it is all strong and true. He is glad when it warps, because then - he is sure that nothing more will happen. He has three such pianofortes - finished. I have played upon them again to-day. The pedal, which is - pressed by the knee, is better managed by him than by others. If I only - just touch it, it acts; and when the knee is removed there is not the - least vibration. - </p> - <p> - <span class="side">MARIA ANNA STEIN.</span> <span class="pagenum"><a - href="pgimages/p361.png">[361]</a></span> - </p> - <p> - Mozart knew how to make the most of these improved instruments. His - playing and his intelligent admiration so won Stein's approbation, that - the latter followed the advice Wolfgang gave him concerning the education - of his daughter. Maria Anna Stein (b. 1769) was the prodigy of Augsburg; - in April, 1776, she had played her first concerto to universal admiration, - and had received a beautiful medal from the town nobility.<a - href="#linknote-160010" name="linknoteref-160010" id="linknoteref-160010"> - 10 </a> Wolfgang's criticism on her playing to his father (October 24, - 1777) is somewhat severe, but so important as showing his views on - pianoforte-playing in general that it must be given entire. The memory of - the excellent Frau Nanette Streicher will not suffer from the bold - criticism of the young Mozart:— - </p> - <p> - <i>A propos</i> of his daughter. Whoever sees her and hears her without - laughing must be as much of a stone (Stein) as her father himself. She - sits right up in the treble, instead of in the middle of the instrument, - so that she may be better able to move about and make grimaces. Her eyes - roll, and she simpers and smirks. If a thing comes twice over, it is - played slower the second time; and if a third time, it is slower still. - The arm goes high, up in the air when a passage comes, and the emphasis is - given by the whole arm instead of the finger, clumsily and heavily. But - the best of all is when, in a passage that ought to flow like oil, the - fingers have to be changed; it makes no difference at all to her, but, - when the time comes, up goes her hand, and she begins again quite calmly; - so that one is always in expectation of a wrong note, which makes the - effect very striking. I only write all this to give you some idea of what - clavier-playing and teaching may be brought to; I leave you to make your - own use of the hints. Herr Stein is quite infatuated over his daughter; - she is eight and a half years old, and learns everything by heart. She may - turn out something—she has genius; but as she is going on at present - she will not turn out anything; she will never gain fluency, because she - is doing all she can to make her hand heavy. She will never learn the most - difficult and most necessary part of music, that is <i>time</i>, because - she has been accustomed from her earliest youth to play out of time. Herr - Stein and I had at least two hours' talk on this point. I think I nearly - converted him, and now he asks my advice about everything. He was quite - infatuated in Beecké. Now he sees and hears that I play better than - Beecké, that I make no grimaces, and yet play with so much expression that - I show off his pianofortes better than any one. The correctness of my time - <span class="side">MUNICH AND AUGSBURG.</span> <span class="pagenum"><a - href="pgimages/p362.png">[362]</a></span> astonishes them all. The <i>tempo - rubato</i> in an adagio, with the left hand keeping strict time, was quite - past their comprehension; they always follow with the left hand.<a - href="#linknote-160011" name="linknoteref-160011" id="linknoteref-160011"> - 11 </a> - </p> - <p> - The expressions about Beecké, who was considered among the best - pianoforte-players, are only repetition of what was said on all sides. - "Count Wolfegg, and several others who are very enthusiastic for Beecké, - said lately at a public concert that I had thrown Beecké quite into the - shade," writes Wolfgang in confirmation of his own opinion. Even - Archbishop Hieronymus was reported to have said aside to his favourites - that Beecké was a charlatan and a merry-andrew, and that Mozart far - surpassed him (June 29, 1778). He played a tolerably difficult sonata by - Beecké, <i>prima vista</i>, "miserabile al solito"; how the kapellmeister - Graf and the organist Schmitthauer crossed themselves over the performance - may be better imagined than described. - </p> - <p> - Mozart's organ and violin-playing created quite as much astonishment as - his performances on the clavier:— - </p> - <p> - When I told Herr Stein that I should like to play upon his organ (in the - Barfüsserkirche), for that I had a passion for the organ, he was greatly - astonished, and said: "What! a man like you, a clavier-player, willing to - play on an instrument which has no <i>douceur</i>, no expression; which - allows of neither <i>piano</i> nor <i>forte</i>, but goes on always the - same!" "All that has nothing to do with it. To my mind, the organ is the - king of all instruments." "Well, do as you like." So we went together. I - could guess by his way of talking that he did not expect me to do his - organ much credit; he thought I should play clavier fashion. He told me - how he had taken Chobert to the organ according to his request. "And I was - sorry," said he, "for Chobert had told everybody, and the church was full. - I had imagined the fellow would be full of spirit, fire, and rapidity, and - that would tell on the organ; but as soon as he began I changed my - opinion." I only said, "What do you think, Herr Stein? Are you afraid that - I shall come to grief on the organ?" "Ah, you! that is quite different." - We went into the choir; I began to prelude, at which he laughed with - delight; then followed a fugue. "I can well believe," said he, "that you - enjoy playing the organ, when you play like that." At first I did not - quite understand the pedal, because it was not divided. It began C, then D - E in a row. With us D and E are above, where E flat and F sharp are here. - But I soon grew accustomed to it. - </p> - <p> - <span class="side">AUGSBURG, 1777.</span> <span class="pagenum"><a - href="pgimages/p363.png">[363]</a></span> - </p> - <p> - He played the organ also in the monastery of St. Ulrich, which had the - dreadful steps, and often visited the monastery of the Holy Cross, where - he was invited to dine on October 19, and entertained with music during - the meal (October 24, 1777). - </p> - <p> - However badly they may play, yet I prefer the music of the monastery to - the Augsburg orchestra. I played a symphony and the violin concerto in B - flat by Wanhall with universal applause. The Dean is a good, jolly fellow; - he is a cousin of Eberlin's, named Zeschinger, and remembers papa very - well. In the evening at supper I played the Strasburg concerto (219 K.). - It went as smooth as oil. They all praised the beautiful pure tone. - Afterwards a little clavichord was brought in. I preluded, and played a - sonata, and the Fischer variations. Then some one whispered to the Dean - that he should hear me play organ fashion. I said he might give me a - theme, but he would not, so one of the monks did. I led off with it, and - in the middle (the fugue was in G minor) I began in the major, in a - playful style but in the same time, and then came back to the theme. At - last it occurred to me that I might use the playful style for the theme of - the fugue. Without more ado I tried it, and it went as accurately as if it - had been measured for by Daser (the Salzburg tailor). The Dean was quite - beside himself. "I could never have believed it," said he; "you are a - wonderful man. My Abbot told me that he had never in his life heard such - correct and solemn organ-playing." The Abbot had heard me two or three - days before, when the Dean was not there. Finally, some one brought a - sonata which was fugued, for me to play. But I said, "Gentlemen, this is - too much; I must acknowledge that I cannot play this sonata at once." "I - think so, too," said the Dean, eagerly, for he was quite on my side; "that - is too much; it would be impossible for any one." "Still," said I, "I will - try it." And all the time I played I heard the Dean calling out behind me, - "Oh, you rascal! oh, you young scamp!" I played until eleven o'clock. They - bombarded me with themes for fugues, and laid siege to me on all sides. - </p> - <p> - In return for his kind reception and the pleasure expressed in his - playing, Wolfgang presented the Abbot Barth. Christa (1760-1780) with - several compositions, the Masses in F (192 K.), in C (220 K.), and the - "Misericordias Domini" (222 K.). He refers to them in writing to his - father, as well as to a litany, "De venerabili" (November 20, 1777). What - has become of this last we do not know.<a href="#linknote-160012" - name="linknoteref-160012" id="linknoteref-160012"> 12 </a> - </p> - <p> - <span class="side">MUNICH AND AUGSBURG.</span> <span class="pagenum"><a - href="pgimages/p364.png">[364]</a></span> - </p> - <p> - In spite of all this applause from connoisseurs, the prospects of a - concert were not good. At first a brilliant reception was expected. Herr - von Langenmantel, son of the town-councillor, had taken the matter into - his own hands and promised to arrange a "chamber concert" for the <i>patricii</i> - only. But some days later he invited Wolfgang, and after he had played as - long as the company pleased, explained to him that the concert could not - take place, since "the <i>patricii</i> were not in funds." - </p> - <p> - As if this was not enough, the <i>patricii</i> thought fit to make sport - of him at table. In accordance with his father's advice that he should - insure respect and consideration for himself in places where there was no - reigning prince, by wearing the order conferred on him by the great Pope - Ganganelli, Wolfgang wore the cross of his order at Augsburg. This was - made an occasion for mockery; and one officer in particular, Bach by name, - was so rude and insulting that Wolfgang lost patience, and repaid him in - kind, calling him "Herr von Kurzmantl"; but he does not seem ever to have - worn the order again. He had promised to attend, and perhaps to play at, - the weekly concert given during the winter months by a society of - noblemen, both Catholic and Protestant;<a href="#linknote-160013" - name="linknoteref-160013" id="linknoteref-160013"> 13 </a> but, indignant - at the treatment he had received, he declared he would only give a concert - for a few invited friends and connoisseurs. They were Catholic nobles, - however, who had insulted him, and Stein set in motion the evangelical - (not Lutheran, as L. Mozart reminds his son) nobles,<a - href="#linknote-160014" name="linknoteref-160014" id="linknoteref-160014"> - 14 </a> who made such friendly overtures that he <span class="side">CONCERT - AT AUGSBURG, OCTOBER, 1777.</span> <span class="pagenum"><a - href="pgimages/p365.png">[365]</a></span> attended a concert given by the - "peasant nobles,"<a href="#linknote-160015" name="linknoteref-160015" - id="linknoteref-160015"> 15 </a> and played one of his symphonies, taking - the violin himself, and then a concerto and a sonata. Compliments and - eulogies were heaped upon him, and finally two ducats were presented to - him. Wolfgang's father thought him far too yielding: "One thing is very - certain," he writes (October 20, 1777), "they would not have found me at - their beggarly concert. In the meantime, through the exertions of his - friends, a public concert was given on October 22:— - </p> - <p> - What do you think came next after the symphony? The concerto for three - claviers (242 K.). Herr Demmler played the first, I the second, and Herr - Stein the third. Then I played alone the last sonata in D (284 K.), then - my concerto in B flat (238 K.), then a fugue in C minor, and a splendid - sonata in C major out of my own head, with a rondo at the end. There was a - tremendous noise and confusion. Herr Stein made one grimace after another - for delight. Herr Demmler actually laughed. This eccentric being always - laughs when anything pleases him. This time he began to swear. Count - Wolfegg ran about the room, saying, "I never heard anything like it in my - life." He said to me, "I must tell you that I never heard you play so well - as to-day; I will tell your father so as soon as I get to Salzburg." - </p> - <p> - L. Mozart's heart was rejoiced by "a wonderfully fine article in the - newspaper," probably from the pen of Herr von Sabnesnig, of whose charming - poetry he had reminded Wolfgang. - </p> - <p> - On the other hand the receipts of the concert were small, considering that - he had put forth all his powers;<a href="#linknote-160016" - name="linknoteref-160016" id="linknoteref-160016"> 16 </a> ninety gulden, - with sixteen gulden thirty kreutzers' expenses. Wolfgang was not tempted - to retract what he had written to his father in anger, about the behaviour - of the aristocrats (October 16, 1777):— - </p> - <p> - I must say that if I had not found such good and charming cousins I should - repent ever having set foot in Augsburg. I must tell you something about - my dear little cousin, but I will wait till to-morrow, for I ought to be - in good spirits to praise her as she deserves. Early on the <span - class="side">MUNICH AND AUGSBURG.</span> <span class="pagenum"><a - href="pgimages/p366.png">[366]</a></span> 17th I shall write and assure - you that our little cousin is pretty, sensible, charming, clever, and - merry; she knows something of the world, having been in Munich some time. - We two suit each other exactly, for she is just a little wicked;<a - href="#linknote-160017" name="linknoteref-160017" id="linknoteref-160017"> - 17 </a> we laugh at everybody, and have great fun. - </p> - <p> - Defending his cousin against a slighting expression of his father's, - Wolfgang says, "Yesterday, to please me, she dressed <i>à la française</i>, - and looked five per cent, prettier." He gave her his portrait in a little - medallion, and made her promise to be painted in French costume. A - mournful parting ended this happy visit, Stein having written to - Wolfgang's father in the most eulogistic manner concerning his son's - performances. At the next quoit-playing meeting in Salzburg there appeared - on the quoit a representation of "the sad adieux of two persons dissolved - in tears, Wolfgang and his cousin." "The quoit was charming," wrote the - father (November 17,1777); "an Augsburg maiden stood at the right and - presented a young man in top boots, equipped for travelling, and in the - other hand she carried a wonderful linen cloth trailing on the ground, - with which she dried her eyes. The gentleman had a similar cloth, which he - was putting to the same use, and he held his hat in his other hand. - Written above were six lines of poetry, expressive of the sorrowful - emotions of the young couple."<a href="#linknote-160018" - name="linknoteref-160018" id="linknoteref-160018"> 18 </a> - </p> - <p> - This good-humoured participation in the little adventures of his son - stands in striking and effective contrast to the earnest care which - breathes from a letter addressed to Wolfgang on his fête-day (October 31):— - </p> - <p> - I must wish you happiness on your fête-day. But what more can I wish for - you than I am always wishing? I wish that the grace of God may be with you - everywhere, and never forsake you as long as you are diligent in - performing the duties of a true Catholic Christian. You know me, and know - that I am no pedant, no canting hypocrite; but <span class="side">HOHENALTHEIM, - 1777</span> <span class="pagenum"><a href="pgimages/p367.png">[367]</a></span> - you will not refuse your father one prayer. This is, that you will have - such concern for your soul that you may cause your father no anguish on - his death-bed in the thought that he has been careless of the things which - concern your salvation. Farewell! be happy; be wise. Honour and cherish - your mother, who is troubled in her old age for your sake. Love me as I - love you. Your faithful, anxious father. - </p> - <p> - The son's answer is in the tone of reverence which it becomes children to - adopt on such occasions to their parents:— - </p> - <p> - I kiss your hand, and thank you humbly for your good wishes on my - fête-day. Have no concern for me; I have God ever before my eyes; I - acknowledge His omnipotence, I fear His anger; but I also acknowledge His - love, His mercy and pity towards His creatures; He will never forsake His - servants. I submit myself wholly to His will, and so it cannot fail I must - be happy and content. I shall also be diligent to follow the commands and - the counsel which you are so good as to give me. - </p> - <p> - On October 26 Wolfgang and his mother left Augsburg, and proceeded by way - of Donauwörth and Nordlingen to Hohenaltheim, the residence of the Prince - von Oetting-Wallerstein.<a href="#linknote-160019" - name="linknoteref-160019" id="linknoteref-160019"> 19 </a> Music was held - in high honour at this little court; not only were celebrated performers, - such as Janitsch, the violinist, Reicha, the violoncellist, Perwein, the - oboist, &c., encouraged to settle there, but the whole orchestra was - distinguished for its delicacy of execution. Rosetti, the conductor, had - "carried his observance of the most delicate gradations of tone sometimes - to the bounds of pedantry."<a href="#linknote-160020" - name="linknoteref-160020" id="linknoteref-160020"> 20 </a> Ignaz von - Beecké, captain in a Wurtemberg dragoon regiment, was manager of the court - music, and himself a distinguished clavier-player and composer. The - Prince, a handsome young man, who had formerly invited Wolfgang to visit - him in Naples, was suffering from an attack of melancholy, and unable to - bear music; but the Mozarts were obliged to remain several days at - Hohenaltheim on account of the mother's severe cold. A rumour reached L. - Mozart that Wolfgang had been playing the buffoon there, that he had - danced about, playing the violin, and had gained the - <span class="pagenum"><a href="pgimages/p368.png">[368]</a></span> - reputation of being a wild, merry fellow. He considered that this would - afford Beecké, who was jealous of Wolfgang, an excellent opportunity of - depreciating his powers as an artist (January 26, 1778), Wolfgang gave a - decided contradiction to this report; he had "sat at the officers' table - with all due honour, and had not said a word to any one; when with Beecké, - too, he had been quite serious." Beecké had received him kindly, had - promised him advice and support should he ever go to Paris, and had heard - him play. They had talked about Vienna, too, and agreed that the Emperor - Joseph was a fair executant, but not a true lover of music. Beecké said - that he had only played fugues and such like "trifles" before him, and - that he had heard music in the Emperor's cabinet which was enough to - frighten the very dogs away. They also confided to each other that music - gave them both the headache; only good music had this effect with Beecké, - and bad with Mozart. - </p> - <p> - The travellers entered Mannheim on October 30. Their stay was longer than - they had intended, and although the hopes with which it opened were not - destined to be fulfilled, yet the months passed in Mannheim were fruitful - in their effect on Wolfgang's development, both musical and - </p> - <p> - The Elector, Karl Theodor,<a href="#linknote-160021" - name="linknoteref-160021" id="linknoteref-160021"> 21 </a> had studied in - his early youth under the Jesuits, and had then visited the Universities - of Leyden and Lowen, displaying a great taste for science, poetry, art, - and music, the last of which he practised himself. The extravagance which - he lavished on his court and on his park of Schwetzingen—the - Versailles of the palatinate—was carried also in some degree into - the affairs of science and art. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - - <hr /> - <p> - <a name="chap_17" id="chap_17"></a> - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - CHAPTER XVII. MANNHEIM - </h2> - <p> - The Palatinate Academy of Science, <span class="pagenum"> - <a href="pgimages/p368.png">[368]</a></span>founded in 1763, encouraged historical - and scientific research; collections of pictures and engravings, - and an exhibition of plaster - casts from the antique—at that time the only, and much-thought-of - collection of the kind in Germany<a href="#linknote-17002" - name="linknoteref-17002" id="linknoteref-17002"> 2 </a>—served, in - connection with an academy, to encourage the formative arts; and a German - society, founded in Mannheim by the Elector in 1775, proved the desire of - its members to take their share in the new impulse which German literature - had then received.<a href="#linknote-17003" name="linknoteref-17003" - id="linknoteref-17003"> 3 </a> - </p> - <p> - Klopstock's presence <span - class="side">ART IN THE PALATINATE.</span> <span class="pagenum"><a - href="pgimages/p369.png">[369]</a></span>in this year had not been without - its influence; not - content with native authors, such as Gemmingen, Klein, Dalberg, the - painter Müller, the Elector sought, but in vain, to attract acknowledged - celebrities, such as Lessing<a href="#linknote-17004" - name="linknoteref-17004" id="linknoteref-17004"> 4 </a> and Wieland.<a - href="#linknote-17005" name="linknoteref-17005" id="linknoteref-17005"> 5 - </a> His zealous co-operation was given to the plan of founding a German - drama in the place of the usual French one;<a href="#linknote-17006" - name="linknoteref-17006" id="linknoteref-17006"> 6 </a> the national - theatre was built,<a href="#linknote-17007" name="linknoteref-17007" - id="linknoteref-17007"> 7 </a> and efforts were made to retain Lessing as - dramatist and Eckhoff as actor.<a href="#linknote-17008" - name="linknoteref-17008" id="linknoteref-17008"> 8 </a> When this failed, - the engagement of Marchand secured them at least a first-rate actor.<a - href="#linknote-17009" name="linknoteref-17009" id="linknoteref-17009"> 9 - </a> - </p> - <p> - But music was incontestably the peculiar province of Mannhein, the - "paradise of musicians."<a href="#linknote-170010" - name="linknoteref-170010" id="linknoteref-170010"> 10 </a> Here too, - patriotic <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p370.png">[370]</a></span> feeling was supreme.<a - href="#linknote-170011" name="linknoteref-170011" id="linknoteref-170011"> - 11 </a> Original German operas took the place of the grand Italian opera, - with its appendage of translated comic opera, generally borrowed from the - French.<a href="#linknote-170012" name="linknoteref-170012" - id="linknoteref-170012"> 12 </a> - </p> - <p> - The performances of the Seiler company of actors, which had come to Weimar - in the autumn of 1771 in the place of the Koch company, suggested to - Wieland the idea of a grand, serious German opera in addition to the - operettas which had met with so much success.<a href="#linknote-170013" - name="linknoteref-170013" id="linknoteref-170013"> 13 </a> His "Alcestis"<a - href="#linknote-170014" name="linknoteref-170014" id="linknoteref-170014"> - 14 </a> was intended as an important step in this direction, as is proved - by his "Letters on the German opera of 'Alcestis,'"<a - href="#linknote-170015" name="linknoteref-170015" id="linknoteref-170015"> - 15 </a> which, by their comparison of himself with Euripides, called forth - Goethe's burlesque. His opera met with ready acknowledgment, but at the - same time with severe and deserved blame.<a href="#linknote-170016" - name="linknoteref-170016" id="linknoteref-170016"> 16 </a> It was thought - to be too evidently fashioned after Metastasio's pattern, both in plan and - treatment; and to be wanting in dramatic interest, true passion, and - lively characteristic; the public found the opera tedious and trivial, and - took just umbrage at the conception of Hercules as a virtuous humdrum - citizen. Wieland found in Schweitzer an ideal composer, who identified - himself with the poet, who could be silent when the poet wished to speak - alone, but who hastened to aid him at need with all the resources of - musical art; a composer, too, who thought more of producing a true - impression on the mind of his hearers, than of flattering their ears, - inciting their curiosity or even adhering too closely to the mechanical - rules of his art. Wieland was not content with placing Schweitzer on a - level with the best Italian composers; in a letter to Klein<a - href="#linknote-170017" name="linknoteref-170017" id="linknoteref-170017"> - 17 </a> he speaks of Gluck's "Alceste" as a divine work, but does not - hesitate to declare Schweitzer's composition to be the best that had <span - class="side">SCHWEITZER'S "ALCESTE."</span> <span class="pagenum"><a - href="pgimages/p371.png">[371]</a></span> ever been heard of the kind. - Schweitzer's music<a href="#linknote-170018" name="linknoteref-170018" - id="linknoteref-170018"> 18 </a> was in fact much applauded, and he was - judged to have accomplished more than the poet.<a href="#linknote-170019" - name="linknoteref-170019" id="linknoteref-170019"> 19 </a> His efforts - after a true and forcible musical expression of emotion, and after - originality, are worthy of all praise; and phrases here and there, - particularly in the accompanied recitative, are of charming effect, while - the orchestra is carefully treated, and not at all after the usual manner - of Italian opera. On the other hand he has been justly blamed for his - slavish adherence to the old form of the aria, with da capo, middle - passage, bravura passages, and ritomello; he is unequal, too, and his - effects are all those of detail. What is wanting is genius, original power - of creation, which forms details into one great whole, and produces - something altogether new and complete. This was felt by Zelter<a - href="#linknote-170020" name="linknoteref-170020" id="linknoteref-170020"> - 20 </a> and by Mozart, who wrote to his father that the best part of - Schweitzer's melancholy "Alceste" (besides the beginnings, middles and - endings of some of the songs) was the beginning of the recitative, "O - Jugendzeit," and the worst (together with the greater part of the opera) - was the overture. This consists of two movements, an adagio and a fugue, - which are both unimportant and commonplace. - </p> - <p> - "Alceste" was first performed in Weimar on May 28, 1773, and frequently - repeated, always with the greatest success;<a href="#linknote-170021" - name="linknoteref-170021" id="linknoteref-170021"> 21 </a> this was also - the case in Gotha and Frankfort; and on August 13, 1775, Karl Theodor - produced the opera with great brilliancy at Schwetzingen.<a - href="#linknote-170022" name="linknoteref-170022" id="linknoteref-170022"> - 22 </a> The success was great, and it was considered as marking an epoch - that a German opera, written by a German poet, composed by a German - musician, and sung by German artists, should be produced successfully by a - German Prince. In the following summer <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p372.png">[372]</a></span> Wieland - received a commission to write a new opera, which Schweitzer was to - compose under his immediate direction. - </p> - <p> - The way being once cleared, it was easy to take further steps in the same - direction. The Elector hit upon the idea of representing scenes from the - national history in German musical dramas.<a href="#linknote-170023" - name="linknoteref-170023" id="linknoteref-170023"> 23 </a> Professor Anton - Klein, formerly a Jesuit, and always one of the most zealous supporters of - the patriotic struggle then proceeding, wrote for this purpose "Günther - von Schwarzburg,"<a href="#linknote-170024" name="linknoteref-170024" - id="linknoteref-170024"> 24 </a> which was composed by Holzbauer,<a - href="#linknote-170025" name="linknoteref-170025" id="linknoteref-170025"> - 25 </a> and performed on January 5, in the magnificent opera-house,<a - href="#linknote-170026" name="linknoteref-170026" id="linknoteref-170026"> - 26 </a> with all the expenses guaranteed.<a href="#linknote-170027" - name="linknoteref-170027" id="linknoteref-170027"> 27 </a> Schubart had - anticipated with joy "the glorious revolution in taste,"<a - href="#linknote-170028" name="linknoteref-170028" id="linknoteref-170028"> - 28 </a> and the applause was great, although the success was not so deep - and lasting as might have been expected. The critics<a - href="#linknote-170029" name="linknoteref-170029" id="linknoteref-170029"> - 29 </a> found much in the text at which to take exception; Wieland shrank - from speaking in the "Mercury" about "this so-called opera" for fear lest, - absurd as it might appear, his criticism might be taken for envy.<a - href="#linknote-170030" name="linknoteref-170030" id="linknoteref-170030"> - 30 </a> An evident effort is made to give the work a deeper tone than one - of mere patriotic sentiment; but in spite of the exalted emotion and - passion of the words and music, and of all that could be done in the way - of scenic accessories, the opera was too wanting in dramatic treatment and - characterisation to take very deep root. The phraseology is in imitation - of Klopstock, but the effort after force and <span class="side">"GÜNTHER - V. SCHWARZBURG."</span> <span class="pagenum"><a href="pgimages/p373.png">[373]</a></span> - originality is so clumsily made that Wieland's contempt is justified. Of - the music, it was said by the minister Hompesch that the predominant - feeling and ideas were neither French nor Italian, but genuinely German;<a - href="#linknote-170031" name="linknoteref-170031" id="linknoteref-170031"> - 31 </a> Schubart praised its mixture of German feeling and foreign grace,<a - href="#linknote-170032" name="linknoteref-170032" id="linknoteref-170032"> - 32 </a> and other critics spoke of its stamp of genius and its gentle - grace.<a href="#linknote-170033" name="linknoteref-170033" - id="linknoteref-170033"> 33 </a> Mozart, who saw the opera the day after - his arrival at Mannheim, wrote to his father (November 16, 1777): - "Holzbauer's music is very fine; far too good for the poetry. I am amazed - at the spirit of so old a man as Holzbauer, for you would not believe the - amount of fire in his music." The force and animation of Holzbauer's music - are still apparent, though it is wanting in elevation and true musical - sentiment. He has not attained to original dramatic characterisation - except in single touches, more especially in the recitatives; he never - deviates from the customary Italian form, but the adaptation of this form - to German song was in itself considered a remarkable innovation. - </p> - <p> - The most distinguished vocalists, male and female, of the Mannheim opera - were, thanks to Holzbauer's excellent school of music, almost all Germans.<a - href="#linknote-170034" name="linknoteref-170034" id="linknoteref-170034"> - 34 </a> Among them was Dorothea Wendling (<i>née</i> Spumi, 1737-1811), - "the German Melpomene of Mannheim's Golden Age,"<a href="#linknote-170035" - name="linknoteref-170035" id="linknoteref-170035"> 35 </a> who excited - universal admiration by her perfect and expressive singing. According to - Wieland she surpassed even Mara, and he found in her his ideal of song, as - the language of the mind and the heart, every note being the living - expression of the purest and most ardent emotion, and the whole song a - continuous thread of beauty.<a href="#linknote-170036" - name="linknoteref-170036" id="linknoteref-170036"> 36 </a> Her beauty - (Heinse saw in her <span class="side">MANNHEIM.</span> <span - class="pagenum"><a href="pgimages/p374.png">[374]</a></span> countenance - all that was caressing, soft, and feminine, combined with the glow and - animation of a passionate nature)<a href="#linknote-170037" - name="linknoteref-170037" id="linknoteref-170037"> 37 </a> and her - excellent acting<a href="#linknote-170038" name="linknoteref-170038" - id="linknoteref-170038"> 38 </a> elevated her performances to a very high - point. Her sister-in-law, Elizabeth Auguste Wendling (<i>née</i> Sarselli, - 1746-1786), though less famous, and hindered by continued ill-health, was - nevertheless a praiseworthy singer; while Franciska Danzi (1756-1791), - married afterwards to the oboist, Le Brun,<a href="#linknote-170039" - name="linknoteref-170039" id="linknoteref-170039"> 39 </a> was an artist - of the first rank, in her beauty and the compass of her voice, as well as - in her thorough musical cultivation: at the time of Mozart's visit to - Mannheim she was in London on leave of absence.<a href="#linknote-170040" - name="linknoteref-170040" id="linknoteref-170040"> 40 </a> - </p> - <p> - But the fame of these youthful singers was far surpassed by that of the - now elderly tenor Anton Raaff.<a href="#linknote-170041" - name="linknoteref-170041" id="linknoteref-170041"> 41 </a> He was born in - 1714 at the village of Holzem, not far from Bonn, and was educated at the - Jesuit seminary in Bonn. He had a beautiful voice, and the ease with which - he sang by ear made it a great labour to him to learn his notes. The - Elector Clemens August, who heard him sing in church, provided for his - education as a singer, and gave him a salary of 200 thalers. After causing - him to study a part in an oratorio, the Elector took him to Munich, where - he was engaged by Ferrandini (p. 133) to appear in opera. This led to his - going to study at Bologna under Bemacchi, from whose severe school he came - forth as one of the finest tenor singers of the century. He sang in 1738 - at Florence, at the wedding of Maria Theresa, left Italy in 1742 to return - to Bonn, where his salary was raised to 750 florins, and sang at different - German courts; in 1749 he performed in Jomelli's "Didone" at Vienna, to - Metastasio's great satisfaction.<a href="#linknote-170042" - name="linknoteref-170042" id="linknoteref-170042"> 42 </a> After a short - stay in Italy, he repaired in 1752 to <span class="side">ANTON RAAFF.</span> - <span class="pagenum"><a href="pgimages/p375.png">[375]</a></span> Lisbon - for three years, and from thence in 1755 to Madrid, where he lived in - close friendship with his musical director, Farinelli.<a - href="#linknote-170043" name="linknoteref-170043" id="linknoteref-170043"> - 43 </a> In 1759 they went together to Naples; here, it is said, his - singing made so deep an impression on the Princess Belmonte-Pignatelli as - to cure her of a deep melancholy into which she had been thrown by the - death of her husband.<a href="#linknote-170044" name="linknoteref-170044" - id="linknoteref-170044"> 44 </a> On his return to Germany, in 1770, the - Elector Karl Theodor besought him to enter his service, on which Raaff - modestly declared that he should esteem himself happy if the Elector would - be content with the small remnant of his powers which was left to him. His - voice was of the finest tenor quality that could be heard, from the - deepest to the highest notes even, clear, and full. With a perfect mastery - of the art of song, displaying itself in his extraordinary power of - singing, at sight and of varying and introducing cadenzas, he combined a - feeling delivery "that seemed but an echo of his own good heart," and a - clear, deliberate judgment on things musical.<a href="#linknote-170045" - name="linknoteref-170045" id="linknoteref-170045"> 45 </a> Added to all - this his enunciation was so distinct that even in the largest hall not a - syllable was lost. When Mozart first heard him in "Günther von - Schwarzburg" his chief impression was that of an old man's failing - strength. He writes (November 8, 1777):— - </p> - <p> - Herr Raaff sang his four songs and about 450 incidental bars in such a - manner as to show that it is want of voice which makes it so bad. Unless - one reminds oneself all the time that it is Raaff, the old and celebrated - tenor, who is singing, one cannot help laughing. As for myself, if I had - not known it was Raaff, I should have died of laughing. As it was, I took - out my handkerchief and blew my nose. He never was, they tell me, anything - of an actor; he should only be heard, not seen; his presence is not at all - good. In the opera he has to die, singing a long, long, slow air, and he - died with a smiling mouth, his voice falling so at the end as to be quite - inaudible. I was sitting in the <span class="side">MANNHEIM.</span> <span - class="pagenum"><a href="pgimages/p376.png">[376]</a></span> orchestra, - next to Wendling, the flute-player, and I remarked that it was unnatural - to expect a man to go on singing till he fell down dead. "Never mind," - said I, "a little patience, and it will soon be over." "I think it will," - said he, and laughed. - </p> - <p> - After hearing him oftener, Mozart did more justice to Raaff's artistic - skill, but he always thought his style wanting in simplicity. In a letter - from Paris (June 12, 1778) he pronounces a more detailed judgment, true to - his convictions, yet anxious not to wrong the excellent man, of whom he - was extremely fond:— - </p> - <p> - At his <i>début</i> in the "Concert Spirituel" here he sang Bach's scena, - "Non so d'onde viene," which is my favourite song. I never heard him sing - it before, and he pleased me; his style suits the song, but the style in - itself, that of the Bernacchi school, is not at all to my taste. There is - too much in it of <i>cantabile</i>. I grant that when he was younger and - in his prime the effect must have been sometimes quite startling. I like - it, too, but there is too much of it; it is often ludicrous. What really - pleases me is his singing of certain little things andantino, which he - does in his own style. Everything in its place. I imagine that his forte - was bravura singing, which gives him still, in spite of age, a good chest - and a long breath. His voice is fine, and very pleasant. If I shut my eyes - when he is singing I hear considerable resemblance to Meissner's, only - Raaff's voice is the pleasanter of the two. Meissner, as you know, has the - bad habit of endeavouring to make his voice tremble; Raaff never does - this; he cannot bear it. But, as far as true <i>cantabile</i> is - concerned, I like Meissner better than Raaff, though he, too, according to - my judgment, makes too much of it. In bravura passages and roulades, and - in his good distinct utterance, Raaff bears off the palm. - </p> - <p> - All who saw Raaff on the stage pronounced him to be no actor, but only a - singer. In private he preserved the serenity and moderation of an - estimable and genuinely pious character. His moral conduct was faultless, - his opinions earnest and severe. He had occasional fits of passion, but - was for the most part good-humoured and benevolent, a true and - self-denying friend. No wonder that Mozart conceived a strong and lasting - attachment to such a man as this.<a href="#linknote-170046" - name="linknoteref-170046" id="linknoteref-170046"> 46 </a> - </p> - <p> - <span class="side">CHURCH MUSIC IN MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p377.png">[377]</a></span> - </p> - <p> - The most distinguished tenor singer in Mannheim, after Raaff, was his - pupil Frz. Hartig (b. 1750).<a href="#linknote-170047" - name="linknoteref-170047" id="linknoteref-170047"> 47 </a> - </p> - <p> - Church music in Mannheim did not stand on the same high level as the - opera.<a href="#linknote-170048" name="linknoteref-170048" - id="linknoteref-170048"> 48 </a> Schubart complains that little attention - was paid to the true church style, that the old masses were despised, and - new ones introduced in the most effeminate and mincing operatic style. - Even Holzbauer's sacred compositions were far inferior to his operas.<a - href="#linknote-170049" name="linknoteref-170049" id="linknoteref-170049"> - 49 </a> Mozart heard a mass by Holzbauer, "written twenty-six years ago, - but very good," as he writes to his father (November 4, 1777); "he writes - well, in good church style, with fine passages for the voices and - instruments." Notwithstanding, he was far from pleased with the Mannheim - church music on the whole, and did not care, as he writes in the same - letter, to have one of his own masses performed there:— - </p> - <p> - Why? On account of their brevity? No, for everything here is short. On - account of their church style? Not at all; but only because, under present - circumstances, it is necessary to write principally for the instruments, - since nothing more wretched than the vocal department can be conceived. - Six soprani, six alti, six tenori, and six bassi to twenty violins and - twelve basses stand just in the proportion of 0 to 1, do they not, Herr - Bullinger? They have only two male sopranos, and both old—just dying - out. The soprano prefers singing the alto part, because his upper notes - are gone. The few boys that they have are wretched, and the tenors and - basses are like singers at a funeral. - </p> - <p> - The organ was still worse provided for, and Mozart pours out the full - measure of his scorn on the two court organists:— - </p> - <p> - They have two organists here, for whose sake alone it would be worth - taking the journey to Mannheim. I had a good opportunity of hearing them, - for it is the custom here to omit the Benedictus, and for the organist to - go on playing instead. The first time I heard the second organist, and the - next time the first; but I have a better opinion of the second than of the - first. When I heard him I asked, "Who is at the organ?" "Our second - organist." "He plays wretchedly." When I <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p378.png">[378]</a></span> heard - the other I asked, "Who is that?" "Our first organist." "He plays more - wretchedly still." I suppose if they were shaken up together the result - would be something worse still. It makes one die of laughing to see them. - The second goes to the organ like a child to the mud; he shows his trade - in his face. The first wears spectacles. I stood at the organ and watched - him for the sake of instruction. He lifts his hands high up at every note. - His <i>tour de force</i> is the use of the sext stop; but he oftener uses - the quint, or the octave stop. He often playfully lets fall the right - hand, and plays only with the left. In a word, he does as he likes; he is - so far completely master of his instrument. - </p> - <p> - But Mannheim was distinguished most particularly for its instrumental - music, the orchestra being unanimously considered the finest in Europe. It - was more numerous and better appointed, especially as to wind instruments, - than was customary at the time.<a href="#linknote-170050" - name="linknoteref-170050" id="linknoteref-170050"> 50 </a> It was here - that Mozart first became acquainted with the clarinet as an orchestral - instrument. "Oh, if we only had clarinetti!" he writes (December 3, 1778). - "You cannot think what a splendid effect a symphony makes with flutes, - oboes, and clarinets."<a href="#linknote-170051" name="linknoteref-170051" - id="linknoteref-170051"> 51 </a> - </p> - <p> - Burney had only one fault to find, a fault common to all orchestras of the - day, viz., the occasionally defective intonation of the wind instruments.<a - href="#linknote-170052" name="linknoteref-170052" id="linknoteref-170052"> - 52 </a> The Mannheim orchestra was not only well-appointed and strong, but - uniform and certain in execution, with delicate gradations of tone until - then <span class="side">THE MANNHEIM ORCHESTRA.</span> <span - class="pagenum"><a href="pgimages/p379.png">[379]</a></span> unknown.<a - href="#linknote-170053" name="linknoteref-170053" id="linknoteref-170053"> - 53 </a> Piano and forte were rendered in the most varied degrees; - crescendo and diminuendo were first invented at Mannheim, and for a long - time other orchestras made no attempt at imitation;<a - href="#linknote-170054" name="linknoteref-170054" id="linknoteref-170054"> - 54 </a> other means, too, such as the skilful blending of the wind and - stringed instruments,<a href="#linknote-170055" name="linknoteref-170055" - id="linknoteref-170055"> 55 </a> were made the most of to produce a - well-arranged, finely gradationed whole. - </p> - <p> - The excellence of the Mannheim orchestra—whose performances excited - as much admiration among contemporaries<a href="#linknote-170056" - name="linknoteref-170056" id="linknoteref-170056"> 56 </a> as those of the - Paris orchestra under Habeneck's conductor-ship in our own time—gained - for it the honour of taking a regular share in the Elector's concerts (p. - 288).<a href="#linknote-170057" name="linknoteref-170057" - id="linknoteref-170057"> 57 </a> The band contained some of the first - artists and virtuosi of the day, such as Cannabich, Toeschi, Cramer, - Stamitz, and Frànzel among the violins, Wendling as a flute-player, Le - Brun and Ramm as oboists, Ritter as bassoonist, and Lang as hom-player. - But its fame rested chiefly on the excellent discipline of the orchestra, - which, among so many first-rate artists, it was no easy task to maintain.<a - href="#linknote-170058" name="linknoteref-170058" id="linknoteref-170058"> - 58 </a> The kapellmeister at the time of Mozart's visit was Christian - Cannabich (1731-1798), who had succeeded Stamitz in 1775. His compositions - were doubtless overrated by his contemporaries; but he was admirable as a - solo violinist, and still better as an <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p380.png">[380]</a></span> - orchestral leader, besides being an excellent teacher. The majority of the - violinists in the Mannheim orchestra had issued from his school, and to - this was mainly owing the uniformity of their execution and delivery. - Cannabich, who was more of an organiser than an originator, had - experimented with every condition and device for producing instrumental - effects, and he laid special stress on technical perfection of execution, - in order to insure good tutti players. Uniting, as he did, intelligence - and a genius for direction<a href="#linknote-170059" - name="linknoteref-170059" id="linknoteref-170059"> 59 </a> to "a true - German heart,"<a href="#linknote-170060" name="linknoteref-170060" - id="linknoteref-170060"> 60 </a> and a moral and temperate life, he - possessed the confidence and esteem of his musicians, and was therefore - the better able to bring their performances to the highest excellence. - </p> - <p> - The many-sidedness of musical performances in Mannheim had helped to form - a very original taste, and Karl Theodor himself was careful to encourage - composers and virtuosi of all kinds.<a href="#linknote-170061" - name="linknoteref-170061" id="linknoteref-170061"> 61 </a> The groundwork, - both of thought and instruction, was Italian certainly; but the fact that - the care of musical affairs was intrusted to German musicians, had an - influence of its own, even before the national element had asserted its - supremacy in Germany. French influence, too, made itself felt side by side - with the Italian; the connection maintained by the Elector Palatine with - the court of Versailles was profitable in every way to his musicians. - Finally, the partiality for instrumental music which we have already noted - must have tended to give an independent impulse to musical production in - Mannheim. - </p> - <p> - His stay in a town so thoroughly and genuinely musical,<a - href="#linknote-170062" name="linknoteref-170062" id="linknoteref-170062"> - 62 </a> must have had a more abiding effect upon Mozart than was exercised - by Salzburg, Augsburg, or even Munich. He came to Mannheim at a time when - the minds of men were full of fresh and eager aspirations after artistic - and literary <span class="side">CHR. DANNER.</span> <span class="pagenum"><a - href="pgimages/p381.png">[381]</a></span> excellence; and fortunately for - him the interest was mainly centred on his own peculiar province—the - drama. We cannot imagine, however, that he was dazzled or abashed by the - wealth of musical knowledge, or by the accomplishments of the noted - musicians with whom he came in contact; his confidence in his own powers - preserved him from any feeling of constraint or distrust. At first he was - surprised at the small amount of attention which his presence excited. On - the day after his arrival he made the acquaintance of the violinist, Chr. - Danner (b. 1745), and went with him to rehearsal.<a href="#linknote-170063" - name="linknoteref-170063" id="linknoteref-170063"> 63 </a> "I thought that - I should not be able to keep from laughing, when I was introduced to - people. Some of them, who knew me <i>per renommée</i>, were polite and - respectful; but the rest, who did not know anything of me, stared at me in - the most ludicrous manner. They think because I am little and young that - there can be nothing great or old in me; but they shall soon see." Mozart - always resented, even in later years, any reference to his small stature - and unimposing appearance, even when it was made by way of contrast to his - great performances. - </p> - <p> - His predictions were verified. It was not long before he had gained the - esteem and admiration of the Mannheim musicians, the ready goodwill with - which he placed his talents and services at their disposal, and his - cheerfulness and good breeding in society, rendering him a universal - favourite. His spirits rose in proportion as the memory of his position at - Salzburg faded from his mind. Even from Munich he wrote to his father - (September 26, 1777): "I am always in the best of spirits. I feel as light - as a feather since I left all that chicanery behind! I am fatter, too, - already." At Mannheim, in daily intercourse with cultivated artists, he - <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p382.png">[382]</a></span> must have felt completely at his - ease. The members of the band were well paid<a href="#linknote-170064" - name="linknoteref-170064" id="linknoteref-170064"> 64 </a> and well - treated; Karl Theodor's love of music and general affability gave them - considerable freedom of position, and intercourse with their circle was - liberal and pleasant. Schubart declares that the houses, tables, and - hearts of all the musicians were open to him during the whole of his stay, - and that he had his share in their practisings and their festivities.<a - href="#linknote-170065" name="linknoteref-170065" id="linknoteref-170065"> - 65 </a> Mozart's experience was the same; although, his stay being longer, - he could not fail to observe that the superficial frivolity of court life - had affected the tone even of the artistic circles.<a - href="#linknote-170066" name="linknoteref-170066" id="linknoteref-170066"> - 66 </a> - </p> - <p> - His friendly reception by Cannabich led to an intimate friendship and - daily intercourse with the whole family, in which Wolfgang's mother was - included. He often dined with them, and no long time elapsed before he - found himself "<i>al solito</i>" at supper and spending the evening with - the Cannabichs; they chatted, played a little sometimes, or Wolfgang used - to take a book out of his pocket and read. Occasionally the party became - merrier and not quite so decorous, as the following mock confession made - by Wolfgang to his father will show (November 14,1777):— - </p> - <p> - I, Johannes Chrisostomus Amadeus Wolfgangus Sigismundus Mozart, do hereby - confess that both yesterday and the day before (and on various other - occasions) I remained out until twelve o'clock at night; and that from ten - o'clock until the above-named hour I was at Cannabich's house, in company - with Cannabich, his wife and daughter, Herr Schatzmeister, Herr Ramm, and - Herr Lang, making rhymes and perpetrating bad jokes in thought and word, - but not in deed. But I should not have conducted myself in so godless a - fashion had not the ringleader of the sport, the above-named daughter, - Liesel, incited and abetted me therein; and I must acknowledge that I - found it extremely amusing. I bewail all these my sins and transgressions - from the bottom of my heart; and, hoping to confess the same thing very - frequently, I make an earnest resolution to amend my former sinful life. I - therefore beg for a dispensation, that is if it is an easy one; if not, it - is all the same to me, for the game is not like to come to an end very - soon. - </p> - <p> - <span class="side">THE CANNABICH FAMILY.</span> <span class="pagenum"><a - href="pgimages/p383.png">[383]</a></span> - </p> - <p> - That Mozart was always ready when music was wanted we cannot doubt; on one - of his first visits to Cannabich he played all his six sonatas one after - the other. Cannabich was not slow to recognise his extraordinary talent, - nor to make use of it on occasion, as when Wolfgang made good clavier - arrangements of his ballets for him. But self-interest had no share in the - feelings with which he came to regard Wolfgang; both he and his wife loved - him as their own son, threw themselves zealously into all that concerned - his wellbeing, and watched over him as true friends. The magnet which - attracted Wolfgang to the house at first, and kept him chained there for a - time, was Cannabich's eldest daughter Rosa, who was then thirteen, "a - pretty, charming girl," as Wolfgang writes to his father (December - 16,1777); "she has a staid manner and a great deal of sense for her age; - she speaks but little, and when she does speak it is with grace and - amiability."<a href="#linknote-170067" name="linknoteref-170067" - id="linknoteref-170067"> 67 </a> The day after his arrival (October 31) - she played something to him; he thought her playing good, and began to - compose a sonata for her, as a mark of attention to Cannabich. The first - allegro was ready on the same day. "Young Danner asked me" he continues, - "what I meant to do for the andante. 'I mean to make it exactly like - Mdlle. Rose herself.' When I played it they were all wonderfully pleased. - Young Danner said afterwards, 'You were quite right; the andante is - exactly like her.'" On November 8 he wrote the rondo at Cannabich's, - "consequently they would not let me away again. Mdlle. Rose's talent - gained in interest for him when, on studying this sonata with her, he - found that it had been neglected. "The right hand is very good, but the - left is utterly ruined; if I were her regular master I would lay aside all - music, cover the keys with a handkerchief, and make her practise passages, - shakes, &c., first with the right <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p384.png">[384]</a></span> hand - and then with the left, slowly to begin with until the hands were - perfectly independent; after that I believe I should make an excellent - player of her." The regular lessons followed in due time; he gave an hour - daily to the young lady, and was very well satisfied with the result. - "Yesterday she gave me indescribable pleasure," he writes (December - 6,1777), "by playing my sonata most beautifully. The andante (a slow one) - was full of feeling; she enjoys playing it." His father thought the sonata - wonderfully good (December 11, 1777); there was a little of the Mannheim - affected taste in it, but not enough to spoil Wolfgang's own good style. - </p> - <p> - Another musician with whom Mozart entered into very friendly relations was - the distinguished flute-player, Joh. Bapt. Wendling. Cannabich introduced - him; "every one was as polite as could be" he informs his father. "The - daughter Augusta, who was at one time the Elector's mistress, plays the - clavier well.<a href="#linknote-170068" name="linknoteref-170068" - id="linknoteref-170068"> 68 </a> Afterwards I played. I was in an - excellent humour, and played everything out of my head, and three duets - with the violin, which I had never seen before in my life, and the name of - whose author I did not even know. They were all so delighted that I was - obliged—to kiss the ladies! I had no objection as far as the - daughter was concerned, for she is not by any means ugly." He composed a - French song for this Mdlle. Gustl, of whom Wieland said that she was so - like one of Raphael's or Carlo Dolce's Madonnas, that he could hardly - refrain from addressing a "Salve Regina" to her.<a href="#linknote-170069" - name="linknoteref-170069" id="linknoteref-170069"> 69 </a> She had given - him the words, and her delivery of them was so charming that the song was - called for every day "at Wendling's," and they all "raved about it." He - promised to compose some more for her, and one at least was begun at a - later time.<a href="#linknote-170070" name="linknoteref-170070" - id="linknoteref-170070"> 70 </a> An aria with recitative was also sketched - out for Dorothea Wendling, the mother; she had herself selected the words - from <span class="side">FLUTE AND OBOE CONCERTOS.</span> <span - class="pagenum"><a href="pgimages/p385.png">[385]</a></span> Metastasio's - "Didone" (II. 4), "Ah! non lasciarmi no, bell' idol mio," and she, as well - as her daughter, "went wild over this song." It was Mozart's custom in - sketching his songs to write out the bass entire, and even some - indications of the accompaniment, so that the song could be sung and in - some measure accompanied from the sketch. Whether this particular song was - ever completed we do not know. Mozart did not forget Wendling himself. We - are told that a concerto of his was rehearsed at Cannabich's, to which - Mozart had arranged the instruments (November 22, 1777). He had a dislike - to the flute and a mistrust of flute-players, but he made an exception in - favour of Wendling. When Wend-ling's brother teased him for this he said: - "Yes, but you see, it is quite another thing with your brother. He is not - a piper, and one need not be always in terror for fear the next note - should be too high or too low—<i>he</i> is always right, you see; - his heart and his ear and the tip of his tongue are all in the right - place, and he does not imagine that blowing and making faces is all that - is needed; he knows too what adagio means."<a href="#linknote-170071" - name="linknoteref-170071" id="linknoteref-170071"> 71 </a> - </p> - <p> - Wolfgang presented his oboe concerto to the oboist Friedr. Ramm (b. 1744), - whom he met at Cannabich's, and who "went wild" over it (November 4, - 1777). He made it his <i>cheval de bataille</i>, playing it five times - during the same winter (February 13, 1778) with great success, "although - it was known to be by me." - </p> - <p> - Mozart soon became universally liked and admired, as well for his - readiness and good-nature in composing as for his performances on the - organ and clavier; but we hear nothing more of his violin-playing. He gave - a humorous description to his father of the effect made by his - organ-playing soon after his arrival in Mannheim (November 13, 1777) - </p> - <p> - Last Sunday I played the organ in the chapel for a joke. I came in during - the Kyrie, played the end of it, and, after the priest had given out the - Gloria, I made a cadenza. Nothing like it had ever been heard here before, - so that everybody looked round, especially Holzbauer. He <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p386.png">[386]</a></span> said to - me, "If I had only known I would have chosen another mass." "Yes," said I, - "in order to do for me altogether." Old Toeschi (the concertmeister) and - Wendling stood near me. The people were inclined to laugh, because every - now and then, when I wanted a <i>pizzicato</i> effect, I gave little bangs - to the notes. I was in my best humour. A voluntary is always played here - instead of the Benedictus; I took the idea of the Sanctus and carried it - out as a fugue. There they all stood and made faces. At the end, after the - Missa est, I played another fugue. The pedal is different from ours, and - that puzzled me a little at first, but I soon got used to it. - </p> - <p> - When the new organ in the Lutheran Church was tried (December 18) all the - kapellmeisters were invited, and Wolfgang's mother writes how a - distinguished Lutheran came and invited him also. He admired the organ - both in <i>pieno</i> and in its single stops, but he disliked Vogler, who - played it; he would not play much himself, only a prelude and fugue, but - he arranged to go again with a party of friends, and then he meant to - "have some rare fun on the organ." In the Reformed Church also, where the - organ was considered a remarkably fine one,<a href="#linknote-170072" - name="linknoteref-170072" id="linknoteref-170072"> 72 </a> he once played - to a friend for an hour and a half. - </p> - <p> - The great admiration he excited as a clavier-player is described by his - mother (December 28, 1777):— - </p> - <p> - Wolfgang is made much of everywhere; but he plays quite differently from - what he does at Salzburg, for there are nothing but pianofortes here, and - you never heard anything like the way he manages them; in a word, every - one that hears him declares that his equal is not to be found. Although - Beecké has been here, as well as Schubart, they all agree that he - surpasses them both in beauty of tone, in gusto, and delicacy; and what - they most admire is his playing out of his head whatever is laid before - him. - </p> - <p> - Clavier-playing was less esteemed in Mannheim than proficiency on an - orchestral instrument, and Peter Winter, a true representative of the - Mannheim band, could not play the clavier at all, and could not abide such - jingling noise, as he used to tell his friends.<a href="#linknote-170073" - name="linknoteref-170073" id="linknoteref-170073"> 73 </a> But Mozart had - plenty of opportunity for comparing himself with other clavier-players. - </p> - <p> - <span class="side">VOGLER AS A VIRTUOSO.</span> <span class="pagenum"><a - href="pgimages/p387.png">[387]</a></span> - </p> - <p> - The Abbé Joh. Fr. Xav. Sterkel (1750-1817), one of the most celebrated - performers of the day, came from Mayence (where he was pianist and - chaplain to the Elector)<a href="#linknote-170074" - name="linknoteref-170074" id="linknoteref-170074"> 74 </a> during Mozart's - stay at Mannheim. "Last evening but one," he informs his father (December - 26, 1777), "I was <i>al solito</i> at Cannabich's, and Sterkel came in. He - played five duets, but so quick as to be unintelligible, and neither - distinctly nor in time—they all said so. Mdlle. Cannabich played the - sixth, and she really did it better than Sterkel." - </p> - <p> - The same fault that he found with Sterkel, viz., the endeavour to make an - effect by rapid execution and playing at sight, in reality a mere device - to hide imperfect execution, Mozart found also with the playing of Vogler - (1749-1814), the solitary clavier performer resident at Mannheim. - </p> - <p> - He tells his father (January 17, 1778) of his meeting Vogler at a large - party:— - </p> - <p> - After dinner he had his two claviers brought, which were tuned together, - and also his tiresome printed sonatas. I was obliged to play them, and he - accompanied me on the other clavier. I was obliged, at his pressing - request, to have my sonatas brought also. Before dinner he had stumbled - through my concerto—the Litzau one (246 K.)—<i>prima vista</i>;<a - href="#linknote-170075" name="linknoteref-170075" id="linknoteref-170075"> - 75 </a> the first movement went prestissimo, the andante allegro, and the - rondo really prestissimo. He played almost throughout a different bass to - the one that was written, and sometimes the harmonies, and even the - melodies, were altered. Indeed, this was inevitable, owing to the great - speed: the eye could not see and the hand could not grasp the music. But - what kind of playing at sight is that? The hearers (those - </p> - <p> - I mean, who are worthy of the name) can only say that they have <i>seen</i> - music and clavier-playing. They hear and think and <i>feel</i> just as - little as the performer himself. You can imagine that the worst part of it - to me is not being able to say: <i>Much too quick</i>. After all, it is - much easier to play fast than slow; notes can be dropped out of passages - without being noticed; but is that desirable? The rapidity allows the - right and left hand to be used indiscriminately: but should that be so? - </p> - <p> - In what does the art of playing at sight consist? In playing the piece - correctly, in strict time, giving the proper expression to every <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p388.png">[388]</a></span> passage and every note, so that - it might be imagined that the player had composed the piece himself. - Vogler's fingering is atrocious; his left thumb is like Adlgasser's, and - he makes all the runs for the right hand with his first finger and thumb. - </p> - <p> - Mozart's antipathy to Vogler shines through this description, and is - equally apparent whenever he has occasion to mention him. Personally he - had nothing to complain of in Vogler: "Herr Vogler positively insisted on - making my acquaintance," he writes to his father (January 17, 1778); - "after plaguing me very often to go to him, he put his pride in his pocket - and paid me the first visit." No assurance will be needed that the rivalry - of the two in composition, organ and clavier-playing, would not lead - Mozart to disparage great merit where it existed. It might have - contributed to sharpen his judgment, which, however, was essentially the - same as that passed on Vogler by the whole orchestra, "from the highest to - the lowest." He was regarded as an interloper, who had usurped an - important position in Mannheim, and had intrigued against such men as - Holzbauer for the purpose; the violet stockings which he wore as papal - legate were thought absurd;<a href="#linknote-170076" - name="linknoteref-170076" id="linknoteref-170076"> 76 </a> and his habit - of taking a prayer-book into society, together with his music, and of - frequently keeping visitors waiting while he performed his devotions, was - considered mere affectation;<a href="#linknote-170077" - name="linknoteref-170077" id="linknoteref-170077"> 77 </a> many complaints - were made of his haughty and depreciatory manner; and his own performances - fell far short of the expectations excited by himself. - </p> - <p> - But apart from all influence of partisanship or gossip, it is quite - conceivable that two such diverse natures should exercise a mutual - repulsion on each other. Vogler was no doubt an original and striking - character; the very fact that his contemporaries were either his - enthusiastic admirers or his sworn enemies affords proof of this. He - possessed musical talent, intellect and shrewdness, together with much - energy of character, so that his attainments were extensive both in the - arts and sciences. - </p> - <p> - <span class="side">VOGLER's CHARACTER.</span> <span class="pagenum"><a - href="pgimages/p389.png">[389]</a></span> - </p> - <p> - But these qualities, uncombined with creative genius, could not reach the - highest beauty and truth, either in art or science. We find Vogler, - therefore, in whom creative genius did not exist, seeking for effect in - the technicalities of his art, and as a consequence, in something outside - the art itself. He prided himself especially on his programme music,<a - href="#linknote-170078" name="linknoteref-170078" id="linknoteref-170078"> - 78 </a> which was full of purely sensuous effects, and on his playing, - which was crowded with theoretical difficulties. The principal charm was - in both cases imported from without, not an essential product of the art - itself. Vogler was the first to give this direction to musical activity, - striving to hide a deficiency in creative power under general cultivation - of mind, and, as a necessary result, hampering the natural development of - true art. His celebrated pupils Weber and Meyerbeer have rendered the same - tendency fruitful in consequences to modern music. A consistent endeavour - after what is true and beautiful in art presupposes a singleness of mind - in the artist which cannot exist with inordinate ambition and a - calculating spirit. In truth the contradictions in Vogler's moral nature, - which were remarked even by his adherents,<a href="#linknote-170079" - name="linknoteref-170079" id="linknoteref-170079"> 79 </a> were as - striking as those in his artistic nature. If we consider the impression - such a man must have made on Mozart, whose creative genius was its own - measure and law, penetrating the very essence of his being, and elevating - even the drudgery of his profession to the freedom of high art, we can - comprehend how he would instinctively recoil from Vogler; and how his own - severe education, which had elevated and refined his nature without - injuring his healthy love of truth, would prevent his doing full justice - to his rival's merits. There can be no doubt that Mozart's opinion of - Vogler, which he took no pains to conceal, gave great offence to the - latter; but there is no evidence that he "plotted against him," as the - father conjectures, nor does Wolfgang himself make any such accusation. - Among Vogler's adherents in Mannheim was Peter Winter (1755-1826) who was - "almost the only <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p390.png">[390]</a></span> friend, that is the only - intimate friend, that Vogler had." His daily offerings to Vogler's vanity - were much to be regretted;<a href="#linknote-170080" - name="linknoteref-170080" id="linknoteref-170080"> 80 </a> he objected, - however, in after-days to be called Vogler's pupil.<a - href="#linknote-170081" name="linknoteref-170081" id="linknoteref-170081"> - 81 </a> He seems to have taken a dislike to Mozart, which the latter had - cause to feel very sensibly. - </p> - <p> - The remaining members of the orchestra, however, were only the more - attracted to Mozart by the position which he assumed in regard to Vogler. - Wendling and Ramm meditated a journey to Paris during Lent, and Ritter, - the bassoonist, was to precede them thither; they intended to give - concerts together, and Wendling proposed to Wolfgang to accompany them, - since such a composer and virtuoso as he would immeasurably strengthen - their company. Wolfgang was strongly inclined to consent, and wrote to his - father (December 3, 1777):— - </p> - <p> - If I stay here until Lent, I shall accompany Wendling, Ramm the oboist - (and a very fine one), and Lauchery, the ballet manager, to Paris. Herr - Wendling assures me that I shall have no cause to repent it. He has been - twice in Paris (has only lately returned), and says it is the only place - where fame and money can be made. "You are a man," says he, "who can do - anything. I will show you how to set about it: you must compose operas, - serious and comic, oratorios, and everything." Whoever has written a - couple of operas in Paris is a made man at once; then there are the - Concerts Spirituels, and the Académie des Amateurs, where you get five - louis d'ors for a symphony. If you give lessons, it is at the rate of - three louis d'ors for twelve. Sonatas, trios, and quartets are printed by - subscription. Cannabich and Toeschi send a great deal of their music to - Paris. Wendling is a man who understands travelling. Pray write me your - opinion on the subject. It seems to me a good idea. I shall travel with a - man who knows the Paris of the present day thoroughly, for it has altered - very much. I should spend little, indeed I think not half so much as now, - for I should only have to pay for myself; mamma would remain here, and - probably stay with the Wendlings. Herr Ritter, who plays the bassoon very - well, sets out for Paris on the 12th inst. Ramm is a right honest, merry - fellow of about thirty-five; he has travelled much, and knows the world - well. The greatest and best musicians here like and esteem me. I am always - called Herr Kapellmeister. - </p> - <p> - Wolfgang's mother was not opposed to the project; she writes to her - husband (December 11, 1777):— - </p> - <p> - <span class="side">PLANS FOR A JOURNEY TO PARIS.</span> <span - class="pagenum"><a href="pgimages/p391.png">[391]</a></span> - </p> - <p> - About Wolfgang and his journey to Paris you must consider what is right: - nowadays Paris is the only place to get on. Herr Wendling is an honourable - man, well known to all: he has travelled much, and been in Paris thirteen - times, so that he knows it thoroughly; our friend Herr von Grimm is his - best friend also, and has done much for him. So you must decide as you - like—I shall be ready to agree. Herr Wendling has assured me that he - would act as Wolfgang's father. He loves him as his own son, and will, I - am sure, take as good care of him as I do. You can well imagine that I am - averse to parting from him; and if I have to come home alone, the long - journey will be a great trial to me: but what can be done? The journey to - Paris would be more fatiguing and too expensive; for one does not spend a - fourth part travelling alone. - </p> - <p> - If this plan was to be carried out, Wolfgang must remain at Mannheim - through the winter. His first endeavour, therefore, was to obtain a - situation in the band from the Elector, and his friends eagerly seconded - his efforts. Holz-bauer had taken him soon after his arrival to the - manager, Count Savioli (November 4, 1777),where Cannabich chanced to be - present:— - </p> - <p> - Herr Holzbauer said to the Count in Italian that I wished for the honour - of playing before his Highness the Elector: I had been here fifteen years - before, when I was eight years old; I was now older and taller, and my - music had improved also. "Ah," said the Count, "that is young-," somebody - or other for whom he mistook me. Then - </p> - <p> - Cannabich began to speak. I pretended not to listen, and talked to some - one else, but I noticed that he spoke very earnestly. Then the Count said - to me, "I hear that you play fairly well on the clavier." - </p> - <p> - I made an obeisance. - </p> - <p> - The Elector happened to be holding court at the time, and Count Savioli at - once presented Wolfgang to the Electress, who received him very - graciously, and remembered his being there fifteen years before, though - she would not have recognised him. On November 6 there was a grand state - concert, at which Mozart played a concerto, and before the closing - symphony a sonata, and something "out of his head":— - </p> - <p> - The Elector and his wife and all the court were pleased with me. At the - concert, every time I played she and the Elector came quite near my - clavier. After the concert, Cannabich intimated that I might speak to the - Elector. I kissed hands, and he said, "I think it is fifteen years <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p392.png">[392]</a></span> since you were here before?" - "Yes, your highness; fifteen years since I had the honour"—"You play - remarkably well." When I kissed the hand of the Princess she said, - "Monsieur, je vous assure, on ne peut pas jouer mieux." - </p> - <p> - The Electress informed him that she should like him to play to her alone, - and they were obliged to remain until the command to do so should arrive. - Some days after, Count Savioli handed him his present, a beautiful gold - watch; ten gold caroli would, however, have been more useful to him than - the watch, which was valued at twenty. "I have now with your permission - five watches. I have a great mind to have a pocket made on each side, and - to wear two watches (which is the fashion now) so that it may not occur to - any one to give me another." - </p> - <p> - In his father's opinion Wolfgang would do wrong to remain in Mannheim any - longer than necessary, unless he had certain prospects of a situation - there; his good friends could watch over any future interests in his - absence, and he ought not to lose the opportunity of making himself known - in different places, and of earning money. According to intelligence - received from Frankfort, there was nothing to be made there; but at - Mayence, with the support of the concertmeister, Georg Ant. Kreuser, - concerts might be arranged both in private, before the enthusiastically - musical Elector, and in the town.<a href="#linknote-170082" - name="linknoteref-170082" id="linknoteref-170082"> 82 </a> Something, too, - might be made at Coblentz out of the Elector Clemens, between whom and the - Elector Wolfgang had sat at table and composed with a pencil in Munich, - when they were returning from England (p. 48). Nothing could be done in - Bonn. - </p> - <p> - They might return to Mannheim after such expeditions as these, if there - was any prospect of remaining there over the winter. Paris must only be - thought of as a last resource; it would be a difficult and a risky - undertaking. To L. Mozart, who was continually revolving schemes in his - mind, it seemed in no way right that the travellers should have settled - themselves so comfortably at Mannheim. Wolfgang, finding himself for the - first time in a congenial <span class="side">THE ELECTOR.</span> <span - class="pagenum"><a href="pgimages/p393.png">[393]</a></span> professional - atmosphere, and in familiar intercourse with cultivated minds, was only - too ready to hearken when every one said to him: "Where can you go in the - winter? The season is too bad for travelling; stay here!" And then the - prospects which so many good friends opened to him appeared to him in no - wise uncertain. His mother allowed herself to be led by her son and his - friends, and was easily persuaded that to stay in Mannheim would be most - advantageous for Wolfgang. - </p> - <p> - The Elector had ordered Mozart to be conducted before his natural - children, whom he visited for some hours every afternoon, taking great - interest in their studies. Mozart, who was accompanied by Cannabich, thus - describes the interview (November 8, 1777):— - </p> - <p> - I talked to the Elector quite familiarly. He is both gracious and good. He - said to me, "I hear that you wrote an opera at Munich." "Yes, your - highness. I humbly crave your grace, it is my greatest wish to write an - opera here. I pray your highness not to forget me. I can write German, - too, God be praised." Well, that may happen.<a href="#linknote-170083" - name="linknoteref-170083" id="linknoteref-170083"> 83 </a> He has one son - and three daughters;<a href="#linknote-170084" name="linknoteref-170084" - id="linknoteref-170084"> 84 </a> the eldest and the young Count play the - clavier. The Elector consulted me quite confidentially about his children. - I spoke quite openly, but without blaming their master. Cannabich was of - my opinion, too. When the Elector left he thanked me very politely. - </p> - <p> - Some days after he went again, and "played with his whole heart" three - times at the request of the Elector, who sat by him "motionless"; a - certain professor gave him a subject for a fugue. This seemed the surest - way to the favour of the Elector. At Cannabich's instigation, as he tells - his father (who counted on Cannabich's friendship, <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p394.png">[394]</a></span> his - interest being concerned on his daughter's account), he asked Count - Savioli whether the Elector would not keep him there during the winter, - and he would engage to give the children lessons. Cannabich promised to - propose and support this plan to the Elector, but he must wait until after - the gala days, and then the best results might be expected. But a thing - like this must not be hurried, and patience would be required, as Wolfgang - informs his father, and admonishes him not to lose time in speculations, - which generally prove useless. In the meantime he had drawn on the banker - for 150 gulden, "for the host would rather hear the jingle of money than - of music." - </p> - <p> - This did not in any way please Wolfgang's father, who delivers a sharp - reproof for his thoughtless expression as to the father's speculation - being useless. "Gerechter Gott!" he writes, "you tell me not to speculate - when I am in debt already on your account 450 florins, and you think you - will put me in good humour by writing all sorts of absurd nonsense." He - shows them how little use they have made of their time so far, and scolds - them for not announcing their plans beforehand, so that proper - preparations could be made. "I beg you, my dear Wolfgang, to be more - thoughtful, and not to wait to write about things until they are past; - otherwise all will go wrong." He points out how they have been living - hitherto almost entirely on hope, leaving to him the care of the money - which they required; he had not even received the accounts which his dear - wife had promised him, and they had drawn money without giving him proper - notice:— - </p> - <p> - A journey like this is no joke: you have not felt it hitherto. You must - have something more serious in your head than nonsense: you have to - foresee, to consider, to calculate, or else you will find yourself in a - mess, without money—and no money means no friends, even if you give - lessons a hundred times over, and compose sonatas, and play the fool every - night from ten to twelve o'clock. Ask these friends of yours for credit! - All the jokes will come to an end, and the most jocular countenance will - turn grave on a sudden. - </p> - <p> - Hereupon followed a very vague money account from the wife (December 11, - 1777):— - </p> - <p> - <span class="side">MOZART AND THE ELECTOR.</span> <span class="pagenum"><a - href="pgimages/p395.png">[395]</a></span> - </p> - <p> - My dear Husband,—You wish to know what we have spent on our journey. - We sent you Albert's bill, and the Augsburg one was thirty-eight florins. - Wolfgang has told you that we were twenty-four florins short, but he has - not included the expenses of the concert, which were sixteen florins, nor - the hotel bill. So that when we came to Mannheim we had not more than - sixty gulden, and if we had left in a fortnight, there would not have been - much over. For travelling costs more, since things have grown so dear; it - is not what it was—you would be surprised. - </p> - <p> - The irritated and somewhat despondent tone in which Wolfgang replied to - his father's reproaches (November 20, 1777), shows that he felt their - truth, and that the easy-going comfort of his life at Mannheim was - disturbed by the first indications of his duty:— - </p> - <p> - If you consider the cause of my inaction to be laziness and want of care, - then I can do nothing but thank you for your good opinion, and lament from - my heart that my father does not know me better. I am not careless, I am - only resigned to everything, and so can wait with patience and bear all, - provided my honour and my good name of Mozart do not suffer. Well, if it - must be, it must. But I pray you beforehand not to rejoice or to be sorry - before it is time: for whatever happens it is all right if one is only - healthy; happiness consists in the imagination (November 29, 1777). - </p> - <p> - But his father was not satisfied with all this moral philosophy, and - calmly criticises the saying that happiness consists in imagination as - being worthy only of a wild herb. He calls upon his son to realise the - situation of being asked to pay, and having no money. "My dear Wolfgang, - that is a saying fit for those who are satisfied with nothing." - </p> - <p> - The negotiations with the Elector continued, and Wolfgang sought to - enlighten his father concerning Cannabich's intentions and behaviour - (November 29, 1777):— - </p> - <p> - In the afternoon (after the first interview with Savioli) I was at - Cannabich's, and, as it was by his advice that I had gone to the Count, he - asked me whether I had been. I told him all. He said, "I should be very - glad if you remained with us all winter; but it would be still better if - you could take service here altogether. I said, "I could wish for nothing - better than to be always with you, but I do not see how that is possible. - You have two kapellmeisters already, and I could not consent to come after - Vogler." "Nor need you," said he; "no musician here is under the - kapellmeister, nor even under the manager. The <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p396.png">[396]</a></span> Elector - could appoint you his chamber composer. Just wait a little; I will speak - to the Count about it." The following Thursday was the state concert; when - the Count saw me he apologised for not having spoken, but said he was - waiting for Monday, when the Court would be over. I let three days pass, - and then, as I heard nothing, I went to inquire. He said, "My dear Mons. - Mozart [this was Friday, that is, yesterday], to-day the Elector went - hunting, and I could not possibly ask him; but to-morrow at this time you - shall certainly have an answer." - </p> - <p> - I begged him not to forget. Truth to tell, I was a little annoyed when I - came away, and I determined to take my easiest six variations on the - Fischer minuet (179 K.)—I had already copied them out for the - purpose—to the young Count, that I might have an opportunity of - speaking to the Elector myself. When I brought them the governess could - not contain her delight. I was politely received; when I produced the - variations and said they were for the young Count, she said, "O, you are - very good; but have you nothing for the Countess?" "Not at present," said - I; "but, if I remain here long enough, I shall"—"<i>A propos</i>," - she said, "I am glad that you are to remain the winter here." "Indeed! - </p> - <p> - I did not know"—"That is curious. I am surprised. The Elector told - me himself." "Well, if he has said it, I suppose it is so; for of course - my staying here depends on the Elector." I then told her the whole story. - We agreed that I should come to-morrow at four o'clock, and bring - something for the Countess. She would speak to the Elector before I came, - and I should meet him there. I have been to-day, but he had not been - there. I will go again to-morrow. I have a rondo for the Countess. Now, - have I not reason enough to remain here and await the issue? Ought I to - leave now that so important a step is taken? I have an opportunity of - speaking to the Elector myself. I think I shall probably remain the winter - here, for the Elector likes me, thinks much of me, and knows what I can - do. I hope to be able to give you good news in my next letter. I beg you - again not to sorrow or rejoice about it too soon, and to tell the affair - to no one but Herr Bullinger and my sister. - </p> - <p> - But the affair was not so easily settled; in his next letter (December 3, - 1777) Wolfgang could only tell his father of the many incidents which - seemed to promise a good result:— - </p> - <p> - Last Monday, after three successive attempts morning and afternoon, I was - fortunate enough to meet with the Elector. We all thought that our trouble - was again in vain, for it was getting late; but at last we saw him coming. - The governess at once placed the Countess at the clavier, and I sat near - her, giving her a lesson: the Elector saw us so when he entered. We stood - up, but he told us to continue. When she had finished playing, the - governess remarked that I had written a charming rondo for her. I played - it, and he was highly pleased. Then he asked, <span class="side">HOPES OF - SERVICE AT MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p397.png">[397]</a></span> "But will she be able to learn - it?" "O yes," said I, "I only wish that I could have the happiness of - teaching it to her myself." He took snuff and said, "I should like it, but - would it not do her harm to have two masters?" "Oh, no, your highness, it - only signifies whether she has a good or a bad one. I hope your highness - would have no doubt—will have confidence in me." "Oh, certainly," - said he. Then the governess said, "M. Mozart has also written variations - on Fischer's minuet for the young Count. I played them, and he was again - very pleased. Then he began to play with the children, and I thanked him - for the presentation watch. He said, "Well, I will think about it. How - long shall you remain here?" "As long as your highness commands. I have no - engagement elsewhere." And that was all. This morning I was there again, - and was told that the Elector had said several times last night that - Mozart would remain all winter. Now that it has gone so far I must wait. - To-day I dined at Wendling's for the fourth time. Before dinner, Count - Savioli came in with the kapellmeister Schweitzer, who arrived yesterday. - Savioli said co me, "I have spoken several times to the Elector, but he - has not yet made up his mind." I told him I should like to say a word to - him, and we went to the window. I told him the doubts of the Elector, - complained of being kept waiting so long, and begged him to induce the - Elector to engage me; only I feared, I said, that he would offer me so - little that I should not be able to remain. Let him give me work: I wanted - work. He promised to do as I asked—it may be this evening, since he - does not go to court to-day; but to-morrow he has promised me a decided - answer. Now, let what may happen, I shall be content. If he does not keep - me, I shall ask for a parting gift, for I do not intend to make the - Elector a present of the rondo and the variations. I assure you I take the - affair quite composedly, knowing that all will be for the best, as, come - what may, I have resigned myself to the will of God. - </p> - <p> - But for several days yet no answer could be obtained from the Elector - except a shrug of the shoulders, and "I have not made up my mind." At last - Mozart was able to acquaint his father with the result of all these - negotiations; it was such as L. Mozart had expected from the first - (December 10, 1777):— - </p> - <p> - There is nothing to be done with the Elector at present. The day before - yesterday I went to the concert at court to get my answer. Count Savioli - avoided me as long as he could, but I went up to him, and when he saw me - he shrugged his shoulders. "What!" said I, "no answer yet?" "A thousand - pardons," said he; "but, unfortunately, nothing can be done." "Eh bien!" I - answered, "the Elector might have told me that sooner." "Yes," said he, - "he would not have made up his <span class="side">MANNHEIM.</span> <span - class="pagenum"><a href="pgimages/p398.png">[398]</a></span> mind now if I - had not urged him to it, and represented to him how long you had been - waiting already, and spending your money at the hotel." "That annoys me - most of all," I answered; "it is not at all well done. But I am - exceedingly obliged to you, Count (he is not called Excellency), for your - endeavours on my behalf, and I shall be obliged if you will thank the - Elector in my name for his gracious, though somewhat tardy, intelligence, - and assure him that, if it had pleased him to engage me, he would not have - repented doing so." "O," said he, "I am more sure of that than you - believe." - </p> - <p> - The unexpected turn of affairs made quite as unpleasant an impression upon - the Mannheim circle of friends as upon Mozart. He went at once to - Cannabich's, and he being out hunting, related the whole story to his - wife:— - </p> - <p> - When Mdlle. Rose—who was three rooms off and busied with the linen—had - finished, she came in and said to me, "Is it your pleasure that we begin?" - for it was time for a lesson. "I am at your service," said I. "We will - have a good steady lesson to-day," said she. "We will indeed," I answered, - "for it will not last much longer." "How so? Why?" She went to her mamma, - who told her. "What!" said she, "is it really true? I do not believe it." - "Yes, yes; quite true," said I. She played my sonata through quite - seriously; believe me, I could not refrain from weeping; and before it was - ended there were tears in the eyes of the mother and daughter, and of Herr - Schatzmeister, who was present, for the sonata was a favourite with the - whole house. "You see," said Schatzmeister, "when Herr Kapellmeister [they - always call me so] goes away, he makes us all cry." I must say that I have - made good friends here, and one learns to know them under such - circumstances. - </p> - <p> - Wendling was specially concerned at the intelligence; when Mozart - communicated it he grew "quite red," and said very hastily, "We must find - some way of keeping you here, at all events for the two months before we - go to Paris together." When Wolfgang went to dine with him next day he - made him what seemed a very satisfactory proposal. A Dutchman (Dejean or - Dechamps) nicknamed the Nabob, who lived on his means, and had been a - friend and admirer of Wolfgang, offered to give him 200 florins for three - short and easy concertos and two quartets for the flute; then Cannabich - would guarantee at least two well-paying pupils, and Mozart was to have - duets for clavier and violin printed by subscription. Wendling offered him - board, and he could <span class="side">L. MOZART'S ANXIETIES.</span> <span - class="pagenum"><a href="pgimages/p399.png">[399]</a></span> have free - quarters at the house of the chamberlain Serrarius. Mozart was rejoiced at - the prospect of being able to remain in Mannheim, and thought he should - have enough to do for all winter in composing three concertos, two - quartets, four or six clavier duets, besides a grand mass, which he - intended to present to the Elector. The following day he set himself to - find small, cheap lodgings for his mother, which was not an easy matter. - </p> - <p> - It was a satisfaction to Wolfgang's father, who was not surprised that - Wendling should seek to retain so excellent a fourth party for the - expedition to Paris, to have the state of affairs laid clearly before him. - He stipulated only that the journey should not take place during the cold - of winter, and thought the plan feasible, provided the Dutchman could be - relied on; if not, they must at once proceed to Mayence. But on no account - were the mother and son to separate. "As long as your mother remains, you - must remain with her," he writes (December 18, 1777); "you must not think - of leaving your mother to the care of others as long as you and she can be - together." The small difference in rent was not worth considering, and it - was impossible for her to go home at present. "Be most careful to remain - with your mother and care for her, even as she has cared for you." It was - not only physical care that he had in his mind, but watchfulness over his - son's moral and religious behaviour. He expresses some anxiety on these - points (December 15). - </p> - <p> - Let me ask you whether Wolfgang has not forgotten to go to confession - lately? God before everything! From Him alone can we expect earthly - happiness and eternal safety. Young people are apt to be impatient when - told this; I know it, for I have been young myself; but, God be praised, I - never failed to come to myself in time after any youthful folly, to flee - from all danger to my soul, and to keep God and my honour, and the - dangerous consequences of sin, always before my eyes. - </p> - <p> - His wife reassured him by saying that Wolfgang had confessed at the feast - of the Immaculate Conception, and that they had heard mass regularly on - Sundays, though not always on week-days. Wolfgang justified himself, not - without a touch of irritability (December 20, 1777):— - </p> - <p> - <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p400.png">[400]</a></span> - </p> - <p> - I have written that your last letter gave me great pleasure, and that is - true; but one part of it vexed me a little—the question whether I - had not somewhat neglected confession. I have nothing to reply to this, - except to make you one request, which is—not to think so ill of me - again. I am fond of fun, but be assured that I can be serious on occasion. - Since I left Salzburg (and even before) I have met with people whose - speech and actions I should have been ashamed to imitate, although they - were ten, twenty, or thirty years older than myself; so I beg you - earnestly to have a better opinion of me. - </p> - <p> - Under these circumstances, the offer of Serrarius to afford lodging, - firing, and light to both mother and son, came very opportunely; Wolfgang - was to give lessons to his daughter in return. The mother was especially - pleased at the change, having been somewhat lonely at the hotel during - Wolfgang's long absences. They had good beds, careful attendance, and she - supped and spent the evenings with her hostess, chatting with her often - until eleven o'clock. Wolfgang does not seem to have been particularly - struck with the talent of the daughter of the house, Theresa Pierron, who - had played the clavier since she was eight years old; he seldom mentions - the "house nymph." Nevertheless, she practised one of his concertos, and - performed it at a large musical party at home; and afterwards she played - the third and easiest of his concertos for three claviers at a concert. - Before his departure from Mannheim he composed (March 11, 1778) a clavier - sonata with violin accompaniment for her (296 K.). He gave lessons in - composition to young Danner, in return for which his mother dined there - every day; he himself boarded at Wendling's. "Wolfgang," writes his - mother, "has so much to do with composing and giving lessons that he has - no time to pay visits to anybody. So you see that we can comfortably stay - here during the winter; and it is all Herr Wendling's doing; he loves - Wolfgang as his own son." Wolfgang himself gives his father the following - account of his daily life (December 20, 1777):— - </p> - <p> - We cannot rise before eight o'clock, for our room, being on the - ground-floor, is not light until half-past eight. Then I dress quickly; at - ten o'clock I set to work composing until twelve or half-past; then I go - to Wendling's and write a little more until half-past one, when we dine. - At three, I go to give lessons in gallantry and thorough-bass to a Dutch - <span class="side">SCHWEITZER'S "ROSAMUNDE."</span> <span class="pagenum"><a - href="pgimages/p401.png">[401]</a></span> officer (De la Potrie), for - which, if I do not mistake, I shall have four ducats for twelve lessons. - At four I return home to give a lesson to the daughter of the house: but - we never begin before half-past four, because we are waiting for lights. - At six I go to Cannabich's and teach Mdlle. Rose; I stay there to supper, - and then we talk or play a little, or some-times I take a book out of my - pocket and read, as I used to do at Salzburg. - </p> - <p> - His mother had reason to say that Wolfgang was so busy he did not know - which way to turn; and she might well add that her husband could not - conceive how highly Wolfgang was esteemed for his music and other things, - so that every one said that he had not his equal, and his compositions - were literally idolised. At the same time the father is informed that - Wolfgang's beard has to be removed; and on his question as to whether it - has been cut, burnt, or shaved off, the answer is duly given: "The beard - has not been shaved yet, only cut with scissors; but it cannot be done so - any more, and next time the barber must be called in." - </p> - <p> - The great musical event which was engrossing public attention at this time - was the approaching production of Wieland and Schweitzer's "Rosamunde." - </p> - <p> - As the result of flattering overtures made to him during the summer of - 1776,<a href="#linknote-170085" name="linknoteref-170085" - id="linknoteref-170085"> 85 </a> Wieland set to work on his text in the - spring of 1777.<a href="#linknote-170086" name="linknoteref-170086" - id="linknoteref-170086"> 86 </a> The subject—a curious one to choose - for Mannheim, where the Elector had many Rosamunds, and the Electress took - little pains to conceal her chagrin thereat (facts of which Wieland had no - suspicion)<a href="#linknote-170087" name="linknoteref-170087" - id="linknoteref-170087"> 87 </a>—inspired him with the greatest - enthusiasm. This caused him to be all the more unpleasantly surprised when - Jacobi and Goethe declared the opera a failure, and the minister Hompesch - pressed for a revision of the last act. He wished to withdraw it - altogether, although Schweitzer had already composed three acts of great - beauty; but Hompesch would on no account consent to this, and he was - obliged to undertake the revision.<a href="#linknote-170088" - name="linknoteref-170088" id="linknoteref-170088"> 88 </a> - </p> - <p> - <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p402.png">[402]</a></span> - </p> - <p> - Wieland was far from being satisfied with his own share of the opera, but - he declared that Schweitzer had produced a work which would attract people - for miles round to hear it.<a href="#linknote-170089" - name="linknoteref-170089" id="linknoteref-170089"> 89 </a> - </p> - <p> - Wieland was invited to assist in person at the production of his opera. - Dissatisfaction with the work, and domestic and economical considerations, - caused him some hesitation; but the wish once more to enjoy music to the - full finally prevailed, and he looked forward with pleasure to a meeting - with old friends; Jacobi, Sophie la Roche and her daughter, and Max - Brentano promised to come to Mannheim for the occasion. The production of - the opera had been first fixed for the fête-day of the Elector (November - 4, 1777), but owing to the delay caused by the revision it did not appear - until January, 1778. When all the preparations, the splendid scenery and - costumes were completed, Schweitzer came to Mannheim to conduct the final - rehearsals himself. Mozart, who made his acquaintance at once, found him a - good, honest man, but dry and positive like Michael Haydn, "only that his - language is more refined (December 3, 1777). "There are beautiful things - in the new opera, and I doubt not that it will succeed. 'Alceste' was a - success, and is not half so fine as 'Rosamunde.' Certainly its being the - first German opera had much to do with the success; and now that the - novelty has worn off it has ceased to make the same impression." The opera - was rehearsed daily, and it affords proof of the esteem in which Wolfgang - was held by the band that, when Schweitzer was unwell, he had "to take his - place, and conduct the opera with several of the violins at Wendling's" - (December 18, 1777). Repeated hearing of the opera did not increase - Mozart's admiration for it. "Wolfgang does not care for the new opera," - writes his mother (December 18, 1777), "he says there is no nature in it, - and much exaggeration, and that it is not well written for the singers; we - must wait to see what effect it will produce." He writes himself (December - 10, 1777): "'Rosamunde' was rehearsed at the theatre to-day; it is—good, - but nothing more; and if it were bad, could it not be performed just the - same?" - </p> - <p> - <span class="side">WIELAND AT MANNHEIM,</span> <span class="pagenum"><a - href="pgimages/p403.png">[403]</a></span> - </p> - <p> - Later on (September 11, 1778), he pities Aloysia Weber on account of her - poor part in "Rosamunde." "She has one song, which might be made something - of, but the voice part is <i>à la</i> Schweitzer, like the barking of - dogs; she has a kind of rondo in the second act, which allows her to - sustain her voice, and display it a little. Woe to the vocalist, male or - female, who falls into Schweitzer's hands! He will never acquire the art - of writing for the voice."<a href="#linknote-170090" - name="linknoteref-170090" id="linknoteref-170090"> 90 </a> - </p> - <p> - The arrival of Wieland, who was esteemed before all German poets at - Mannheim,<a href="#linknote-170091" name="linknoteref-170091" - id="linknoteref-170091"> 91 </a> was eagerly looked for by the public, and - Wolfgang looked forward to making his acquaintance. Wieland arrived on - December 21, and was equally delighted with his reception by the Elector - and with the homage of the populace. "Every one is anxious to have me, and - each day is distinguished by something which makes the remembrance of it - pleasant," he writes on December 26 to Sophie la Roche;<a - href="#linknote-170092" name="linknoteref-170092" id="linknoteref-170092"> - 92 </a> and to Merck on the following day:<a href="#linknote-170093" - name="linknoteref-170093" id="linknoteref-170093"> 93 </a> "I can say - nothing more than that I am well both in soul and body, for the reason - that I have to play no part but the one natural to me, and that my - affairs, so far as it appears, are prospering. God grant that I may not - grow <i>too happy</i> among these people. But that is provided against." - </p> - <p> - Mozart was not carried away by the universal enthusiasm for the celebrated - poet, and sends his father the following impartial description (December - 27, 1777):— - </p> - <p> - I have made the acquaintance of Herr Wieland, but he does not know me as - well as I know him, for he has not heard me play yet. He is not at all - what I had expected to find him. His speech seems to me somewhat affected; - he has a childish voice—a fixed stare—a certain scholarlike - bluntness, and yet sometimes a stupid condescension. I am not surprised at - anything in his behaviour here, whatever it may be in Weimar <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p404.png">[404]</a></span> or elsewhere, for the people - look at him as if he had come down from heaven. Every one yields to him, - and there is silence directly he opens his mouth. It is only a pity that - he keeps people in suspense so long, for he has a defect in his utterance, - and has to speak very slowly, and stop every six words. He is extremely - ugly, covered with pockmarks, and with a very long nose. His height is - somewhat greater than your own. - </p> - <p> - After Wieland had learnt to know Mozart also, he writes (January 10, - 1778): "Herr Wieland, after hearing me twice, is quite enchanted. The last - time he paid me all manner of compliments, ending up with, 'It has been a - real happiness to me to meet you here!' and a squeeze of the hand." - </p> - <p> - Wieland was delighted with Wendling, and all the preparations for the - opera were found satisfactory. - </p> - <p> - The first performance was fixed for January 11, and he hoped to obtain - much honour for his "Rosamunde" in Mannheim, if only the illness of the - Elector of Bavaria did not frustrate all his hopes. But this fear was - unhappily realised. The Elector Maximilian died on December 30; the - intelligence reached Mannheim as Karl Theodor was attending a religious - service for the New Year, and the following evening he set out for Munich.<a - href="#linknote-170094" name="linknoteref-170094" id="linknoteref-170094"> - 94 </a> All the festivities came to an end. "The death of Maximilian - Joseph," writes Wieland to Baron von Gebler (January 5, 1778), "has - disappointed both myself and the public. My opera "Rosamunde," set to - admirable music by Herr Schweitzer, was to have been given for the first - time on the 11th, and repeated eight times during the carnival. I had - every prospect of as great a success as perhaps an opera ever had, when - the death of the Elector of Bavaria brought about an alteration on the - stage of public events, the lugubrious decorations of which have quite - suppressed mine."<a href="#linknote-170095" name="linknoteref-170095" - id="linknoteref-170095"> 95 </a> The opera was rehearsed once more in his - honour, and then he travelled back to Weimar, content with the result of - his visit, though his main object was defeated.<a href="#linknote-170096" - name="linknoteref-170096" id="linknoteref-170096"> 96 </a> - </p> - <p> - The change of government had more lasting effects for <span class="side">PROSPECTS - OF WORK IN VIENNA.</span> <span class="pagenum"><a href="pgimages/p405.png">[405]</a></span> - Mannheim, and especially for the musicians there, than a mere temporary - suspension of gaiety. The patriotic inhabitants of the Palatinate could - not indeed believe that their Elector would transfer his capital to - Munich;<a href="#linknote-170097" name="linknoteref-170097" - id="linknoteref-170097"> 97 </a> but the prospects of the future were - uncertain and alarming, owing to the threatening turn taken by political - events. - </p> - <p> - If Mozart had felt himself moved to write German operas in Munich, the - impulse must have been vastly strengthened by his stay in Mannheim. He had - offered his services to the Elector with this object. When the offer was - declined, a new prospect was opened to him in Vienna, with which he - acquaints his father (January 11, 1778):<a href="#linknote-170098" - name="linknoteref-170098" id="linknoteref-170098"> 98 </a>— - </p> - <p> - I know for certain that the Emperor is thinking of establishing opera in - Vienna, and that he is seeking everywhere for a young kapellmeister, a - German and a genius, who is capable of producing something new.<a - href="#linknote-170099" name="linknoteref-170099" id="linknoteref-170099"> - 99 </a> Benda is seeking in Gotha, but Schweitzer has more influence. This - would be just the thing for me; well paid, of course. If the Emperor gives - me 1,000 florins I will write him an opera, and if he does not pay me it - is all the same. Pray write to all imaginable friends in Vienna that I am - in a position to serve the Emperor. If needs be, he may try me with an - opera, and what he does after, I really do not care. Adieu. I hope you - will put the affair in motion at once, or some one may be beforehand with - me. - </p> - <p> - L. Mozart was not the man to let this opportunity slip. He applied at once - to Heufeld, who had formerly been well disposed towards them, and whose - knowledge and influence could be relied on, begging him to exert himself - on Wolfgang's behalf. Letters from Messmer (pp. 86,145) had just arrived - from Vienna, asking why Wolfgang did not come to Vienna, where there was - "always room for true talent." He should have board and lodging with him - as long as he liked, and his friends would see to his interests. But the - prospects, so far as the opera was concerned, were not very promising. L. - Mozart was of opinion (January 29, 1778) <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p406.png">[406]</a></span> that - the Emperor was like the Archbishop—"he wanted a good thing at a - very cheap rate." A letter from Heufeld was definitive (January 23, 1778):— - </p> - <p> - It is true that His Majesty the Emperor, to whom his mother has quite - resigned the care of the theatre, wishes to establish German opera. All - orders come through the High Chamberlain, Count von Rosenberg, to the - company, among whom there is a sort of council for the regulation of the - pieces and parts. At the opera, which is now combined with the national - company," the additional singers are Mdlle. Cavalieri, and Schindler's - daughter, married to Langin, with a bass, whose name I forget (Fuchs). - To-day was the first rehearsal of the first opera ("Die Bergknappen"), of - which Herr Weidmann has furnished the words, and Herr Umlauf, who plays - the viola in the orchestra, the music. The performance will take place - shortly. All this is only an experiment to see if anything can be done - with the Germans in this line. It is certain that no composer will be - engaged at present, particularly as Gluck and Salieri are in the Emperor's - service. To recommend any one at present would be the surest way to - failure; and no advocate can be employed to reach the Emperor's ear, since - he arranges everything himself according to his own ideas and - inclinations. Every one knows this, and no one ventures on a proposal or - recommendation. His Majesty has sought out Gluck and Salieri, and most of - those who are now in his service, in the same way. I could give you - several examples of people who have applied indirectly to His Majesty and - have failed in their suit. The way in which you propose approaching him - seems to me far from good, and the reason I decline presenting a petition - is my certain conviction that it would be useless, and, indeed, - prejudicial to your interests. There is another more creditable and more - certain way open to first-rate talent, and that is the production of some - work, for which there is every opportunity. Let your son take the trouble - of setting any good German opera to music and submitting it to the supreme - pleasure of the Emperor, and then let him wait the event, and follow in - person if his work is well received. In this case, indeed, his presence - will be necessary. Your son may be without any apprehension with regard to - Benda and Schweitzer; I can answer for there being no trouble from that - quarter. Their fame is not so great here as elsewhere. Perhaps even - Wieland's great opinion of these gentlemen<a href="#linknote-1700100" - name="linknoteref-1700100" id="linknoteref-1700100"> 100 </a> has somewhat - abated since his stay at Mannheim. I have a letter of the 5th inst. from - him, in which he acknowledges to having received altogether new ideas upon - music in Mannheim. - </p> - <p> - <span class="side">OVERTURES FROM THE ARCHBISHOP.</span> <span - class="pagenum"><a href="pgimages/p407.png">[407]</a></span> - </p> - <p> - When this letter reached Mozart he was in a very excited state (the reason - for which will be presently noted), and the effect it produced was greater - than mere disappointment. His self-love, which had been raised to so high - a pitch by the appreciation of his Mannheim admirers, was wounded by the - proposal that he should write a comic opera on approval, like a beginner. - Even the condescending good nature of Heufeld to his "dear Wolfgang" - increased his annoyance. - </p> - <p> - His father was full of plans and cares for his son's advancement. An - opportunity which offered for a settlement in Salzburg was little likely - to please Wolfgang. The city had been thrown into consternation on - December 21, 1777, by the paralytic seizure of Adlgasser while he was - playing the organ. His death followed the same evening. It soon became - clear that Wolfgang's return and application for the vacant post would not - be unacceptable to the authorities; and his father informs him of several - hints he had received to that effect (January 12, 1778):— - </p> - <p> - His Excellency the Lord High Steward apprised me that his Serene Highness - had commanded him to inquire from Haydn and myself if we knew of a really - good organist; he must also be an excellent clavier player, of good - appearance and manners, and able to give lessons to the ladies of the - court. "What!" said I, "did his Serene Highness mention me?" "Yes; you in - particular," said he, and laughed. I said, "I know nobody with all these - qualities." If there is such an one in Mannheim, he may make his fortune. - </p> - <p> - But even if his father had been willing to take these hints, Wolfgang - would have had no ear for them. - </p> - <p> - With the idea that a longer stay in Mannheim might yet result in a - permanent engagement, L. Mozart wrote to the Padre Martini in December, - 1777, sending him Wolfgang's promised portrait, and begging him to use all - his influence with the Elector.<a href="#linknote-1700101" - name="linknoteref-1700101" id="linknoteref-1700101"> 101 </a> With his - usual good nature, the Padre promised to write to Raaff authorising him to - say to the Elector "in his name everything imaginable in Wolfgang's <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p408.png">[408]</a></span> favour, and to praise him - according to his deserts; even if the political situation should operate - unfavourably at the moment, the appeal would certainly bear fruit at a - future time." No such letter, however, reached Raaff from Padre Martini; - but Wolfgang made it the occasion of forming a closer acquaintance with - Raaff, and advancing his own claims. He writes (February 28, 1778):— - </p> - <p> - Yesterday I took Raaff a song which I had just written for him. The words - are "Se al labro mio non credi, bella nemica mia," &c. I do not think - they are Metastasio's. The song pleases him greatly. One has to go - carefully to work with a man like this. I selected the words with care, - because I knew that he had sung them before, and that they would come - easier and more pleasantly to him. I asked him to tell me candidly if he - did not care for them or like them, and I would alter the song to his - pleasure, or write it over again. "Heaven forbid!" said he, "let the song - remain as it is, for it is very fine; only I must beg you to shorten it a - little, for I have lost the power now of sustaining my voice so long." - "Willingly," said I; "as much as you please. I took care to make it long, - for it is much easier to curtail than to lengthen a song." After he had - sung the second part, he took off his spectacles, looked hard at me, and - said, "Beautiful, beautiful! That is a charming second part," and he sang - it three times. When I went away, he thanked me cordially, and I assured - him in return that I would arrange the song to his satisfaction. I like a - song to be fitted to the singer, like a well-made garment.<a - href="#linknote-1700102" name="linknoteref-1700102" - id="linknoteref-1700102"> 102 </a> - </p> - <p> - The aria (295 K.), without the introductory recitative, has the following - words:— - </p> -<pre xml:space="preserve"> - Se al labro mio non credi, - Bella nemica mia, - Aprimi il petto e vedi, - Quai sia 1' amante cor; - Il cor dolente e afflito - Ma d' ogni colpa privo, - Se pur non è delitto - Un innocente ardor. -</pre> - <p> - The treatment is more strictly orthodox than had latterly been usual with - Mozart, apparently out of consideration to the singer. The first part is - an elaborate adagio, full of <span class="side">PREPARATIONS FOR PARIS.</span> - <span class="pagenum"><a href="pgimages/p409.png">[409]</a></span> simple - melody and fervent expression; the tone of deep sorrow given to the words - "aprimi il petto" is very impressive, melodious and pleasing, with few - passages, and those not florid. The second part (allegretto, 3-8, in G - minor), is especially rhythmical and original in its harmonies, animated, - and full of expression. Although the arrangement of this part is quite in - the old style, it has decided individuality, and contrasts so effectively - with the adagio that one can easily understand the delight with which it - inspired the old singer. The song does not exceed the compass of—[See - Page Image] - </p> - <p> - and keeps to the position of the tenor voice proper, full opportunity for - effective display being afforded to the singer. The free and finely - coloured accompaniment never obscures the voice,<a href="#linknote-1700103" - name="linknoteref-1700103" id="linknoteref-1700103"> 103 </a> and the - whole song is not inferior to later and better known works. - </p> - <p> - The time had now arrived for the expedition to Paris, and Mozart's anxious - father was unsparing in thought and wise counsel. He advised them to - prepare in good time for the mother's journey from Mannheim to Augsburg at - the beginning of March, and he impressed upon Wolfgang that his stay in - Paris was not to be limited by weeks or months, but was to last until he - had gained both fame and money; he must therefore wind up all his affairs - in Mannheim before he left. His father also gave him circumstantial rules - for his guidance in society; he was to avoid intimacies, especially with - other composers, such as Gluck, Piccinni, and Grétry, whose rivalry might - be feared, "de la politesse, et pas d'autre chose!" He was above all to - observe the greatest prudence in his dealings with the female sex, who - were always on the watch for young men of great talent whom they might - dupe and entangle, or even marry; "that would be my death," says his - father, and he sends him a long list <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p410.png">[410]</a></span> of - their patrons during their former stay, whom he was to seek out - immediately on his arrival. He is especially assured of the tried - friendship of Grimm, and of his own studies and duties: "Think daily what - you owe to God, who has given you such extraordinary talents." - </p> - <p> - To L. Mozart's astonishment he received a letter from Wolfgang (February - 4, 1778), informing him of his intention of giving up the journey to - Paris, and of the reasons which had led to this determination:— - </p> - <p> - Mamma and I have talked it over, and agreed that the life which Wendling - leads does not suit us. Wendling is a thoroughly honest, good man, but he - and all his household are totally without religion; his daughter's - relations to the Elector sufficiently prove this.<a - href="#linknote-1700104" name="linknoteref-1700104" - id="linknoteref-1700104"> 104 </a> Ramm is good at heart, but a libertine. - I know myself, and know that I have so much religion that I should never - commit an action that I could not proclaim to the whole world; but the - mere thought of travelling with people whose way of thinking is so opposed - to mine (and to that of all honourable men) frightens me. They may do as - they please, but I have no wish to accompany them; I should not have a - happy hour, I should never know what I was saying; for, in one word, I - have no confidence in them. Friendship without a religious basis is not - lasting. I have already given them a little <i>prægusto</i>. I have told - them that letters have reached me, of which I can say nothing further than - that they interfere with my journey to Paris with them; I may be able to - follow, but perhaps I shall have to go elsewhere, and they must not depend - upon me. - </p> - <p> - The mother corroborates all this, and declares she had never approved of - the society of Wendling and Ramm, but that she had said nothing, for she - was never listened to. In her next letter she asserts that it would - certainly be dangerous companionship for Wolfgang, and tells her husband: - "It is true that Herr Wendling is the best-natured man in the world, but - neither he nor his family have any idea of religion, nor care for it; - neither the mother nor daughter enter a church all the year round, nor do - they ever confess nor hear mass, but they are always going to the play; - they say the church is not healthy." - </p> - <p> - L. Mozart was not a little surprised that his wife and son <span - class="side">WOLFGANG'S WISH TO REMAIN IN MANNHEIM.</span> <span - class="pagenum"><a href="pgimages/p411.png">[411]</a></span> should so - suddenly discover this lack of faith at the end of a long acquaintance. - "You are quite right not to travel in undesirable company," he answers - (February 16, 1778); "but you must have been aware of the bad qualities of - these men for a long time, and you have had so little confidence in your - anxious father, that you have never written to ask his advice on the - subject, and (shocking!) neither has your mother done so." There was not - much to be said in answer to this, except that they had allowed themselves - to be deceived by the universal praise of Wendling, and by his really good - qualities, and had overlooked his want of religion. - </p> - <p> - Wolfgang gave his father other reasons against the expedition (February 7, - 1778):— - </p> - <p> - I have already given you my chief reason for not going with these people - to Paris. The second is that I cannot quite see what I should have to do - in Paris. My only means of advancement would be lesson-giving, and that - work is distasteful to me. I have had a striking example of that here. I - might have had two pupils. I went to each of them three times, then I - found one of them out; consequently I did not go again. I will gladly give - lessons as a favour, particularly to any one who shows genius and a real - wish to learn. But to be obliged to go to a house at a certain hour, or to - be obliged to wait at home for a pupil, is what I cannot do, even if it - were to bring me some profit. I leave that to those who can do nothing but - play the clavier. I am a composer, and a born kapellmeister; I ought not - to bury my talent for composition which a merciful God has so richly - bestowed upon me (I may say it without pride, for I feel it now more than - ever); and pupils are most distracting to the mind. I would rather (so to - speak) neglect the clavier than composition; for the clavier is only a - subordinate affair; only, God be praised! a very powerful subordinate. - </p> - <p> - He had said the same to Wendling, and told him that if he would only put - something certain in his way, he would gladly follow to Paris, "especially - if it was an opera; opera-writing is my chief idea and object, French - rather than German, but Italian rather than either French or German. - Wendling and his friends are all of opinion that my compositions would be - wonderfully successful in Paris; for, as you know, I can adapt myself to - every sort and style of composition." - </p> - <p> - All things considered, we cannot but feel that Wolfgang's <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p412.png">[412]</a></span> father was justified in writing - as follows (February 23, 1778) - </p> - <p> - So you intend only to give lessons as a favour, do you? and you mean to - leave your old father in his present straits? For a young fellow like you - lesson-giving is far too much trouble, even when it is well paid. It is - more fitted to your old father to run from house to house for a wretched - pittance in order to support himself and his daughter, and to send the - little that remains to you, instead of paying his debts; and all that you - may amuse yourself by giving lessons to some silly girl for nothing! My - son, reflect, and give ear to your own good sense. Reflect whether you do - not deal more hardly with me than our prince himself. God has given you an - excellent judgment, and two things only hinder you from employing it on - your own affairs: first, a trifle too much of conceit and self-love, and, - secondly, an inclination to be over-confiding and to open your heart to - every one you meet. - </p> - <p> - He made him easy as to lesson-giving in Paris (February 16, 1778) - </p> - <p> - In the first place, no one will discharge his master at once in order to - take you; and, in the second place, no one would venture to engage you, - nor should you take any one, except a lady, now and then, who plays well - already and has a fancy for learning from you, for which she is willing to - pay well. Such lady pupils as these will take endless trouble to collect - subscriptions for your compositions. The ladies in Paris are omnipotent; - they are great amateurs of the clavier, and many of them play extremely - well. They would be your best allies for getting commissions; and you will - be able, by their help, to make both fame and money with clavier pieces, - violin quartets, symphonies, and such collections of French songs with the - clavier as you lately sent me; then, at last, you will arrive at an opera. - Why do you hesitate? But you always want things done in a moment, before - you have been either seen or heard. Look down the long list of our former - acquaintances in Paris; they are all, at least the greater number, the - best people in the town. They are all most anxious to see you again, and - if only six of such persons (nay, a single one would suffice) were to take - you by the hand, you might do as you pleased. - </p> - <p> - All this notwithstanding, however, we cannot but feel that Wolfgang's - consciousness of his true vocation and his lively protest against any sort - of pressure from without did honour to him, far more honour than the - insinuation of unbelief against his true friend Wendling, to whom he was - already deeply indebted. Not that Mozart was insincere—he was a - faithful son of his Church—but other feelings were at work <span - class="side">REPROACHES AND EXPLANATIONS.</span> <span class="pagenum"><a - href="pgimages/p413.png">[413]</a></span> here, which obscured his - judgment. Wendling was inconsolable at Wolfgang's refusal to join the - party; and the latter endeavoured to persuade himself that motives of - personal interest had a share in the regret of his friend. Be it as it - may, Wendling and Ramm set off for Paris on February 15, leaving Wolfgang - at Mannheim, not quite free from compunction. "If I thought," he writes to - his father (February 14, 1778), "that you were really annoyed about my not - going to Paris with them, I should repent having remained here; but, after - all, the road to Paris is not closed to me." - </p> - <p> - L. Mozart was not altogether displeased at the turn of affairs; what - really angered him was to hear from Wolfgang (February 4, 1778): "I am - getting on at my ease with the music for Mons. de Jean, for which I am to - have 200 florins; I can stay here as long as I like, for neither my board - nor lodging cost me anything." His father had warned him before (December - 11, 1777): "If you examine your conscience you will find that you have a - strong tendency to procrastination"; and now he writes (February 12, - 1778): "I am astonished to hear that you are finishing Mons. de Jean's - music at your ease. Can it be that you have not already completed it! And - you were thinking of leaving Mannheim on the 15th, and have been making - expeditions to Kirchheim? Well, never mind, only beware that Herr Wendling - and Mons. de Jean do not play you false, for the proposal was only made - with the intention of enabling you to go with them. Let me have an answer - by the next post, that I may know how the matter stands." The information - which Wolfgang furnished (February 14, 1778) was not consolatory:— - </p> - <p> - Herr de Jean, who also goes to Paris to-morrow, has paid me only - ninety-six florins (miscalculating the half by four florins) because I had - written only two concerti and three quartetti. But he will be obliged to - pay me the whole, for I have arranged with Wendling to send the music - after them. It is not extraordinary that I should not have been able to - finish it. I never have a quiet hour; night is my only time for writing, - for I cannot even get up early. Besides, one is not always in the humour - for writing. I could certainly scribble away the whole day; but when a - thing is to go forth to the world bearing my name, I am determined that - <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p414.png">[414]</a></span> I will not be ashamed of it. You - know how stupid I am when I have always to compose for one instrument (and - that one which I dislike). I have written other things from time to time - for a change, such as clavier duets and portions of masses. But now I have - set to work in earnest on the clavier duets, so that I may have them - printed. - </p> - <p> - In a letter from Paris (July 20, 1778) he mentions only "two quartets for - the flute," and on October 3, 1778, he speaks of "the flute concerto." Two - quartets for flute, violin, viola, and violoncello are known. One of them - (281 K.) is inscribed, "Mannheim il 25 Dec., 1777," and must therefore be - the same which is mentioned in the letter of December 18 as being almost - finished. It is in D major, in the usual three movements, the middle one, - an adagio 3-8, being accompanied throughout <i>pizzicato</i>, the flute - leading the melody. The whole piece is easy, both in style and - composition, the flute kept mainly in the foreground, and the accompanying - parts firmly and skilfully handled, without any actual elaboration. The - second quartet (298 K.), according to a notice appended by a strange hand - to the original manuscript (in the imperial library at Vienna), was - composed in Paris in 1778. It is in A major, and begins with variations on - a simple theme, in which each instrument in succession comes in obbligato. - Then follows a minuet, and as a finale a "rondieaoux," the heading of - which testifies to Mozart's merry humour; it runs: "Allegretto grazioso, - ma non troppo presto, perö non troppo adagio, cosi, cosi, con molto garbo - ed espressione." It is likewise easy in every respect, shorter, and - somewhat fresher than the first movement. A flute concerto in D major (314 - K.) bears much the same character, and was composed for the "true - philanthropist, the Indian Dutchman." It is lively and cheerful, without - laying claim to deeper significance; the accompaniment, although kept well - in hand, betrays in little touches the practised hand of a master. An - andante in C major for the flute, with orchestral accompaniment has also - been preserved (315 K.). The original is not dated, but the handwriting, - the Mannheim paper, and the well-founded assumption that Mozart never - wrote for the flute, except by commission, point to this time. Fürstenau, - however, remarks that Mozart treats the flute <span class="side">THE - FATHER'S DISAPPOINTMENT.</span> <span class="pagenum"><a - href="pgimages/p415.png">[415]</a></span> with a perfect knowledge of the - instrument, its <i>technique</i> and easily attained effects. - </p> - <p> - Nothing is known of the mass on which he was engaged at Mannheim, unless a - detached Kyrie in E flat (322 K.), serious and dignified in expression, - original and free in treatment, may be referred to this period. - </p> - <p> - He writes on the 28th February, 1778, that he has still two clavier - sonatas to write: "But I am not in a hurry with them, for they cannot be - printed here. Nothing can be done by subscription—it is beggary, and - the engraver will not take the risk on himself unless I promise him half - the profits. I would rather have them printed in Paris, where the - publishers are glad of something new, and pay capitally, and where much - also can be done by subscription." One of the sonatas (304 K.) was, - according to the inscription, finished in Paris; all the six were - published there in 1778 by Sieber, and were dedicated to the Electress - (301-306 K.). - </p> - <p> - Wolfgang's dilatoriness was a hard blow to his father, who had counted on - the price of these compositions to cover the cost of the Mannheim visit - and of the journey to Paris. He saw plainly that he must not only defray - these himself, but must also provide for the future, and he found himself - in great perplexity. He writes in troubled strain (February 16, 1778):— - </p> - <p> - We have tried every means to make you happy, and ourselves through you, - and at least to set your future career on a firm foundation: but fate has - willed that we should not succeed. Our last venture has sunk me very low - indeed, and, as you know, I am now seven hundred florins in debt, knowing - not how I am to support myself, your mother and sister, on my monthly pay; - not a kreuzer can I hope for from our prince. You cannot but see clearly, - therefore, that the future fate of your old parents, and of your good - devoted sister, is in your hands. - </p> - <p> - The sister, an ever-present witness of the cares and perplexities of her - father, at a loss to know how the new year's bills were to be met, or how - he was to procure the new clothes he needed, grasped the state of affairs - very thoroughly. She practised the clavier with redoubled zeal, and had - made great efforts thoroughly to master thorough-bass and the art of - preluding; she foresaw that after her father's death her <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p416.png">[416]</a></span> music - would be her mother's and her own sole dependence. She was deeply grieved - at the bad news from Wolfgang, and "had her full share of weeping." - Wolfgang wrote crossly that she "should not cry for nothing" (February 19, - 1778); but he must have felt ashamed of himself when his father's answer - to this came (February 26, 1778) - </p> - <p> - She did not cry over nothing when she cried over your letter; but, - nevertheless, she said when she heard that you had not got the 200 - florins, "Thank God that it is no worse!" although she has considerable - interest in the matter, and knows that, in order to go on helping you, her - own just claims must be laid aside. - </p> - <p> - And why was it, the father must have asked himself, that Wolfgang was so - suddenly blind to his own interests, and forgetful of his duty to his - family? It required no great skill in reading between the lines to find - the answer in his son's own letters. The stay in Mannheim influenced his - artistic life through the intellectual atmosphere of a capital in which - flourished German science and German art; but beyond and above this, it - was there that he was seized by the passion which sways the innermost - being of man, and blunts for the time every other feeling. We have seen - how susceptible he always was to female charms, and how he delighted in - intercourse with agreeable women, whose attractions often threw a - favourable light on his opinion of their musical acquirements. - </p> - <p> - Now, for the first time, there awoke in his heart a passionate attachment - to a young singer of extraordinary talent; the beauty of her voice as it - developed under his loving tuition, coupled with the unhappy circumstances - of her life, increased the young man's generous ardour, and aroused his - lively sympathy. Aloysia Weber, the second daughter of a man in a - subordinate position at the theatre,<a href="#linknote-1700105" - name="linknoteref-1700105" id="linknoteref-1700105"> 105 </a> was fifteen - <span class="side">MDLLE. WEBER.</span> <span class="pagenum"><a - href="pgimages/p417.png">[417]</a></span> years of age, and of great - beauty. His letters, outwardly expressive only of his admiration for her - singing, are not the less indicative of the state of his heart; artistic - delight and loving passion are charmingly and unconsciously blended in - every sentence. The view which it is permitted us to take of the innocent - heart of a youth who could feel as warmly and tenderly as he could judge - impartially and artistically, is the more striking, since it helps us to - apprehend how much was torn away with this bud, destined never to unfold - into blossom. Wolfgang first mentions her in an account of a little - professional tour (January 17, 1778) - </p> - <p> - Next Wednesday I am going for a few days to Kirchheim-Poland, to the - Princess of Orange (p. 43); I have heard so much that is good of her, that - at last I have decided. A Dutch officer, and my very good friend, was - dreadfully scolded by her for not bringing me with him, when he went to - pay his respects at the new year. I shall get at least eight louis-d'or; - for she is a great musical amateur, and I have had four songs copied for - her; I shall give her a symphony, too, for she has a nice little - orchestra, and gives concerts every day.<a href="#linknote-1700106" - name="linknoteref-1700106" id="linknoteref-1700106"> 106 </a> The copying - of the songs will not cost me much, for it has been done by a certain Herr - Weber, who is going over with me. He has a daughter of fifteen, who sings - extremely well, with a beautiful, pure voice. She only wants action to be - fit for a prima donna on any stage. Her father is a good, true-hearted - German, who has brought up his children well, which is the reason that the - girl is persecuted here. He has six children, five daughters and one son. - For fourteen years he supported himself and his family on 200 florins a - year, and because he has always faithfully fulfilled his duties, and has - provided the Elector with a first-rate singer, he has now actually 400 - florins. She sings my song for De Amicis with the fearful passages - excellently well; she is going to sing it at Kirchheim-Poland. - </p> - <p> - After his return he narrates the particulars of this "holi-day-trip" - (February 2, 1778) - </p> - <p> - We sent a note at once to the castle, and next day the concertmeister, - Rothfischer, waited on us. In the evening we went to the court, it being - Saturday; Mdlle. Weber sang three songs. I pass over her singing with one - word, <i>excellent</i>. I spoke to you of her merits in my last letter, - and I shall not be able to close this without saying more, as I am now - learning to know her better, and to appreciate her full powers. - </p> - <p> - <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p418.png">[418]</a></span> - </p> - <p> - Afterwards we supped at the officers' table. Sunday and Monday we dined at - court; there was no music on Sunday evening; there never is, so that they - have only about 300 musical evenings in the year. We might have joined the - gaming-table, but much preferred remaining at home. We would willingly - have dispensed with the dinner at court, since we are never so happy as - when alone together; but we looked at it from an economical point of view, - having spent enough already. On Monday there was music, and again on - Tuesday and Wednesday; Mdlle. Weber sang in all thirteen times, and twice - played the clavier, which she does very well. What surprises me most is - her correctness. Only imagine, she played my difficult sonatas slowly, but - without missing a note, <i>prima vista</i>, upon my honour. I would rather - she played my sonatas than Vogler. I have played in all twelve times, and - once by desire on the organ in the Lutheran church, and I have waited on - the Princess with four symphonies; for all this I have received seven - louis-d'ors in silver money, and my poor dear Weber five—basta! We - have lost nothing by it. I have clear forty-two florins profit, and the - inexpressible pleasure of having made the acquaintance of true-hearted - Catholic and Christian people. <i>A propos</i>, you must not be surprised - that my seventy-seven florins have been reduced to forty-two florins. It - was a true pleasure to come together with good sympathetic people. I could - not do otherwise than pay half the expenses; but that will not happen on - any other journey; I have said already I shall only pay for myself. - Afterwards we stayed five days at Worms, where Herr Weber has a - brother-in-law, the Dean of the monastery, who stands in fear of Herr - Weber's sharp-pointed pen. We were very merry, and dined and supped every - day with the Dean. I can truly say that this little journey has been good - practice on the clavier for me. The Dean is a very wealthy, sensible man. - Now it is time that I conclude; if I were to write all that I think I - should run short of paper. - </p> - <p> - After his return to Mannheim he devoted almost his whole time to the - Webers, and to the musical education of their gifted daughter. He studied - with her all the songs which he had brought, and begged his father to send - him from Salzburg "an aria cantabile, cadenzas, and anything else - suitable." Then he procured her an opportunity of being heard. He writes - (February 14, 1778):— - </p> - <p> - Yesterday Cannabich gave a concert, and everything performed—except - the first symphony by Cannabich himself—was mine. Mdlle. Rose played - my concerto in B flat (238 K.); then, by way of a change, Herr Ramm played - for the fifth time my oboe concerto for Ferlendi, which has made a great - sensation here; Ramm makes it his <i>cheval de bataille</i>. Afterwards - Mdlle. Weber sang De Amicis' <i>aria di bravura</i> quite <span - class="side">"NON SÒ D' ONDE VIENE."</span> <span class="pagenum"><a - href="pgimages/p419.png">[419]</a></span> charmingly. Then I played my old - concerto in D (175 K.), because it is such a favourite here; then I - improvised for half an hour, and afterwards Mdlle. Weber sang with great - applause "Parto m' affretto" ("Lucio Silla," 135 K.). My overture to the - "Re Pastore" was the finale. - </p> - <p> - He had the satisfaction of hearing from Raaff, "who certainly never - flatters," when asked his true opinion: "She sang like a professor, not - like a learner." As an expression of his feelings for Aloysia, Wolfgang - composed the song (294 K.) which comes more direct from his heart than any - other of his compositions (February 28, 1778):— - </p> - <p> - I have taken the aria, "Non sò d'onde viene," &c., as an exercise in - composition, just because it has been so beautifully done by Bach, and - because I know and admire his rendering so much that it is always in my - ears; I wanted to try whether, in spite of this, I could not write a song - which should not be like Bach's. It is not at all, not in the least like. - I intended the song for Raaff at first, but the beginning was too high, - and it pleased me too much to be altered; besides, the instrumentation - seemed to make it more fitted for a soprano. I therefore decided to write - the song for Mdlle. Weber. I laid it aside, and set to work on "Se al - labro" for Raaff. But it was of no use, I could write nothing else while - the first song was in my head. So I finished it, and set myself to make it - exactly suited to Mdlle. Weber. It is an andante sostenuto, following a - short recitative. In the middle comes the second part, "Nel seno a - destarmi;" then again the sostenuto. When it was finished, I said to - Mdlle. Weber, "Learn the song for yourself; sing it according to your own - taste; then let me hear it, and I will tell you candidly what pleases me - and what does not please me." In two days she sang it to me, and - accompanied herself. I was obliged to acknowledge that she sang it as well - as I could wish, and just as I would have had it done. It is the best song - which she has, and will gain her applause wherever she sings it. - </p> - <p> - This assertion was justified at a concert given by Cannabich, at which - Rose Cannabich, Mdlle. Weber, and Mdlle. Pierron Serrarius, after three - rehearsals, played the concerto for three claviers very well:— - </p> - <p> - Mdlle. Weber sang two of my songs, "Aer tranquillo," from the "Re - Pastore," (208 K.), and the new one, "Non sö d'onde viene." The dear - creature did herself and me infinite honour. Every one said that she - surpassed herself in this song; she sang it just as it should be sung. - Cannabich called out aloud when it was finished, "Bravo, bravissimo, - maestro! veramente, scritta da maestro! This was the first time <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p420.png">[420]</a></span> I had heard it with the - instruments. I wish you could have heard it as it was sung then, with such - accuracy of taste, such <i>piano</i> and <i>forte</i>. Who knows? you may - hear it yet. I hope so. The orchestra have not left off yet praising and - talking of the song. - </p> - <p> - And he himself cannot leave off talking of it:— - </p> - <p> - I do certainly wish you could hear my new song sung by her; I say by her, - for it is just made for her. You, who know what is meant by singing with - <i>portamento</i>, would find rare satisfaction in her singing of it. - </p> - <p> - He proceeds to beg his father not to allow the song (which he sends him) - to be sung by any one else, since it was written only for Mdlle. Weber, - and fits her like a garment. - </p> - <p> - In truth this song is very beautiful, the simple and natural expression of - what he felt and wished to imply to the singer, original in form and - treatment. Strikingly original are the short violin passages between the - phrases of the recitative. The chief movement is adagio, <i>cantabile</i> - throughout, in its calm steady progress beautifully expressive of - alternate doubt and resolution. A very effective contrast is formed by the - animated allegro agitato, which leads back to the adagio in an unexpected - but charming manner; the adagio is not simply repeated, but the important - points are accentuated, partly by the harmonic treatment, partly by - stronger emphasis, and the grouping and connection are varied. The loving - care of the composer is displayed again in his management of the - orchestra. The stringed instruments are accurate in detail, and written - with a view to effect; for instance, when the voice in its highest, - sharpest tones, is accompanied by the violins in a far lower position, the - effect is excellent. The second violin part is well thought out, and the - accompaniment rich without being overpowering. As wind instruments, the - flutes, clarinets, horns and bassoons, are' so combined as to give - intensity and brilliancy to the colouring of the whole; they are employed - with a full mastery of effect, either alone or in varied combination. - </p> - <p> - The following is the original situation in Metastasio's "Olimpiade." - Clisthenes, King of Sicyon, has doomed to death an unknown youth (as - afterwards appears, his son), <span class="side">SONG FOR AL. WEBER, 1778.</span> - <span class="pagenum"><a href="pgimages/p421.png">[421]</a></span> because - he has attempted to assassinate him. But in the act of delivering him to - death, he feels himself wonderfully moved by the aspect of the youth, and - turns to his confidant with the words:— - </p> - <p> - Alcandro, lo confesso, stupisco di me stesso. Il volto, il ciglio, la voce - di costui nel cor mi desta un palpito improwiso, che lo risente in ogni - fibra il sangue. Fra tutti i miei pensieri la cagion ne ricerco e non la - trovo. Che sarà, giusti Dei, questo ch' io provo? - </p> -<pre xml:space="preserve"> - Non si d' onde viene - Quel tenero affetto - Quel moto, che ignoto - Mi nasce nel petto - Quel gel, che le vene - Scorrendo mi và. - Nel seno a destarmi - Si fieri contrast! - Non parmi che basti - La sola pietà. -</pre> - <p> - Mozart describes graphically how the voice and singing of Mdlle. Weber - floated before him, and inspired his composition, but he does not tell us - how Metastasio's words, released from their dramatic connection, became - the soliloquy of a young heart, feeling with amazement the first stirrings - ot love, and scarcely venturing to realise the depth and intensity of its - passion; for pity is assuredly not enough to excite such expressions of - emotion. This was the condition of his own heart, and what he felt - himself, that he also placed in the heart of his beloved, and, being an - artist, on her lips—certainly without analysing his feelings or - hers. The song expresses purely and beautifully the emotions of a maiden - who stands in doubt and perplexity at the innocent impulses of her heart, - incomprehensible even to herself. But her budding inclination has not yet - become a dominant passion, and she feels that she stands at the - turning-point of her whole existence. There reposes, therefore, on the - whole song the calmness and purity of innocence, together with intense - warmth and deep agitation, and Mozart has lent to these emotions the - inexpressible charm of melody. - </p> - <p> - The charm is not broken by the occurrence of sharper discords than are - usual with Mozart; but they are both <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p422.png">[422]</a></span> - appropriately placed, and in full harmony with the tone of the whole. - </p> - <p> - The song gives a favourable indication of the powers of the singer. The - style is simple and sustained throughout, varied by original and - expressive embellishments, and at the close by a couple of quick runs - going up to—[See Page Image] - </p> - <p> - It excites no small astonishment to find such capabilities of voice, - execution, and delivery in a girl of fifteen. Mozart composed the same - song again for the bass singer Fischer, in March, 1787 (512 K.). The - construction of the song is, as the words require, the same, but the - treatment is as different as possible. This time the true sense of the - dramatic situation is grasped; a man, a ruler, who has a long life's - experience behind him, feels his strong mind moved to a tenderness which - he cannot understand, and which therefore troubles him; he seeks to resist - it, but falls ever again under its irresistible sway. The sense of - surprise and passionate resistance is powerfully rendered, and many - passages—"Quel gel che scorrendo le vene mi và," for instance—are - of wonderful power and beauty. In fact, the song presupposes the union of - strength and softness, flexibility of voice and cultivated delivery, which - existed to perfection in Fischer; it might be said as truly of him as of - Mdlle. Weber, that the song fitted him like a garment. - </p> - <p> - Mozart's change of determination with regard to the Parisian journey is - easily explained by the light of his love for Mdlle. Weber, although he - was far from acknowledging this, even to himself. No doubt he was sincere - in writing to his father (February 4, 1778): "It is out of the question - for me to travel with a man who leads a life of which the youngest among - us would be ashamed, and the thought of assisting a poor family, without - doing harm to myself, pleases me to the very depths of my soul." He longed - ardently to liberate the Weber family from their trying position; but love - for his Aloysia was the most powerful, although the secret motive. The - direction of his thoughts <span class="side">MOZART AND THE WEBERS.</span> - <span class="pagenum"><a href="pgimages/p423.png">[423]</a></span> may be - gathered from his remarks on the wealthy marriage made by his friend Herr - von Schiedenhofen (February 7, 1778):— - </p> - <p> - It is a mercenary marriage, and nothing further. I would not marry in that - way; I should like to make my wife happy, and not expect to make my - fortune through her. So I will let it alone for the present, and enjoy my - freedom, until I can afford to support a wife and family. It was necessary - for Herr von Schiedenhofen to choose a rich wife for the sake of his - title. The nobility can never marry from inclination or love, but only - from interest and various considerations; it would not become such high - personages to love their wives when once they have brought into the world - a fat little son and heir. But we poor common folk, not only <i>may</i> we - take a wife whom we love, and who loves us, but we ought, can, and will - take such an one; for we are not nobly born, aristocratic, or rich, but - lowly, mean, and poor, and so not needing a rich wife; our wealth dies - with us, for it is in our brains—and no one can take it from us, - unless he cut off our head—and then we should not want anything - more. - </p> - <p> - The father must have shaken his head at this diatribe. Wolfgang's wish at - least to live in the neighbourhood of Aloysia, until he could call her his - own, was joined to his irresistible impulse to compose operas. In order to - attain both these ends he had conceived a project which would, he - supposed, be of equal advantage to her family and his own. The Webers were - quite ready to fall in with what was clearly to their advantage, and it - only remained to obtain the consent of Wolfgang's father to his remaining - in Mannheim and completing the compositions he had undertaken:— - </p> - <p> - At the same time Herr Weber will be exerting himself to get concert - engagements for himself and me; we shall travel together, too. Travelling - with him will be just the same as travelling with you. In fact, the reason - I like him so much is that, excepting in appearance, he resembles you - entirely; his temper and turn of mind are identical with yours. If my - mother were not, as you know, averse to much writing, she would say the - same thing. I must acknowledge that I enjoyed travelling with the Webers; - we were happy together, and merry; and I had the satisfaction of - conversing with a man like yourself. I had no need to trouble myself about - anything; if anything was torn I found it mended; in fact, I was treated - like a prince. This oppressed family has become so dear to me that it is - my greatest wish to make them happy—which is perhaps in my power. My - advice is that they should go to Italy. You would be doing me a great - favour if you would write as soon as possible to our <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p424.png">[424]</a></span> good - friend Lugiati (p. 108), and inquire from him what is the highest sum paid - to a prima donna in Verona—the higher the better, for it is easy to - lower one's terms—and perhaps she could get a better engagement - afterwards in Venice. I will stake my life on her singing, and I know that - she does me honour. She has profited much by my instruction, even in this - short time, and I have not much doubt as to her acting powers. - </p> - <p> - If all this takes place, we—that is, M. Weber, his two daughters and - I—shall have the honour of paying a passing visit in a fortnight or - so, to my dear father and my dear sister, and my sister will find a friend - and companion; she enjoys the same reputation here on account of her good - bringing up as my sister does in Salzburg; her father is respected as mine - is; and the whole family is like the Mozart family. This arouses envy in - the same way, of course; but when it comes to the point the most envious - are obliged to speak the truth; honesty is the best policy. I cannot tell - you how pleased I should be to bring them to Salsburg, only that you might - hear her. - </p> - <p> - She sings my songs written for De Amicis—the bravura songs, as well - as "Parto m' affretto" and "Dalla sponda tenebrosa"—quite superbly. - I beg that you will do your best to help us to go to Italy; you know my - greatest ambition—to write operas. I would gladly write an opera for - thirty sequins at Verona, that she might gain reputation by it; for if I - had not written it I fear she would be sacrificed. In the meantime I shall - make so much money by the expeditions I shall make with them that I shall - not be in any way injured. I think we shall go to Switzerland, perhaps - also to Holland; write to me soon about it. If it all comes to pass, the - other daughter, who is the elder, will be very useful, for she cooks well, - and we can keep house for ourselves. I only beg you not to delay answering - me. Do not forget my wish to write operas! I am jealous of every one who - writes one; I could weep for vexation when I hear or see an aria. But - Italian, not German; seria, not buffa! - </p> - <p> - Now I have laid open my whole heart to you, and my mother is quite of my - way of thinking. I kiss your hand a thousand times, and am, till death, - your obedient son. - </p> - <p> - In a later letter he repeats his pressing request (February 14, 1778):— - </p> - <p> - I earnestly entreat you to do what you can for Weber; I have his success - very much at heart; a man and his wife, five children, and an income of - 450 florins! Remember my request as to Italy, and also about myself; you - know my ambition and my passion. I hope it will all go right; I put my - trust in God, and He will not forsake us. Now farewell, and do not forget - my earnest petition and recommendation. - </p> - <p> - Wolfgang's mother was not quite so much of his opinion as he imagined; - this is apparent from her postscript, which shows also that she was - entirely without influence over her son:— - </p> - <p> - <span class="side">PATERNAL WARNINGS.</span> <span class="pagenum"><a - href="pgimages/p425.png">[425]</a></span> - </p> - <p> - My dear Husband,—You will perceive from this letter that when - Wolfgang makes a new friendship he is ready to sacrifice his life and all - he holds dear for the object of it. It is true that she sings divinely, - but one should never so entirely set aside one's own interests. I have - never approved of the companionship with Wendling and Ramm, but I dared - not make any objection, and I am never listened to. But as soon as he knew - the Webers, he altered his mind altogether. In fact, he prefers being with - other people to being with me; I object to this thing and that which does - not please me, and that annoys him. So you must decide for yourself what - is to be done. I write this in the greatest secrecy while he is dining. - </p> - <p> - And what said the father? This letter was a greater blow than any which - had yet befallen him, and Wolfgang's romantic project almost bereft him of - reason. He did not indeed doubt that "much persuasion had been brought to - bear on Wolfgang, to induce him to prefer a vagabond life to the fame - which could be acquired in a city so celebrated, and so ready to welcome - true talent, as Mannheim"; but he was horrified to find that the influence - of strangers could so deprive him of consideration for himself and others. - "Your kind heart leads you to see no fault in any man who praises you - loudly and exalts you to the skies, and to bestow all your love and - confidence on him; when you were a child, on the contrary, your modesty - was so excessive that you wept when you were openly praised." Sharp - remedies seemed in this case necessary, and these L. Mozart applies with - all the authority of an experienced man, and the severity of a - conscientious father. He lays before his son in an exhaustive letter how - far he has hitherto been from attaining the main object of his journey, - and how much he is in danger of forgetting his duty to his family and - himself, for the gratification of a senseless passion. It was not - difficult to show that the idea was immature and impracticable of - producing a young girl, who had never sung in public, nor appeared on the - stage, before an Italian public, which would be certain to condemn her - even if she sang like Gabrielli herself. L. Mozart goes on to show how, - with war threatening, the present was not the time for a professional - tour, and how a wandering life with a stranger and his daughters would - deprive him of his reputation, ruin his <span class="side">MANNHEIM.</span> - <span class="pagenum"><a href="pgimages/p426.png">[426]</a></span> - prospects, and bring disgrace on his family: "It lies now in your own - power alone to raise yourself to as high a position as a musician has ever - attained; you owe all to the extraordinary talent bestowed upon you by the - all-gracious God, and it depends upon your own sense and behaviour whether - you become an ordinary musician, forgotten by the world, or a celebrated - kapellmeister whose fame shall be handed down to posterity in books—whether - you herd all together in a room full of squalling brats, on a heap of - straw, or spend a Christian life, full of honour, pleasure and profit, and - die respected by all the world, leaving your family well provided for." - </p> - <p> - L. Mozart felt that immediate action was necessary; all his former - objection to the journey to Paris vanished before the necessity of - extricating his son from his present dangerous entanglement. "Away with - you to Paris, and that soon!" he cried. "Put yourself at the side of great - men—<i>aut Cosar aut nihil!</i> The mere thought of seeing Paris - should have preserved you from all passing distractions. The name and fame - of a man of great talent goes through all the world from Paris." The - company of Wendling and Ramm was not as important to him as his was to - them. But his mother must go with him in order to arrange everything - properly; they were not to limit their stay to a few months, but were to - remain as long as was necessary to gain renown and money; the more so - since Paris was the safest place to live in during war. Hard as it was - upon him, the father undertook to provide money and letters of credit for - the journey. - </p> - <p> - In making this appeal to the conscience, the ambition, and the better - judgment of his son, L. Mozart was wise enough not to allude directly to - his attachment to Aloysia Weber, although he must have been well aware of - its existence. Wolfgang had not openly expressed it, and his father was - careful not to oppose a sentiment which was invincible because - inaccessible to reason. But as a proof that he was not indifferent to the - misfortunes of those with whom Wolfgang had so much sympathy, he did not - withhold the advice for which he had been asked. The man <span class="side">WOLFGANG'S - FILIAL SUBMISSION.</span> <span class="pagenum"><a href="pgimages/p427.png">[427]</a></span> - who could best help them was Raaff; Wolfgang should endeavour to interest - him in Mdlle. Weber, and his influence would be all powerful with the - impresaii. He further advised that she should make her <i>début</i> on the - Mannheim stage, were it only for the sake of practice. - </p> - <p> - The effect of this letter was what he anticipated. Wolfgang was brought to - a knowledge of the fact that he had nearer duties to fulfil, to which his - dreams and aspirations after an uncertain future must give way. He yielded - with a heavy heart but with childlike submission to his father's will, and - answered (February 19, 1778) - </p> - <p> - I always anticipated that you would be against the journey with the - Webers, for I never seriously entertained the idea myself; that is, under - our present circumstances; but I had given my word that I would write to - you about it. Herr Weber does not know how we stand; I have told no one; - and so because I wanted to be free from care for any one, and to be happy - together, I forgot the present impossibility of the affair, and also to - inform you of my true opinion of it. What you say concerning Mdlle. Weber - is all true; and, as I wrote before, I know as well as you do that she is - too young, and wants the power of acting, and should therefore recite in - the theatre as often as possible; but one has to proceed cautiously with - some people. The good Webers are as tired of being here as some one else - you know was elsewhere; and they are inclined to think everything - possible. I had promised them to write to my father; but even before my - letter had reached Salzburg I had been advising them to be patient, that - she was a little too young, &c. They take everything well from me, for - they have a high opinion of me. The father has spoken by my advice to - Madame Toscani (an actress) about giving his daughter instruction in - acting. All that you say of Mdlle. Weber is true, except one thing: that - she sings like a Gabrielli; I should be very sorry if she did. Every one - who has heard Gabrielli says she was nothing but a passage and roulade - maker; in a word, that she sang with art, but no understanding (p. 135). - But Mdlle. Weber sings from her heart, and <i>cantabile</i> by preference. - I am now making her sing passages in the great arie, because it is - necessary if she goes to Italy that she should sing bravura songs; she - will not forget her <i>cantabile,</i> because it comes natural to her.<a - href="#linknote-1700107" name="linknoteref-1700107" - id="linknoteref-1700107"> 107 </a> Now you know all, and I recommend her - to you with my whole heart. - </p> - <p> - <span class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p428.png">[428]</a></span> - </p> - <p> - But it was a hard struggle that he had to make with himself; it affected - his health, and he was for several days confined to his room. His father's - warnings had struck chords in his innermost being, which vibrated - painfully; the thought of having forfeited his father's full confidence - rendered him inconsolable. "Believe whatever you please of me, only not - that I am wicked. There are people who believe it is impossible to love a - poor girl without having evil intentions. I am no Brunetti, and no - Misliweczeck—I am a Mozart, a young but an honourable Mozart." - Gradually, however, his loving trust in his father regained its old - supremacy. "'God first, and then papa'; that was my motto as a child, and - I am true to it still." He and his mother began to prepare in earnest for - their departure, and the father was ready with instructions and good - advice, nor did he withhold the paternal blessing from his well-loved son:— - </p> - <p> - How deeply I feel the wider separation that is about to take place between - us you can partly imagine, but I cannot expect you to feel the intensity - with which it oppresses me. If you will only reflect seriously on all that - I did for you two children in your early years, you will not certainly - accuse me of timidity, but you will do me the justice to acknowledge that - I am, and always have been, a man with courage to venture anything. At the - same time I used all possible prudence and foresight; against accidents no - one can provide, for God alone sees into the future. I have not, my dear - Wolfgang, the least mistrust in you; on the contrary, I have perfect - confidence and hope in your filial love. Everything now depends on the - sound understanding which you certainly possess if you will only listen to - it, and upon fortunate circumstances; these last are not to be controlled, - but I hope and pray that you will always take counsel of your - understanding. You are now about to enter a new world, and you must not - believe that I am prejudiced in considering Paris so dangerous a place; <i>au - contraire</i>, my own experience gives me no cause to think it at all - dangerous. But the circumstances of my former and your present stay there - are as widely asunder as heaven and earth. - </p> - <p> - <span class="side">DEPARTURE FROM MANNHEIM, 1778.</span> <span - class="pagenum"><a href="pgimages/p429.png">[429]</a></span> - </p> - <p> - After explaining this in more detail, and giving Wolfgang minute - directions as to the position he should take in Paris. L. Mozart concludes - with the words:— - </p> - <p> - I know that you look upon me not only as your father, but as your truest - and firmest friend; and that you are well aware that our happiness and - misery—nay more, my long life or speedy death are, under God, so to - speak, in your hands. If I know you aright, I have nothing to look forward - to but that pleasure which will be my only consolation in your absence, - and I must resign myself to neither seeing, hearing, nor embracing you. - Live like a good Catholic Christian; love God and fear Him; pray to Him - sincerely and devoutly, and let your conduct be such that should I never - see you again, my death-bed may be free from anxiety. From my heart I - bless you, and remain till death your loving father and firmest friend. - </p> - <p> - It was only when Mozart's departure from Mannheim drew very near that the - loss on both sides was fully realised. The farewell concerts which he - arranged as displays for himself, his compositions, and his pupils, - impressed his extraordinary talents on the public mind. Regrets at his - departure were heard on all sides, not only from musicians, but from all - men of cultivation who had the fame of Mannheim at heart, among them the - author of the "Deutsche Hausvater" (March 24, 1778):— - </p> - <p> - Before leaving Mannheim I made copies for Herr von Gemmingen of the - quartet (80 K.) which I wrote that evening in the inn at Lodi; also of the - quintet (174 K.), and of the Fischer variations (179 K.). He wrote me an - extremely polite note, expressing his pleasure at the remembrance, and - sent me a letter to his very good friend, Herr von Sickingen, adding, "I - am well assured that you will do more to recommend this letter, than it - can possibly do to recommend you." And he sent me three louis-d'or to - cover the cost of copying the music. He assured me of his friendship, and - begged for mine in return. I must say that all the cavaliers who knew me, - the court councillors, chamberlains, court musicians, and other good - people, were vexed and disappointed at my leaving. There is no mistake - about that. - </p> - <p> - He was in some degree consoled by the prospect of finding opportunities - for composition in Paris (February 28, 1778) - </p> - <p> - What I chiefly look forward to in Paris is the Concert Spirituel, for - which I shall probably have to write something. The orchestra is so good - and strong, and my most favourite compositions, choruses, can be <span - class="side">MANNHEIM.</span> <span class="pagenum"><a - href="pgimages/p430.png">[430]</a></span> well performed there; I am very - glad that the Parisians are so fond of them. The only fault that was found - with Piccinni's new opera "Roland"<a href="#linknote-1700108" - name="linknoteref-1700108" id="linknoteref-1700108"> 108 </a> was that the - choruses were weak and poor, and the music altogether a little monotonous; - otherwise it was very well received. The Parisians were accustomed to - Gluck's choruses. Rely upon me, I shall do all that is in my power to - bring honour to the name of Mozart; I am not afraid. - </p> - <p> - The parting from Mdlle. Weber had still to be gone through; he describes - it candidly to his father (March 24, 1778) - </p> - <p> - Mdlle. Weber very kindly netted me a purse as a remembrance and small - acknowledgment of my services. Her father copied all that I wanted for me, - and gave me some music-paper and Molière's comedies (which he knew I had - not read), with the inscription, "Ricevi, amico, le opere del Molière in - segno di gratitudine e qualche volta ricordati di me." When he was alone - with mamma, he said, "We are losing our best friend, our benefactor. Yes, - there is no doubt that your son has done much for my daughter, and has - interested himself in her so that she cannot be grateful enough to him." - The day before I left they wanted me to sup with them, but I could not be - away from home, so refused. But I was obliged to spend a couple of hours - before supper with them, and they never left off thanking me, and wishing - they were in a position to testify their gratitude. When at last I went - away they all wept. It is very foolish, but the tears come in my eyes - whenever I think of it. He went down the steps with me, and stood at the - house-door till I had turned the corner, when he called for the last time, - "Adieu!" - </p> - <p> - This time the father painted no leave-taking on the quoits, but thanked - God in his heart that his son had escaped a great danger. Wolfgang did not - openly declare that his love for Mdlle. Weber was heartfelt and sincere, - and that he believed it to be returned, that he went forth with the full - determination of winning a position, and being able to call her his own; - but he was little careful to conceal these hopes from his father<a - href="#linknote-1700109" name="linknoteref-1700109" - id="linknoteref-1700109"> 109 </a> as to hide from him the correspondence - which he carried on with the Webers. The father, with <span class="side">LOVE - OF FATHER AND SON.</span> <span class="pagenum"><a href="pgimages/p431.png">[431]</a></span> - full confidence in the honourable character of his son, was content to - leave this connection to the future so soon as he saw the first step - assured in Wolfgang's professional career. - </p> - <p> - Our glance must needs linger with approbation on the picture of a youth - glowing with ardent passion, yet with self-mastery enough to listen to the - first warning of his good and wise father, and so sure of the constancy of - his feelings as to be willing to yield his warmest wishes to the - fulfilment of his moral duties. In the love and confidence existing - between father and son we rejoice to acknowledge the best and truest - ornament of a German artist-life. - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> -<p> - <br /> - </p> - <table summary="" style="margin-right: auto; margin-left: auto" cellpadding="4" border="3"> - <tbody> - <tr> - <td> - <a - href="http://www.gutenberg.org/files/43412/43412-h/43412-h.htm">Volume - II.</a> - </td> - <td> - <a - href="http://www.gutenberg.org/files/43413/43413-h/43413-h.htm">Volume - III.</a> - </td> - </tr> - </tbody> - </table> - <p> - <br /> - </p> - <p> - <br /><br /> - </p> - <hr /> - <p> - <a name="footnotes" id="footnotes"> </a> - </p> - <h2> - FOOTNOTES CHAPTER 1 - </h2> - <p> - <a name="linknote-1001" id="linknote-1001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-1001">return</a>)<br /> [ An artist named Anton - Mozart is mentioned by P. v. Stetten as settled in Augsburg, in the - seventeenth century (Kunstgesch d. Stadt Augsburg, p. 283).] - </p> - <p> - <a name="linknote-1002" id="linknote-1002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-1002">return</a>)<br /> [ An oil portrait, - preserved in the Mozarteum at Salzburg, shows him to have been a tall, - handsome man, but with no resemblance either to his son or grandson.] - </p> - <p> - <a name="linknote-1003" id="linknote-1003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-1003">return</a>)<br /> [ A description of Leopold - Mozart is given by Hamberger (Christenthum u. moderne Cultur, p. 25).] - </p> - <p> - <a name="linknote-1004" id="linknote-1004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-1004">return</a>)<br /> [ R. P. Hist. Univ. - Salisb., pp. 29, 90 (s. Meyer d. ehem. Univ. Salzburg.)] - </p> - <p> - <a name="linknote-1005" id="linknote-1005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-1005">return</a>)<br /> [ Schubart's Aesthetik der - Tonkunst, p. 157.] - </p> - <p> - <a name="linknote-1006" id="linknote-1006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-1006">return</a>)<br /> [ Marpurg, Hist. krit. - Beitr., III., p. 183.] - </p> - <p> - <a name="linknote-1007" id="linknote-1007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-1007">return</a>)<br /> [ Schubart's Aesthetik d. - Tonk., p. 157.] - </p> - <p> - <a name="linknote-1008" id="linknote-1008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-1008">return</a>)<br /> [ "Have you a good subject - for an oratorio?" writes L. Mozart to Lotter (December 29, 1755). "If I - had it in time I would compose another for Lent. Have you the one which I - composed last year, Christus begraben? We have to produce two Oratoria - every Lent, and where are we to find subjects enough? It must not be de - passions Christi, but it might be some penitential story. Last year, for - instance, we produced one on Peter's Repentance, and another is now being - composed on David in the Wilderness." He must have composed the - above-mentioned oratorio twice, for as early as 1741 it had been printed - in Salzburg as "Christus begraben; Cantata for three voices: Magdalena, - Nicode-mus, Joseph von Arimathaea. Chorus of disciples and friends of our - Lord. Words by S. A. Wieland. Music by J. G. L. Mozart]."] - </p> - <p> - <a name="linknote-1009" id="linknote-1009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-1009">return</a>)<br /> [ Gerber includes among - these "Semiramis," "Die verstellte Gartnerin," "Bastien und Bastienne," - compositions of Wolfgang's, of which the scores were left in his father's - possession. "La Cantatrice ed il Poeta," an intermezzo mentioned by - Gerber, is quite unknown to me.] - </p> - <p> - <a name="linknote-10010" id="linknote-10010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-10010">return</a>)<br /> [ Catalogo delle - sinfonie che si trovano in manuscritto nella officina musica di G. G. J. - Breitkopf in Lipsia, P. I. (1762), p. 22. Suppl. I. (1766), p. 14. Suppl. - X. (1775),p. 3.] - </p> - <p> - <a name="linknote-10011" id="linknote-10011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-10011">return</a>)<br /> [ Mozart published it in - 1759 with the title "Der Morgen und Abend den Inwohnern der hochfurstl. - Residenzstadt Salzburg melodisch und harmonisch angekündigt." A notice of - it is to be found in Marpurg's Histor. krit. Beitr., IV., p. 403.] - </p> - <p> - <a name="linknote-10012" id="linknote-10012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-10012">return</a>)<br /> [ A "Divertimento à 4 - instr. conc., Viol., Violone., 2 Co.," is included in Breitkopfs Cat., - Suppl. II. (1767), p. zi.] - </p> - <p> - <a name="linknote-10013" id="linknote-10013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-10013">return</a>)<br /> [ Haffner's Ouvres - mêlées (Würzb.), V. 4, VI. 5, IX. 4.] - </p> - <p> - <a name="linknote-10014" id="linknote-10014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-10014">return</a>)<br /> [ Cacilia, XXVI., p. - 82.] - </p> - <p> - <a name="linknote-10015" id="linknote-10015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-10015">return</a>)<br /> [ A Max d'or (about - thirteen shillings) was paid to him for copies of four flute concertos, a - ducat for a pastoral symphony, and a florin for two shorter ones.] - </p> - <p> - <a name="linknote-10016" id="linknote-10016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-10016">return</a>)<br /> [ A. M. Z., XXIII., p. - 685.] - </p> - <p> - <a name="linknote-10017" id="linknote-10017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-10017">return</a>)<br /> [ This was the Society - of Musical Science, founded at Leipzig in 1738 by Mag. Lor. Mitzler; s. - Mitzler's Musik Bibl., III., p. 346; Musik. Almanach, 1782, p. 184. In his - Violin Method, p. 7, L. Mozart praises this Society, and hopes that it - will direct its scientific researches to questions of practical interest - in music] - </p> - <p> - <a name="linknote-10018" id="linknote-10018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-10018">return</a>)<br /> [ A long series of - letters to his friendly publisher J. J. Lotter, at Augsburg, written - during 1755 and 1756, when his work was in the press, testify to L. - Mozart's care for accuracy of expression, orthography, and printing.] - </p> - <p> - <a name="linknote-10019" id="linknote-10019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-10019">return</a>)<br /> [ Ph. Era. Bach advises - clavier-players to hear as much good singing as possible; "it gives the - habit of thinking in song, and it is well always to sing a new idea aloud - to oneself, so as to catch the right delivery" (Versuch über die wahre Art - das Klavier zu spielen, I., p. 90).] - </p> - <p> - <a name="linknote-10020" id="linknote-10020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-10020">return</a>)<br /> [ "Wherein consists good - execution?" says Ph. Em. Bach (Versuch über die wahre Art das Klavier zu - spielen, I., p. 86). "In the power of expressing musical ideas to the ear - correctly and with full effect, whether singing or playing."] - </p> - <p> - <a name="linknote-10021" id="linknote-10021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-10021">return</a>)<br /> [ Marpurg's Hist. krit. - Beitr., III., p. 160.] - </p> - <p> - <a name="linknote-10022" id="linknote-10022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-10022">return</a>)<br /> [ Schubart's Aesth. d. - Tonk., p. 157.] - </p> - <p> - <a name="linknote-10023" id="linknote-10023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-10023">return</a>)<br /> [ Briefw. m. Goethe, V., - p. 191.] - </p> - <p> - <a name="linknote-10024" id="linknote-10024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-10024">return</a>)<br /> [ Schubart's Aesth. d. - Tonk., p. 158.] - </p> - <p> - <a name="linknote-10025" id="linknote-10025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-10025">return</a>)<br /> [ Stranitzky, who - introduced the buffoon (Hanswurst) on the Vienna stage, gave him the - Salzburg dialect (Sonnenfels ges. Schriften, VI., p. 372), and the buffoon - was ever afterwards a native of Salzburg. The people of Salzburg were - credited not only with boorish manners, but with a dulness of intellect - amounting to stupidity. Mozart complains of it, and there was a proverb in - Salzburg itself: "He who comes to Salzburg becomes in the first year - stupid, in the second idiotic, and in the third a true Salzburger."] - </p> - <p> - <a name="linknote-10026" id="linknote-10026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-10026">return</a>)<br /> [ The full name in the - Church Register is Joannes Chrysostomus Wolfgangus Theophilus (Gottlieb, - the father writes), and in his earlier letters he adds his "Confirmation - name" Sigismundus. On several of his early works and on the Parisian - engraving of 1764 his signature is J. G. Wolfgang, but afterwards he - always signed Wolfgang Amade.] - </p> - <p> - <a name="linknote-10027" id="linknote-10027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-10027">return</a>)<br /> [ I have taken this - account from Schlichtegroll's Nekrolog, which is founded on communications - from Wolfgang's sister.] - </p> - <p> - <a name="linknote-10028" id="linknote-10028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-10028">return</a>)<br /> [ Recensionen, 1864.x., - p. 512. The exercise-book is a square folio, with the title "Pour le - Clavecin. Ce livre appartient à Marie Anne Mozart. 1759." It was perfect - when Fröhlich saw it (A. M. Z., XIX., p. 96); now, unfortunately, a number - of leaves are wanting. Nissen has given specimens from this book, some of - the earliest compositions.] - </p> - <p> - <a name="linknote-10029" id="linknote-10029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-10029">return</a>)<br /> [ Das Neueste aus der - anmuth. Gelehrs., 1761, p. 60.] - </p> - <p> - <a name="linknote-10030" id="linknote-10030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-10030">return</a>)<br /> [ The original is in the - possession of Aloys Fuchs, who communicated it to me. Schlichtegroll and - Nissen have both made use of it.] - </p> - <p> - <a name="linknote-10031" id="linknote-10031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-10031">return</a>)<br /> [ "Both as a child and a - boy you were serious rather than childish," writes L. Mozart, February 16, - 1778, "and when you were at the clavier, or otherwise engaged with music, - you would not suffer the least joking to go on with you. Your very - countenance was so serious that many observant persons prophesied your - early death on the grounds of your precocious talent and serious - expression."] - </p> - <p> - <a name="linknote-10032" id="linknote-10032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-10032">return</a>)<br /> [ "As a boy, your - modesty was so excessive that you used to weep when you were overpraised," - writes L. Mozart (February 16, 1778).] - </p> - <p> - <a name="linknote-10033" id="linknote-10033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-10033">return</a>)<br /> [ He was so docile, even - in trifles, that he never received corporal punishment. He loved his - father with unusual tenderness. The latter reminds him (February 12, 1778) - how, every evening at bedtime, he used to make him sit on a stool by his - side and sing with him a melody of his own finding with nonsensical words, - Oragnia figa taxa, &c., after which he kissed his father on the tip of - his nose, promised to put him in a glass case when he grew old, and give - him all honour, and went contentedly to bed.] - </p> - <p> - <a name="linknote-10034" id="linknote-10034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-10034">return</a>)<br /> [ Upon a separate scrap - of paper.] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 2 - </h2> - <p> - <a name="linknote-2001" id="linknote-2001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-2001">return</a>)<br /> [ We have a somewhat more - detailed account of this journey from letters of L. Mozart to the - merchant, Lorenz Hagenauer, in whose house he was living when Wolfgang was - born (opposite the tavern "Zu den Allürten"). Hagenauer proved himself a - true friend; always ready with support and counsel in business matters, - even to the extent of making considerable loans, so that it was natural - that Mozart should keep him informed as to the pecuniary results of his - journey. Many characteristic traits are given by Schlichtegroll, probably - derived from Wolfgang's sister, and confirmed after examination by - Niemetschek (p. 8).] - </p> - <p> - <a name="linknote-2002" id="linknote-2002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-2002">return</a>)<br /> [ Cf. L. v. Köchel's Die - Pflege der Musik am österr. Hofe vom Schlusse des 15, bis zur Mitte des - 18. Jahrh. Wien, 1866.] - </p> - <p> - <a name="linknote-2003" id="linknote-2003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-2003">return</a>)<br /> [ Apostolo Zeno, Lettere - III., p. 447. Oehler's Gesch. des Theaterwesens zu Wien, II., p. 4.] - </p> - <p> - <a name="linknote-2004" id="linknote-2004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-2004">return</a>)<br /> [ In the year 1735 the - Archduchess again appeared in an opera on the Empress's birthday. - Metastasio, who wrote it, and rehearsed it with her, is enthusiastic in - his praises of her grace and cleverness (Opp. post., I., p. 175).] - </p> - <p> - <a name="linknote-2005" id="linknote-2005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-2005">return</a>)<br /> [ Burney, Reise, II., p. - 186.] - </p> - <p> - <a name="linknote-2006" id="linknote-2006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-2006">return</a>)<br /> [ Metastasio's Opp. post., - I., p. 401.] - </p> - <p> - <a name="linknote-2007" id="linknote-2007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-2007">return</a>)<br /> [ Burney, Reise; II., p. - 187.] - </p> - <p> - <a name="linknote-2008" id="linknote-2008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-2008">return</a>)<br /> [ Metastasio's Opp. post., - II., p. 31. Bumey, Reise, II., p. 241. Marpurg's criticism is not - favourable (Krit. Briefe, II., p. 141).] - </p> - <p> - <a name="linknote-2009" id="linknote-2009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-2009">return</a>)<br /> [ So Nissen relates the - anecdote. Niemetschek, doubtless from respect to the Royal Family, says - nothing about the marrying.] - </p> - <p> - <a name="linknote-20010" id="linknote-20010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-20010">return</a>)<br /> [ A. M. Z., I., p. 856.] - </p> - <p> - <a name="linknote-20011" id="linknote-20011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-20011">return</a>)<br /> [ Chief sources of - information are L. Mozart's letters to Hagenauer (of which only a few are - preserved) and some family reminiscences given by Nissen. L. Mozart's - memoranda made on the journey are interesting, as containing addresses of - people whom they met, remarks on the inns and on the various sights they - visited. They display a habit of close observation. There are some few - similar notes made by Marianne still in existence.] - </p> - <p> - <a name="linknote-20012" id="linknote-20012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-20012">return</a>)<br /> [ P. Alfieri's Not. - biogr. di Nic. Jomelli, p. 15.] - </p> - <p> - <a name="linknote-20013" id="linknote-20013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-20013">return</a>)<br /> [ Schubart's Aesthetik, - p. 150. Selbstbiographie, I., 12, p. 122.] - </p> - <p> - <a name="linknote-20014" id="linknote-20014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-20014">return</a>)<br /> [ Metastasio, Lettere - (Nizza, 1787), IV., p. 185. Cf. Opp. post, I., pp. 35g, 386; II., pp. 129, - 320. Burney, Reise, I., p. 137.] - </p> - <p> - <a name="linknote-20015" id="linknote-20015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-20015">return</a>)<br /> [ Schubart's Aesthetik, - p. 78. Selbstbiogr., I., 12, p. 126. Betracht. d. Mannh. Tonsch., I., p. - 153.] - </p> - <p> - <a name="linknote-20016" id="linknote-20016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-20016">return</a>)<br /> [ Schubart's Aesthetik; - p. 156. Selbstbiogr., I., 12, p. 127.] - </p> - <p> - <a name="linknote-20017" id="linknote-20017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-20017">return</a>)<br /> [ Belli-Gontard Leben in - Frankfurt, V., p. 25.] - </p> - <p> - <a name="linknote-20018" id="linknote-20018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-20018">return</a>)<br /> [ To this is added: - "Each person pays half-a-dollar. Tickets may be had at the Golden Lion."] - </p> - <p> - <a name="linknote-20019" id="linknote-20019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-20019">return</a>)<br /> [ Eckermann's Gespräche - mit Goethe, II., p. 180.] - </p> - <p> - <a name="linknote-20020" id="linknote-20020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-20020">return</a>)<br /> [ Danzel's Gottsched, p. - 343.] - </p> - <p> - <a name="linknote-20021" id="linknote-20021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-20021">return</a>)<br /> [ He was particularly - proud of the Empress's notice. When they were encouraging him to play at a - small German court, where there were to be some persons of high rank, he - answered that he had played before the Empress, and was not at all - afraid.] - </p> - <p> - <a name="linknote-20022" id="linknote-20022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-20022">return</a>)<br /> [ L. Mozart made a list - "a page long" of the persons of rank and distinction with whom they had - come in contact.] - </p> - <p> - <a name="linknote-20023" id="linknote-20023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-20023">return</a>)<br /> [ Hiller's Wöchentl. - Nachr., I., p. 135. Schubart's Aesthetik, p. 230, Junker's Zwanzig - Componisten, p. 89. He died from eating poisonous mushrooms in 1767 - (Goethe's Briefe an Leipziger Freunde, p. 242).] - </p> - <p> - <a name="linknote-20024" id="linknote-20024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-20024">return</a>)<br /> [ Suard gives the - following notice (Mél. de Litt., II., p. 337): Il avait 6 à 7 ans. Je l'ai - entendu jouer du clavecin au Concert Spirituel et dans des maisons - particulières. Il étonnait tous les amateurs par sa facilité et la - précision avec laquelle il exécutait les pièces les plus difficiles. Il - accompagnait sur la partition à la première vue. Il préludait sur son - instrument et dans des capricci improvisés, il laissait échapper les - traits du chant les plus heureux et montrait déjà un sentiment profond de - l'harmonie.] - </p> - <p> - <a name="linknote-20025" id="linknote-20025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-20025">return</a>)<br /> [ Mme. du Deffand, - Lettres, I., p. 207.] - </p> - <p> - <a name="linknote-20026" id="linknote-20026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-20026">return</a>)<br /> [ Compare with this what - Burney (Reise, I., pp. 12,16) says on the same side in 1770 upon French - contemporary music in relation to Italian.] - </p> - <p> - <a name="linknote-20027" id="linknote-20027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-20027">return</a>)<br /> [ Cf. Schubart's - Aesthetik, p. 270.] - </p> - <p> - <a name="linknote-20028" id="linknote-20028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-20028">return</a>)<br /> [ The most authentic - account is given by F. Pohl, Mozart und Haydn in London. Vienna, 1867.] - </p> - <p> - <a name="linknote-20029" id="linknote-20029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-20029">return</a>)<br /> [ Griesinger's Biogr. - Notizen über Haydn, p. 57.] - </p> - <p> - <a name="linknote-20030" id="linknote-20030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-20030">return</a>)<br /> [ Parke's Mus. Mem., I., - p. 347. Reichardt's Mus. Aim., 1796.] - </p> - <p> - <a name="linknote-20031" id="linknote-20031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-20031">return</a>)<br /> [ A. M. Z., II., p. - 301.] - </p> - <p> - <a name="linknote-20032" id="linknote-20032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-20032">return</a>)<br /> [ The sonatas were - advertised as for sale on March 20, 1765.] - </p> - <p> - <a name="linknote-20033" id="linknote-20033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-20033">return</a>)<br /> [ Metastasio's Opp. - post., II., p., 272.] - </p> - <p> - <a name="linknote-20034" id="linknote-20034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-20034">return</a>)<br /> [ Burney's History of - Music, IV., p. 485. Kelly's Reminiscences, I., p. 7.] - </p> - <p> - <a name="linknote-20035" id="linknote-20035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-20035">return</a>)<br /> [ Europ. Zeitg., 1765, - No. 63, Aug. 6.] - </p> - <p> - <a name="linknote-20036" id="linknote-20036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-20036">return</a>)<br /> [ Burney, Reise, II., p. - 104.] - </p> - <p> - <a name="linknote-20037" id="linknote-20037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-20037">return</a>)<br /> [ Philosophical - Transactions, 1770, Volf XL.; repeated in Barrington's Miscellanies on - Various Subjects (London, 1781), p. 279.] - </p> - <p> - <a name="linknote-20038" id="linknote-20038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-20038">return</a>)<br /> [ F. Pohl (A. M. Z., - 1863, p. 853).] - </p> - <p> - <a name="linknote-20039" id="linknote-20039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-20039">return</a>)<br /> [ The letter of thanks - runs as follow: July 19, 1765. Sir,—I am ordered by the standing - committee of the trustees of the British Museum to signify to you, that - they have received the present of the musical performances of your very - ingenious son, which you were pleased to make them, and to return you - their thanks for the same.—M. Maty, Secretary.] - </p> - <p> - <a name="linknote-20040" id="linknote-20040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-20040">return</a>)<br /> [ Hoffmann von - Fallersleben, Horæ belgico, II., p. 96.] - </p> - <p> - <a name="linknote-20041" id="linknote-20041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-20041">return</a>)<br /> [ Grenzboten, 1864, - III., p. 128.] - </p> - <p> - <a name="linknote-20042" id="linknote-20042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-20042">return</a>)<br /> [ Mattheson, Mithridat, - p. 12, published in Weimar. Jahrb., IV., p. 162.] - </p> - <p> - <a name="linknote-20043" id="linknote-20043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-20043">return</a>)<br /> [ The identical - compositions are said to have been lately discovered in Paris.] - </p> - <p> - <a name="linknote-20044" id="linknote-20044"> </a> - </p> - <p class="foot"> - 44 (<a href="#linknoteref-20044">return</a>)<br /> [ Mozart Grondig - Onderwys in het behandelen der Violin met 4 Konst-plaaten en een Tafel. - Harlem, 1766, 4.] - </p> - <p> - <a name="linknote-20045" id="linknote-20045"> </a> - </p> - <p class="foot"> - 45 (<a href="#linknoteref-20045">return</a>)<br /> [ So says Nissen, p. - 114.] - </p> - <p> - <a name="linknote-20046" id="linknote-20046"> </a> - </p> - <p class="foot"> - 46 (<a href="#linknoteref-20046">return</a>)<br /> [ Winckelmann's Briefe, - III., pp. 95,98,104. Cf. Goethe, Briefe an Fr.v. Stein, III., p. 96.] - </p> - <p> - <a name="linknote-20047" id="linknote-20047"> </a> - </p> - <p class="foot"> - 47 (<a href="#linknoteref-20047">return</a>)<br /> [ Burney, Reise, III., - p. 258.] - </p> - <p> - <a name="linknote-20048" id="linknote-20048"> </a> - </p> - <p class="foot"> - 48 (<a href="#linknoteref-20048">return</a>)<br /> [ "Christmann Musik. - Corresp.", 1790, p. 164.] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 3 - </h2> - <p> - <a name="linknote-3001" id="linknote-3001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-3001">return</a>)<br /> [ A marvellous account is - given in the Historisch moralischen Belustigungen des Geistes (Hamb., - 1765), Stüclc VII. Aristide ou le Citoyen, XVI. discours du 11 Octobre, - 1766 (Lausanne). Hiller wöch. Nachr., 1766,1., p. 174.] - </p> - <p> - <a name="linknote-3002" id="linknote-3002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-3002">return</a>)<br /> [ Those who please can - make an approximate calculation from L. Mozart's different entries, of the - whole sum received and expended on the tour. The children received so many - presents in jewellery and trinkets that they might have set up a shop with - them.] - </p> - <p> - <a name="linknote-3003" id="linknote-3003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-3003">return</a>)<br /> [ So says Marianne Mozart - (A. M. Z., II., p. 300).] - </p> - <p> - <a name="linknote-3004" id="linknote-3004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-3004">return</a>)<br /> [ L. Mozart, who was well - versed in theoretical literature, possessed the original edition in Latin. - (Vienna, 1725.)] - </p> - <p> - <a name="linknote-3005" id="linknote-3005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-3005">return</a>)<br /> [ According to Kochel's - probable conjecture, Joh. Adam Wieland was born 1710; Curate in 1734; - Vicar of Gotting and Anthering, 1766; Pastor of Friedorfing, 1767; and - died, 1774.] - </p> - <p> - <a name="linknote-3006" id="linknote-3006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-3006">return</a>)<br /> [ The autograph was found - by F. Pohl, in the Royal Library at Windsor, A. M. Z., 1865, p. 225.] - </p> - <p> - <a name="linknote-3007" id="linknote-3007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-3007">return</a>)<br /> [ The Agnus of L. Mozart's - Lauretanian Litany in E flat major is a solo, with obbligato alto - trombones.] - </p> - <p> - <a name="linknote-3008" id="linknote-3008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-3008">return</a>)<br /> [ These traditions, - resting on the authority of Max Keller, the Hofkapell-organist at - Altötting, are alluded to by Prof Schafhutl in his preface to the - Offertorium, published at Munich, 1851.] - </p> - <p> - <a name="linknote-3009" id="linknote-3009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-3009">return</a>)<br /> [ Hist. Univ. Salisb., p. - 110.] - </p> - <p> - <a name="linknote-30010" id="linknote-30010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-30010">return</a>)<br /> [ A list of the pieces - produced from 1621 to 1727 is given in Hist. Univ. Salisb., p. 112.] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 4 - </h2> - <p> - <a name="linknote-4001" id="linknote-4001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-4001">return</a>)<br /> [ The extracts from L. - Mozart's letters given by Nissen are almost our only sources of - information for this journey.] - </p> - <p> - <a name="linknote-4002" id="linknote-4002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-4002">return</a>)<br /> [ G. Forster, Schriften - VII., p. 270.] - </p> - <p> - <a name="linknote-4003" id="linknote-4003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-4003">return</a>)<br /> [ A.M. Z., II., p. 301.] - </p> - <p> - <a name="linknote-4004" id="linknote-4004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-4004">return</a>)<br /> [ Burney, Reise, II., p. - 182. Duten's Mém., I., p. 353.] - </p> - <p> - <a name="linknote-4005" id="linknote-4005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-4005">return</a>)<br /> [ Garat. Mém. sur Suard, - II., p. 218. Duten's Mém., I., p. 347.] - </p> - <p> - <a name="linknote-4006" id="linknote-4006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-4006">return</a>)<br /> [ Zimmermann, Briefe, p. - 96.] - </p> - <p> - <a name="linknote-4007" id="linknote-4007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-4007">return</a>)<br /> [ Burney, Reise, II., p. - 189.] - </p> - <p> - <a name="linknote-4008" id="linknote-4008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-4008">return</a>)<br /> [ Gervinus, Gesch. der - poet. National-Litteratur, IV., p. 384. Devrient, Gesch. der deutschen - Schauspielkunst, II., p. 191; and see also how Sonnenfels expresses - himself (Ges. Schr., V., pp. 157, 191, or in a letter to Klotz, I., p. 2) - in the same year, 1768.] - </p> - <p> - <a name="linknote-4009" id="linknote-4009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-4009">return</a>)<br /> [ Sonnenfels gives a - detailed description of the company (Ges. Schr., V., p. 290).] - </p> - <p> - <a name="linknote-40010" id="linknote-40010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-40010">return</a>)<br /> [ Metastatio, Opp. - post., II., pp. 278, 290, cf. Arteaga, Le rivoluzioni del teatro musicale - Italiano, III., p. 126 (II., p. 397).] - </p> - <p> - <a name="linknote-40011" id="linknote-40011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-40011">return</a>)<br /> [ Cramer, Magasin d. - Mus., I., p. 365. Metastatio, Lettere ined. (Nirza, 1796), p. 46.] - </p> - <p> - <a name="linknote-40012" id="linknote-40012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-40012">return</a>)<br /> [ Burney, Reise, II., p. - 188.] - </p> - <p> - <a name="linknote-40013" id="linknote-40013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-40013">return</a>)<br /> [ Mane ini, Rifless. - prat, sul canto fig., p. 30.] - </p> - <p> - <a name="linknote-40014" id="linknote-40014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-40014">return</a>)<br /> [ Burney, Reise, II., p. - 172.] - </p> - <p> - <a name="linknote-40015" id="linknote-40015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-40015">return</a>)<br /> [ Dittersdorff, - Selbstbiographie, p. 7.] - </p> - <p> - <a name="linknote-40016" id="linknote-40016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-40016">return</a>)<br /> [ Muller, Ab8chied v. d. - Bühne, p. 72.] - </p> - <p> - <a name="linknote-40017" id="linknote-40017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-40017">return</a>)<br /> [ Müller, zuverl. - Nachr., I., p. 13.] - </p> - <p> - <a name="linknote-40018" id="linknote-40018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-40018">return</a>)<br /> [ Carpani, Le Haydine, - p. 82. Kelly, Remin., I., p. 103.] - </p> - <p> - <a name="linknote-40019" id="linknote-40019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-40019">return</a>)<br /> [ It is mentioned only, - so far as I am aware, by Biedenfeld. Die Komische Oper., p. 69.] - </p> - <p> - <a name="linknote-40020" id="linknote-40020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-40020">return</a>)<br /> [ Nicolai, Reise, IV., - p. 574.] - </p> - <p> - <a name="linknote-40021" id="linknote-40021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-40021">return</a>)<br /> [ Sonnenfels, Ges. - Schr., V., p. 296. He reappeared in Rome in 1780, a toothless old man. - (Teutsch. Merc., 1789, III., p. 210.)] - </p> - <p> - <a name="linknote-40022" id="linknote-40022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-40022">return</a>)<br /> [ Sonnenfeu, Ges. Schr., - V., p. 300.] - </p> - <p> - <a name="linknote-40023" id="linknote-40023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-40023">return</a>)<br /> [ Sonnenfels, Ges. - Schr., V., p. 291. Burney, Reise, I., p. 63. Müller zuverl. Nachr., I., p. - 73. He died at Vienna in 1772, at the age of sixty-seven. (Ibid. II., p. - 132.)] - </p> - <p> - <a name="linknote-40024" id="linknote-40024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-40024">return</a>)<br /> [Sonnenfels, Ges. Schr., - V., p. 301.] - </p> - <p> - <a name="linknote-40025" id="linknote-40025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-40025">return</a>)<br /> [ Sonnenfels, Ges. - Schr., V., p. 293.] - </p> - <p> - <a name="linknote-40026" id="linknote-40026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-40026">return</a>)<br /> [ Sonnenfels, Ges. - Schr., V., p. 293. Müller, zuverl. Nachr., I., p. 73. Kelly, Remin., I., - p. 66.] - </p> - <p> - <a name="linknote-40027" id="linknote-40027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-40027">return</a>)<br /> [ Sonnenfels, Ges. - Schr., V., p. 299.] - </p> - <p> - <a name="linknote-40028" id="linknote-40028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-40028">return</a>)<br /> [ One of Fracasso's - songs was twice composed, so was the middle movement of another, and an - inserted song for Ninetta.] - </p> - <p> - <a name="linknote-40029" id="linknote-40029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-40029">return</a>)<br /> [ In the beautiful aria - for Polidoro, before described, a tedious passage was afterwards - judiciously struck out by Mozart.] - </p> - <p> - <a name="linknote-40030" id="linknote-40030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-40030">return</a>)<br /> [ Nissen has incorrectly - given the idea that "the well-known Dr. Messmer, the friend of the - Mozarts," was the celebrated magnetiser of that name. Helfert (Die österr. - Volkschule, I., p. 132.) identifies Mozart's Messmer, who became a member - of the medical faculty in 1767. In 1773 his wife inherited a half share in - a house on the Landstrasse, consistently with which L. Mozart writes to - his wife from Vienna (August) that Fr. v. Messmer has come into - considerable property since the death of her mother. A "young Herr. v. - Messmer," a cousin, was director of the Normal School in 1773.] - </p> - <p> - <a name="linknote-40031" id="linknote-40031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-40031">return</a>)<br /> [ E. Schelle, Berl. Mus. - Ztg. Echo, 1864, No. 38.] - </p> - <p> - <a name="linknote-40032" id="linknote-40032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-40032">return</a>)<br /> [ "'Le Devin du Village' - est un intermède charmant dont les paroles et la musique sont de M. - Rousseau," writes Grimm (June 23, 1753) to Gottsched (Danzel, Gottsched, - p. 351). He speaks of it again on December 15, 1753 (Corr. Litt., I., p. - 92), as an "intermède agréable, qui a eu très-grand succès à Fontainebleau - et à Paris;" and again, in February, 1754, as an "intermède français - très-joli et très-agréable" (Ibid.,p. 112). He passes it over, however, in - his account at a later date of Rousseau's musical works, and mentions only - his unsuccessful opera, "Les Muses Galantes."] - </p> - <p> - <a name="linknote-40033" id="linknote-40033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-40033">return</a>)<br /> [La Harpe. Corr. Litt., - II., p. 59.] - </p> - <p> - <a name="linknote-40034" id="linknote-40034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-40034">return</a>)<br /> [ A. M. Z., XXI., p. - 841. XXIII., p. 141. Berlioz, Voy. Mus., I., p. 389.] - </p> - <p> - <a name="linknote-40035" id="linknote-40035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-40035">return</a>)<br /> [ Adam (Souv. d'un - Music., p. 198), suggests that Rousseau's score may have been revised by - Francoeur.] - </p> - <p> - <a name="linknote-40036" id="linknote-40036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-40036">return</a>)<br /> [ On the subject of - recitative, Rousseau speaks exhaustively and to the point, both in his - Dictionnaire de Musique, and in the Lettre sur la Musique Française. - (Ouvres, XI., p. 296.)] - </p> - <p> - <a name="linknote-40037" id="linknote-40037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-40037">return</a>)<br /> [ It was maintained by - some that Rousseau only wrote the words, and intrusted the composition to - a musician in Lyons (A. M. Z., XIV., p. 469; Castil-Blaze; Molière - Musicien, II., p. 409), an accusation which Grétry contradicted. Rousseau - tried to refute it by a second opera, which, however, did not succeed. (La - Harpe, Corr. Litt., II., p. 370. Adam, Souv. d'un Mus., p. 202.)] - </p> - <p> - <a name="linknote-40038" id="linknote-40038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-40038">return</a>)<br /> [ An English adaptation - by Burney failed in London in 1766 (Parke, Mus. Mém., II., p. 93). German - versions were produced by Leon (Teutsch. Merc., 1787, II., p. 193) and C. - Dielitz (Berlin, 1820).] - </p> - <p> - <a name="linknote-40039" id="linknote-40039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-40039">return</a>)<br /> [ Théätre du Favart, V., - 1 (Paris, 1763). A book of the words, printed at Amsterdam in 1758, has - the remark: "Représenté à Bruxelles, Nov., 1753, par les Comédiens - François sous les ordres de S. Alt. Roy."] - </p> - <p> - <a name="linknote-40040" id="linknote-40040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-40040">return</a>)<br /> [ Grimm, Corr. Litt., - IV., pp. 400, 417.] - </p> - <p> - <a name="linknote-40041" id="linknote-40041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-40041">return</a>)<br /> [ Dictionn. d. Théätre, - VI., p. 228; Theaterkal. 1776.] - </p> - <p> - <a name="linknote-40042" id="linknote-40042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-40042">return</a>)<br /> [ "Bastienne, eine - französische opéra-comique. Auf Befehl in einer freien Uebersetzung - nachgeahmt von Fr. W. Weiskern. Wien, 1764." The French melodies were - retained for some of the songs, and new ones composed for others. The - piece was produced at Vienna (Müller, Zuverl. Nachr., I., p. 31), also in - 1770 at Brünn (Ibid., II., p. 213), in 177a at Prague (Ibid., II., p. - 163), and in 1776 at Hildesheim (Müller, Abschied v. d. Bühne, p. 137).] - </p> - <p> - <a name="linknote-40043" id="linknote-40043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-40043">return</a>)<br /> [ Nissen gives - Schachtner as the librettist. His co-operation was probably confined to - the versification of the prose dialogue, a few scenes of which Mozart - afterwards composed in recitative; a useless labour, never completed.] - </p> - <p> - <a name="linknote-40044" id="linknote-40044"> </a> - </p> - <p class="foot"> - 44 (<a href="#linknoteref-40044">return</a>)<br /> [ A comparison of the - examples which Hiller (über Metastasio, p. 17) quotes from a translation - of Metastasio, which appeared in Vienna in 1769, will show some - similarity.] - </p> - <p> - <a name="linknote-40045" id="linknote-40045"> </a> - </p> - <p class="foot"> - 45 (<a href="#linknoteref-40045">return</a>)<br /> [ A similar instance may - be found in Weber's composition of Voss's songs - </p> - <p> - <a name="linknote-40046" id="linknote-40046"> </a> - </p> - <p class="foot"> - 46 (<a href="#linknoteref-40046">return</a>)<br /> [ This is noticed also - by Hiller as especially characteristic in style (Wöehentl. Nachr., I., p. - 376; II., p. 118).] - </p> - <p> - <a name="linknote-40047" id="linknote-40047"> </a> - </p> - <p class="foot"> - 47 (<a href="#linknoteref-40047">return</a>)<br /> [ Neue Sammlung zum - Vergnügen und Unterrich (Wien, R. Graffer, 1768), IV., pp. 80, 140.] - </p> - <p> - <a name="linknote-40048" id="linknote-40048"> </a> - </p> - <p class="foot"> - 48 (<a href="#linknoteref-40048">return</a>)<br /> [ Nicolai, Reisc, IV., - p. 648.] - </p> - <p> - <a name="linknote-40049" id="linknote-40049"> </a> - </p> - <p class="foot"> - 49 (<a href="#linknoteref-40049">return</a>)<br /> [ Nicolai, Reise, III., - p. 228.] - </p> - <p> - <a name="linknote-40050" id="linknote-40050"> </a> - </p> - <p class="foot"> - 50 (<a href="#linknoteref-40050">return</a>)<br /> [ Burney, Reise, II., p. - 107.] - </p> - <p> - <a name="linknote-40051" id="linknote-40051"> </a> - </p> - <p class="foot"> - 51 (<a href="#linknoteref-40051">return</a>)<br /> [ Müller, Abschied v. d. - Bühne, p. 237.] - </p> - <p> - <a name="linknote-40052" id="linknote-40052"> </a> - </p> - <p class="foot"> - 52 (<a href="#linknoteref-40052">return</a>)<br /> [ "Wien. Diarium," 1768, - 10 Christmon. No. 99.] - </p> - - <hr /> - <p> - <br /><br /> - </p> - <h2> - FOOTNOTES CHAPTER 5 - </h2> -<p> - <a name="linknote-5001" id="linknote-5001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-5001">return</a>)<br /> [ A. M. Z., 1864, p. 495. - "La Finta Semplice," dramma giocoso per musica, da rappresentarsi in corte - per ordine di S. A. Rev. Monsigr. Sigismondo Conte di - Schrattenbach,Arcivescovo di Salisburgo, &c. Salisb., 1769.] - </p> - <p> - <a name="linknote-5002" id="linknote-5002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-5002">return</a>)<br /> [ Metastasio speaks of the - different ways of delivering these. (Opp. post, I., p. 300.)] - </p> - <p> - <a name="linknote-5003" id="linknote-5003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-5003">return</a>)<br /> [ Communicated to me by - Köchel, from the autograph in the possession of R. v. Pfuesterschmied, at - Vienna.] - </p> - <p> - <a name="linknote-5004" id="linknote-5004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-5004">return</a>)<br /> [ Dominicus Hagenauer - became "Prälat des St. Peterstifts," in 1786. [Footnote Koch-Sternfeld.] - Die letzten dreiss. Jahre., pp. 78, 299, 326.] - </p> - <p> - <a name="linknote-5005" id="linknote-5005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-5005">return</a>)<br /> [ Burney, Reise, I., p. - 101. Cf. the extracts from Th. Fr. Maier's description of Venice. I., - 1787, in the Musik. Realzeitung, 1788, p. 108.] - </p> - <p> - <a name="linknote-5006" id="linknote-5006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-5006">return</a>)<br /> [ Zelter Briefw. mit - Goethe, II., p. 177.] - </p> - <p> - <a name="linknote-5007" id="linknote-5007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-5007">return</a>)<br /> [ A remarkable exception, - and a fortunate one for the development of German music, was Joseph Haydn, - although even he was initiated into the Italian school through his lessons - from Porpora, and his intercourse with Metastasio. But his numerous - Italian operas, which he himself considered as equal to the works of any - of his contemporaries, brought him no renown. His fame always rested on - his instrumental compositions, which were thoroughly German; and his two - great oratorios were composed at a time when Italian music was on the - decline.] - </p> - <p> - <a name="linknote-5008" id="linknote-5008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-5008">return</a>)<br /> [ L. Mozart's letters - during the tour, of which Nissen gives extracts, are almost all in the - Mozarteum. at Salzburg.] - </p> - <p> - <a name="linknote-5009" id="linknote-5009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-5009">return</a>)<br /> [ The portrait has been - recovered by Sonnleithner's exertions, and in now in his possession.] - </p> - <p> - <a name="linknote-50010" id="linknote-50010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-50010">return</a>)<br /> [ S. Mayr, Die ehem. - Univ. Salzburg, p. 12.] - </p> - <p> - <a name="linknote-50011" id="linknote-50011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-50011">return</a>)<br /> [ Winckelmann, Briefe, - pp. 271,279, 324; II., p. 48.] - </p> - <p> - <a name="linknote-50012" id="linknote-50012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-50012">return</a>)<br /> [ Schlozer's Life, I., - pp. 96, 276, 313. Cf. Duten's Mém., I., p. 327. Teutsch. Mercur, 1789, - III., p. 301.] - </p> - <p> - <a name="linknote-50013" id="linknote-50013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-50013">return</a>)<br /> [ Teutsch. Mercur, 1775, - III., p. 247.] - </p> - <p> - <a name="linknote-50014" id="linknote-50014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-50014">return</a>)<br /> [ Griesinger, Biogr. - Not., p. 15. Carpani, Haydine, p. 56.] - </p> - <p> - <a name="linknote-50015" id="linknote-50015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-50015">return</a>)<br /> [ The song "Misero tu - non sei" (Anh. 2 K.), which Wolfgang composed in Milan, is from - Metastasio's "Demetrio" (Act i, sc. 4), which he had heard shortly before - in Mantua; it has not been preserved.] - </p> - <p> - <a name="linknote-50016" id="linknote-50016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-50016">return</a>)<br /> [ A gigliato, Florentine - goldgulden, was about equal to a ducat.] - </p> - <p> - <a name="linknote-50017" id="linknote-50017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-50017">return</a>)<br /> [ Cf. Kelly's Remin., - I., p. 74.] - </p> - <p> - <a name="linknote-50018" id="linknote-50018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-50018">return</a>)<br /> [ G. Gaspari, La Musica - in Bologna, p. 19.] - </p> - <p> - <a name="linknote-50019" id="linknote-50019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-50019">return</a>)<br /> [ Esemplare osia saggio - fondamentale pratico di contrappunto. Bol., 1774-75.] - </p> - <p> - <a name="linknote-50020" id="linknote-50020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-50020">return</a>)<br /> [ Burney, Reise, I., p. - 144.] - </p> - <p> - <a name="linknote-50021" id="linknote-50021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-50021">return</a>)<br /> [ This was shown in his - conduct to Grétry (Mém., I., p. 91), Naumann (Meissner, Biogr., I., p. - 150), and Burney (Reise, I., p. 142).] - </p> - <p> - <a name="linknote-50022" id="linknote-50022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-50022">return</a>)<br /> [ Chrysander, Handel, - II., p. 378.] - </p> - <p> - <a name="linknote-50023" id="linknote-50023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-50023">return</a>)<br /> [ Burney, Reise, I., p. - 150.] - </p> - <p> - <a name="linknote-50024" id="linknote-50024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-50024">return</a>)<br /> [ Mancini, Rifless. sul - Canto Figurato, p. 152.] - </p> - <p> - <a name="linknote-50025" id="linknote-50025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-50025">return</a>)<br /> [ Dittersdorfs account - in his Autobiography of his stay at Bologna in 1762, and his intercourse - with P. Martini and Farinelli, will be found interesting (p. 110).] - </p> - <p> - <a name="linknote-50026" id="linknote-50026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-50026">return</a>)<br /> [ Burney, Reise, I., p. - 149.] - </p> - <p> - <a name="linknote-50027" id="linknote-50027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-50027">return</a>)<br /> [ A short Osanna in four - parts, with accompaniment for strings, in complicated canon form (223 K.) - shows the same tendency.] - </p> - <p> - <a name="linknote-50028" id="linknote-50028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-50028">return</a>)<br /> [ Cf. for the mottoes of - these, Padre Martini, Esemplare, II., p. xxv.] - </p> - <p> - <a name="linknote-50029" id="linknote-50029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-50029">return</a>)<br /> [ Cf. Barthold, Die - geschichtl. Persdnl., in Casanova's Memoiren, II., p. 177.] - </p> - <p> - <a name="linknote-50030" id="linknote-50030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-50030">return</a>)<br /> [ Cf. Schubart, Deutsche - Chron., 1776, pp. 499, 554, 613.] - </p> - <p> - <a name="linknote-50031" id="linknote-50031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-50031">return</a>)<br /> [ Barney, Reise, I., p. - 185.] - </p> - <p> - <a name="linknote-50032" id="linknote-50032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-50032">return</a>)<br /> [ Kelly, Remin., I., p. - 225.] - </p> - <p> - <a name="linknote-50033" id="linknote-50033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-50033">return</a>)<br /> [ He was drowned at a - water party (Parke, Mus. Mem., I., p. 204). Holmes says that his brother - Ozias Linley preserved an Italian letter from Mozart to Thomas Linley.] - </p> - <p> - <a name="linknote-50034" id="linknote-50034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-50034">return</a>)<br /> [ Rochlitz (Für Freunde - d. Tonk., II., p. 284), highly coloured as usual.] - </p> - <p> - <a name="linknote-50035" id="linknote-50035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-50035">return</a>)<br /> [ On Holy Thursday, the - Misereres of Anerio, Naldini, and Scarlatti were performed in turns, until - in 1714 Bai's Miserere displaced them. Since 1821 Allegri's Miserere has - only been sung once. Baini, Mem. Stor. Crit., II., p. 195. Kandler, G. - Pierluigi da Palestrina, p. 96.] - </p> - <p> - <a name="linknote-50036" id="linknote-50036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-50036">return</a>)<br /> [ Cf. Burney's more - critical account (Reise, I., p. 203) and Mendelssohn's (Reise-briefe, pp. - 122, 163).] - </p> - <p> - <a name="linknote-50037" id="linknote-50037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-50037">return</a>)<br /> [ So at least it was - said; but Burney says that the Pope had copies made for the Emperor - Leopold, the King of Portugal, and Padre Martini, and that the Papal - kapellmeister, Santarelli, gave him a copy, which he had printed in - London, 1771 (Reise, I., pp. 202, 208): he heard it again in Florence, and - was offered a copy. In face of these statements, Baini's assurance - (Cäcilia, II., p. 69) that no copy or score of the Miserere had ever been - made, must be held to be exaggerated.] - </p> - <p> - <a name="linknote-50038" id="linknote-50038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-50038">return</a>)<br /> [ Metastasio declares - (Lett., I., p. 99) that the Miserere, which had thrown him into ecstasies - in Rome, made no impression at all in Vienna, performed by singers who - were <i>secondo il corrente stilo eccellentissimi.</i>] - </p> - <p> - <a name="linknote-50039" id="linknote-50039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-50039">return</a>)<br /> [ Metastasio, Opp. - post., III., p. 258.] - </p> - <p> - <a name="linknote-50040" id="linknote-50040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-50040">return</a>)<br /> [ Burney, Reise, I., p. - 241. Cramer, Magaz. d. Mus., I., p. 341. Kelly, Remin., I., p. 29.] - </p> - <p> - <a name="linknote-50041" id="linknote-50041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-50041">return</a>)<br /> [ Burney, Reise, I., p. - 252. L. Mozart writes (December 22, 1770) from Milan, "Jomelli's opera has - so completely fallen to the ground, that it is to be withdrawn. This is - the celebrated maestro about whom the Italians make such an astounding - fuss. But he was a little foolish to undertake to write two operas in the - year for the same theatre, particularly as he might have seen that the - first was no great success."] - </p> - <p> - <a name="linknote-50042" id="linknote-50042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-50042">return</a>)<br /> [ Dittersdorf, - Selbstbiographie, p. 84: "The order is bestowed in Rome, and the members - bear the title of 'Comités Palatina Romani.' They receive a diploma - written on parchment, and authenticated by a great seal. They enjoy all - the rights of the nobility in Rome and the Papal States, have free entry - into the Papal palace, and hold the same position there as the - kammerherren of other reigning courts. Their insignia is a yellow - enamelled gold Maltese cross. They wear it round the neck with a purple - ribbon, and sometimes a smaller one of plain gold, with a red ribbon on - the breast."] - </p> - <p> - <a name="linknote-50043" id="linknote-50043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-50043">return</a>)<br /> [ Three short movements - in counterpoint for four voices, with a figured bass. "Adoramus" (327 K.), - "Justum deduxit Dominus," and "0 sancte fac nos captare" (326 K.), are - preserved among Wolfgang's sketches in L. Mozart's handwriting. They may - be examples, perhaps by Padre Martini, copied for study. Not even a - conjecture can be made concerning two four-part movements, "Salus - infirmorum," and "Sancta Maria" (324, 325, K.), of which only the - commencing bars are preserved by André.] - </p> - <p> - <a name="linknote-50044" id="linknote-50044"> </a> - </p> - <p class="foot"> - 44 (<a href="#linknoteref-50044">return</a>)<br /> [ Burney, Reise, I., p. - 166: "I must not neglect to inform my musical readers that I recognise in - the son of Mozart the musician, that little German, whose precocious and - supernatural talent amazed us all in London some years ago, when he was a - mere child. He has been much admired, both in Rome and Naples."] - </p> - <p> - <a name="linknote-50045" id="linknote-50045"> </a> - </p> - <p class="foot"> - 45 (<a href="#linknoteref-50045">return</a>)<br /> [ Grétry, Mém., I., p. - 91. Kandler, G. A. Hasse, p. 21.] - </p> - <p> - <a name="linknote-50046" id="linknote-50046"> </a> - </p> - <p class="foot"> - 46 (<a href="#linknoteref-50046">return</a>)<br /> [ Statuti ovyero - costituzioni de' Signori Accademici Filarmonici di Bologna. Bologna, - 1721.] - </p> - <p> - <a name="linknote-50047" id="linknote-50047"> </a> - </p> - <p class="foot"> - 47 (<a href="#linknoteref-50047">return</a>)<br /> [ Gaspari, La Musica in - Bologna, p. 27.] - </p> - <p> - <a name="linknote-50048" id="linknote-50048"> </a> - </p> - <p class="foot"> - 48 (<a href="#linknoteref-50048">return</a>)<br /> [ Gaspari, p. 28. Fétis, - Biogr. Univ., VI., p. 226. Köchel, A.M.Z., 1864, P- 495.] - </p> - <p> - <a name="linknote-50049" id="linknote-50049"> </a> - </p> - <p class="foot"> - 49 (<a href="#linknoteref-50049">return</a>)<br /> [ Nissen, p. 226. A. M. - Z.. XXII., Beil. I.] - </p> - <p> - <a name="linknote-50050" id="linknote-50050"> </a> - </p> - <p class="foot"> - 50 (<a href="#linknoteref-50050">return</a>)<br /> [ Rudhart, Gesch. d. - Oper zu München, I., p. 138.] - </p> - <p> - <a name="linknote-50051" id="linknote-50051"> </a> - </p> - <p class="foot"> - 51 (<a href="#linknoteref-50051">return</a>)<br /> [ Burney, Reise, I., p. - 96.] - </p> - <p> - <a name="linknote-50052" id="linknote-50052"> </a> - </p> - <p class="foot"> - 52 (<a href="#linknoteref-50052">return</a>)<br /> [ It consisted, - according to L. Mozart, of 14 first and as many second violins, 2 - claviers, 2 double-basses, 6 violoncelli, 2 bassoons, 6 viols, 2 oboes, - and 2 "flautraversen," "which always play with 4 oboes when there are no - flutes," 4 corni di caccia, and 2 clarini, in all, 60 performers.] - </p> - <p> - <a name="linknote-50053" id="linknote-50053"> </a> - </p> - <p class="foot"> - 53 (<a href="#linknoteref-50053">return</a>)<br /> [ A Bolognese exclaimed - of Dittersdorf's playing, "Come è mai possibile, che una tartaruga tedesca - possa arrivare a tale perfezione!" (Selbstbiogr., p. III.)] - </p> - <p> - <a name="linknote-50054" id="linknote-50054"> </a> - </p> - <p class="foot"> - 54 (<a href="#linknoteref-50054">return</a>)<br /> [ The score remained in - Milan after their departure, for the copyist had orders for five complete - copies, besides single songs.] - </p> - <p> - <a name="linknote-50055" id="linknote-50055"> </a> - </p> - <p class="foot"> - 55 (<a href="#linknoteref-50055">return</a>)<br /> [ L. Mozart here relates - a musical event that seemed to him hardly credible in the Italy of that - day: "We heard two beggars, man and wife, singing in the street, and they - sang in fifths without missing one note. I never heard the like in - Germany. In the distance I thought it was two persons, each singing a - song; but as we came nearer we found it was a duet in exact fifths."] - </p> - <p> - <a name="linknote-50056" id="linknote-50056"> </a> - </p> - <p class="foot"> - 56 (<a href="#linknoteref-50056">return</a>)<br /> [ L. Mozart here relates - a musical event that seemed to him hardly credible in the Italy of that - day: "We heard two beggars, man and wife, singing in the street, and they - sang in fifths without missing one note. I never heard the like in - Germany. In the distance I thought it was two persons, each singing a - song; but as we came nearer we found it was a duet in exact fifths."] - </p> - <p> - <a name="linknote-50057" id="linknote-50057"> </a> - </p> - <p class="foot"> - 57 (<a href="#linknoteref-50057">return</a>)<br /> [ Burney, Reise, I., p. - 94.] - </p> - <p> - <a name="linknote-50058" id="linknote-50058"> </a> - </p> - <p class="foot"> - 58 (<a href="#linknoteref-50058">return</a>)<br /> [ Meissner, Biographie - Naumanns, I., p. in.] - </p> - <p> - <a name="linknote-50059" id="linknote-50059"> </a> - </p> - <p class="foot"> - 59 (<a href="#linknoteref-50059">return</a>)<br /> [ Hasse declared that - six months were necessary for a good opera (Man-fredini reg. armon., p. - 134), that was plenty of time; Naumann writes, that in Venice an opera had - to be written, learnt, and produced within a month.] - </p> - <p> - <a name="linknote-50060" id="linknote-50060"> </a> - </p> - <p class="foot"> - 60 (<a href="#linknoteref-50060">return</a>)<br /> [ Metastasio, Opp. - post., III., pp. 116, 164.] - </p> - <p> - <a name="linknote-50061" id="linknote-50061"> </a> - </p> - <p class="foot"> - 61 (<a href="#linknoteref-50061">return</a>)<br /> [ Orelli, Beitr. z. - Gesch. der Ital. Poesie, II., p. 3.] - </p> - <p> - <a name="linknote-50062" id="linknote-50062"> </a> - </p> - <p class="foot"> - 62 (<a href="#linknoteref-50062">return</a>)<br /> [ Carpani, Le Haydine, - p. 83. Kandler, Cenni int. alia vita del G. A. Hasse, p. 27: "Questo - ragazzo ci farà dimenticar tutti"] - </p> - <p> - <a name="linknote-50063" id="linknote-50063"> </a> - </p> - <p class="foot"> - 63 (<a href="#linknoteref-50063">return</a>)<br /> [ Marpurg, Krit. Beitr., - I., p. 227.] - </p> - <p> - <a name="linknote-50064" id="linknote-50064"> </a> - </p> - <p class="foot"> - 64 (<a href="#linknoteref-50064">return</a>)<br /> [ Meissner, Biogr. - Naumanns, I., pp. 120, 227, 283.] - </p> - <p> - <a name="linknote-50065" id="linknote-50065"> </a> - </p> - <p class="foot"> - 65 (<a href="#linknoteref-50065">return</a>)<br /> [ Cf. Betrachtungen d. - Mannh. Tonsch, I., p. 307.] - </p> - <p> - <a name="linknote-50066" id="linknote-50066"> </a> - </p> - <p class="foot"> - 66 (<a href="#linknoteref-50066">return</a>)<br /> [ Parini's Descrizione - delle feste celebrate in Milano per le nozze delle L.L.A.A.R.R. l'arcid. - Ferdinando e l'arcid. Maria Beatrice. Milan, 1825.] - </p> - <p> - <a name="linknote-50067" id="linknote-50067"> </a> - </p> - <p class="foot"> - 67 (<a href="#linknoteref-50067">return</a>)<br /> [ Mozart bequeathed this - watch to Joseph Strebl, a Vienna merchant, with whom he used to play - bowls.] - </p> - <p> - <a name="linknote-50068" id="linknote-50068"> </a> - </p> - <p class="foot"> - 68 (<a href="#linknoteref-50068">return</a>)<br /> [ Teutsch. Mercur, 1775, - III., p. 240.] - </p> - <p> - <a name="linknote-50069" id="linknote-50069"> </a> - </p> - <p class="foot"> - 69 (<a href="#linknoteref-50069">return</a>)<br /> [ L. Mozart writes to - Breitkopf (February 7, 1772): "We arrived at home from Milan on the 15th - of December, and my son, having gained great credit by the composition of - his dramatic serenata, has been commissioned to write the first Carnival - Opera for Milan next year, and the second opera for the same Carnival at - the Theatre of S. Benedetto, in Venice. We shall, therefore, remain in - Salzburg until the end of next September, and then for the third time - repair to Italy."] - </p> - <p> - <a name="linknote-50070" id="linknote-50070"> </a> - </p> - <p class="foot"> - 70 (<a href="#linknoteref-50070">return</a>)<br /> [ Meissner, Biographie - Naumanns, I., p. 279.] - </p> - <p> - <a name="linknote-50071" id="linknote-50071"> </a> - </p> - <p class="foot"> - 71 (<a href="#linknoteref-50071">return</a>)<br /> [ This is inferred from - a statement made by his sister to Regierungsrath Sonnleithner (Salzburg, - July 2, 1819) about a portrait of Mozart, that "it was painted when he - returned from the Italian tour, at sixteen years of age; but as he was - just recovering from severe illness, the picture is sickly and yellow."] - </p> - <p> - <a name="linknote-50072" id="linknote-50072"> </a> - </p> - <p class="foot"> - 72 (<a href="#linknoteref-50072">return</a>)<br /> [ [Koch-Sternfeldj Die - letzten dreissig Jahre des Hochstifts und Erzbisthums Salzburg (1816), p. - 36.] - </p> - <p> - <a name="linknote-50073" id="linknote-50073"> </a> - </p> - <p class="foot"> - 73 (<a href="#linknoteref-50073">return</a>)<br /> [ Leopold Mozart had - ordered new oboes and bassoons from Dresden in a great hurry, when the - election of an archbishop was imminent.] - </p> - <p> - <a name="linknote-50074" id="linknote-50074"> </a> - </p> - <p class="foot"> - 74 (<a href="#linknoteref-50074">return</a>)<br /> [ It would almost appear - that it was performed a second time later on, at least the songs of the - "Licenza" occur in a second composition, which may be referred to a later - period, and is far superior to the first; but it might be that they were - used for an altogether different composition.] - </p> - <p> - <a name="linknote-50075" id="linknote-50075"> </a> - </p> - <p class="foot"> - 75 (<a href="#linknoteref-50075">return</a>)<br /> [ Burney, Reise, III., - p. 263.] - </p> - <p> - <a name="linknote-50076" id="linknote-50076"> </a> - </p> - <p class="foot"> - 76 (<a href="#linknoteref-50076">return</a>)<br /> [ Burney, Reise, II., - pp. 93, no.] - </p> - <p> - <a name="linknote-50077" id="linknote-50077"> </a> - </p> - <p class="foot"> - 77 (<a href="#linknoteref-50077">return</a>)<br /> [ Naumann, also, in - whose "Armida" he appeared in Padua, says of him, "he has every good - quality, sings like an angel, and is an excellent actor." From the year - 1778 he lived in England as a singer, and then as a teacher till 1810. - Kelly, Remin., I., p. 10. Parke, Mus. Mem., II., p. 51. Rudhart, Gesch. d. - Oper. zu München, I., p. 149.] - </p> - <p> - <a name="linknote-50078" id="linknote-50078"> </a> - </p> - <p class="foot"> - 78 (<a href="#linknoteref-50078">return</a>)<br /> [ Afterwards she sang - only in private society. Berl. Musik. Wochenblatt, p. 4.] - </p> - <p> - <a name="linknote-50079" id="linknote-50079"> </a> - </p> - <p class="foot"> - 79 (<a href="#linknoteref-50079">return</a>)<br /> [ The Abbé Cardanelli, a - contemporary of Mozart, relates that de Amicis required Wolfgang to submit - the sketches of his songs for her approval, but that he brought her a - finished song, which she found excellent; and he then composed the same - words again twice over, and placed them at her disposal (Folchino, Elogio - Stor. di W. A. Mozart. Cremona, 1817, p. 26). A. M. Z., XX., p. 93. Not - very likely!] - </p> - <p> - <a name="linknote-50080" id="linknote-50080"> </a> - </p> - <p class="foot"> - 80 (<a href="#linknoteref-50080">return</a>)<br /> [ The result of the - opera appears to have been the subject of great anxiety. Naomann notes in - his Diary for January 2, 1773: "I went to Colloredo, to hear the news of - the Milan opera."] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 6 - </h2> - <p> - <a name="linknote-6001" id="linknote-6001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-6001">return</a>)<br /> [ After Gassmann's death - in 1774, Jos. Bono (1710-1788) was appointed kapellmeister (Dittersdorf - Selbstbiogr., p. 209).] - </p> - <p> - <a name="linknote-6002" id="linknote-6002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-6002">return</a>)<br /> [ Nicolai, Reise, IV., p. - 554. Cramer, Magaz. f. Mus., I., p. 928.] - </p> - <p> - <a name="linknote-6003" id="linknote-6003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-6003">return</a>)<br /> [ Cf. K. L. Reinholds - Leben, p. 5, and the description by Car. Pichler (Denkw., I., p. 36),] - </p> - <p> - <a name="linknote-6004" id="linknote-6004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-6004">return</a>)<br /> [ Fürstenau, Beitr. z. - Gesch. d. sächs. Kap., p. 151. Zur Gesch. d. Mus. in Dresden, II., p. 183. - Rudhart, Gesch. d. Oper zu München, I., p. 142.] - </p> - <p> - <a name="linknote-6005" id="linknote-6005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-6005">return</a>)<br /> [ Burney, Reise, II., p. - 90. Schubart, Leben, Abschn. 16, I., p. 196. Rudhart, Gesch. d. Oper zu - München, I., p. 129.] - </p> - <p> - <a name="linknote-6006" id="linknote-6006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-6006">return</a>)<br /> [ A favourable criticism - was given by Schubart, Teutsche Chronik, 1774, p. 100 (Rudhart, p. 157).] - </p> - <p> - <a name="linknote-6007" id="linknote-6007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-6007">return</a>)<br /> [ Calsabigi's words were - adapted by Coltellini, and an act was added. Schubart gave a severe - criticism (Teutsche Chronik, 1775, p. 239), which he afterwards modified - (Ibid., p. 265). Rudhart, I., p. 163.] - </p> - <p> - <a name="linknote-6008" id="linknote-6008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-6008">return</a>)<br /> [ Weber, Marie Antonie, - II., p. 43.] - </p> - <p> - <a name="linknote-6009" id="linknote-6009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-6009">return</a>)<br /> [ Rudhart, I., p. 161.] - </p> - <p> - <a name="linknote-60010" id="linknote-60010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-60010">return</a>)<br /> [ [Koch-Stemfeld] Die - letzten 30 Jahre d. Hochst. Salzburg, p. 348.] - </p> - <p> - <a name="linknote-60011" id="linknote-60011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-60011">return</a>)<br /> [ It is noticed - anonymously in Schubart's Teutsche Chronik, 1775, p. 324, Cf. Rudhart, I., - p. 102.] - </p> - <p> - <a name="linknote-60012" id="linknote-60012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-60012">return</a>)<br /> [ "Nissen is mistaken in - saying that it was composed in Munich in 1781. The "Offertorium in - Contrapunkt in D minor," of which Mozart had a copy made at Augsburg in - 1777, was, according to a letter from his father (December n, 1777), this - same "Misericordias Domini."] - </p> - <p> - <a name="linknote-60013" id="linknote-60013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-60013">return</a>)<br /> [ Mdme. Campan, Mém. sur - Marie Antoinette, V., p. 107. Ires, III., p. 224.] - </p> - <p> - <a name="linknote-60014" id="linknote-60014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-60014">return</a>)<br /> [ Sammartini's Serenate - were performed in the open air at Milan (Carpani, Le Haydine, p. 58).] - </p> - <p> - <a name="linknote-60015" id="linknote-60015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-60015">return</a>)<br /> [ [Koch-Sternfeld] Die - letzten 30 Jahre, pp. 30,187.] - </p> - <p> - <a name="linknote-60016" id="linknote-60016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-60016">return</a>)<br /> [ Mozart mentions the - "zwei Caesationen fur die Grafin," which his father calls the Lodron - Nocturnes. The "last Cassation in B," which Wolfgang played at Munich - (October 6, 1777), is the divertimento (287 K.) for quartet and horns; the - earlier one is a similar divertimento in F major, composed in June, 1776 - (247 K.).] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 7 - </h2> - <p> - <a name="linknote-7001" id="linknote-7001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-7001">return</a>)<br /> [ It is not known when - this term came into use—both before and after others were customary: - Dramma musicale, dramma per musica, melodramma [Footnote Menestrier]. Des - représentations en musique (Paris, 1684), p. 248.] - </p> - <p> - <a name="linknote-7002" id="linknote-7002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-7002">return</a>)<br /> [ Rochlitz, Für Freunde d. - Tonk., I., p. 262. Winterfeld, Gabrieli, II., p. 12. Kiesewetter, Schicks. - d. welt. Gesanges, p. 24. E. O. Lindner, Zur Tonkunst, p. 1.] - </p> - <p> - <a name="linknote-7003" id="linknote-7003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-7003">return</a>)<br /> [ "Daphne" was adapted by - Opitz, and composed by H. Schütz as the first German opera; it was - performed in Torgau, 1627 (Fürstenau, Zur Gesch. d. Musik in Dresden, I., - p. 97).] - </p> - <p> - <a name="linknote-7004" id="linknote-7004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-7004">return</a>)<br /> [ Æsthetic criticism forms - the chief part of Steff. Arteagas' well-known work, Le Rivoluzioni del - Teatro Musicale Italiano (Bologna, 1783-88. Ven., 1785, three vols.; - translated by Forkel. Leipzig, 1782. 8). Less authentic are G. W. Fink, - Wesen u. Gesch. d. Oper (Leipzig, 1835), G. Hogarth's Memoirs of the Opera - (Lond., 1855), S. Edwards' History of the Opera (London, 1862).] - </p> - <p> - <a name="linknote-7005" id="linknote-7005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-7005">return</a>)<br /> [ Cf. Winterfeld, Zur - Gesch. heil. Tonkunst, II., p. 337,] - </p> - <p> - <a name="linknote-7006" id="linknote-7006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-7006">return</a>)<br /> [ An old copy of his - Telemacco indicates it as "opera centesima nona, recitata in Capranica - l'anno 1718."] - </p> - <p> - <a name="linknote-7007" id="linknote-7007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-7007">return</a>)<br /> [ Villarosa, Memoria dei - Compositori di Musica del Regno di Napoli (Neap. 1840).] - </p> - <p> - <a name="linknote-7008" id="linknote-7008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-7008">return</a>)<br /> [ Ant. Groppo, Catal. di - tutti Drammi per Musica recitati ne' Teatri di Venezia dell' a 1637-1745 - (Ven., 1745).] - </p> - <p> - <a name="linknote-7009" id="linknote-7009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-7009">return</a>)<br /> [ [Al. Machiavelli] Serie - cronologica dei Drammi recitati su de' publ. Teatri di Bologna dell' a - 1600-1737 (Bol.f 1737).] - </p> - <p> - <a name="linknote-70010" id="linknote-70010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-70010">return</a>)<br /> [ Burney, Reise, I., p. - 293. Cramer, Magaz. f. Mus., II., p. 50. Kelly, Remin., I., p. 65.] - </p> - <p> - <a name="linknote-70011" id="linknote-70011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-70011">return</a>)<br /> [ An account of the - scheme of Italian opera is given in the Lettre sur le Mécanisme de l'Opéra - Italica (Naples, 1756).] - </p> - <p> - <a name="linknote-70012" id="linknote-70012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-70012">return</a>)<br /> [ Many interesting - remarks may be found in Vine. Manfredini's Regole Armoniche (Veo., 1797), - IV., 6, p. 119, dello stile serio.] - </p> - <p> - <a name="linknote-70013" id="linknote-70013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-70013">return</a>)<br /> [ Metastasio, Opp. - post., I., p 357.] - </p> - <p> - <a name="linknote-70014" id="linknote-70014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-70014">return</a>)<br /> [ J. Brown, Letters upon - the Poetry and Music of the Italian Opera (Edinb., 1789), p. 29.] - </p> - <p> - <a name="linknote-70015" id="linknote-70015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-70015">return</a>)<br /> [ Goldoni enumerates the - practical directions given to him for writing an operatic libretto. Mém., - I., p. 102.] - </p> - <p> - <a name="linknote-70016" id="linknote-70016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-70016">return</a>)<br /> [ Mancini gives an - account of the more important among them. Rifl. prat, sul canto fig., p. - 14.] - </p> - <p> - <a name="linknote-70017" id="linknote-70017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-70017">return</a>)<br /> [ Even in 1752 - Metastasio bitterly complains of this perversion of dramatic] Binging - (Opp. post., II., pp. 94, 99, 215, 330).] - </p> - <p> - <a name="linknote-70018" id="linknote-70018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-70018">return</a>)<br /> [ Grétry declares that - he once saw a singer go behind the scenes to suck an orange, while another - on the stage continued to address him as though he were present (Mém., I., - p. 119).] - </p> - <p> - <a name="linknote-70019" id="linknote-70019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-70019">return</a>)<br /> [ Grétry, Mém., I., p. - 114.] - </p> - <p> - <a name="linknote-70020" id="linknote-70020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-70020">return</a>)<br /> [ Arteaga (cap. 12) - gives a graphic account of the downfall of the opera, which had been - incessantly bewailed ever since the publication of Marcello's bitter - satire, Il Teatro alla modo (Ven., 1722, 1738). Cf. Le Brigandage de la - Musique Italienne (Amst., 1780).] - </p> - <p> - <a name="linknote-70021" id="linknote-70021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-70021">return</a>)<br /> [ Raguenet (Parallèle - des Italiens et des François, 1702, § 26, in Mattheson's Musik. Kritik, - I., p. 141).] - </p> - <p> - <a name="linknote-70022" id="linknote-70022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-70022">return</a>)<br /> [ Metastasio, Opp. - post., II., p. 145.] - </p> - <p> - <a name="linknote-70023" id="linknote-70023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-70023">return</a>)<br /> [ Metastasio, Opp. - post., I., p. 282.] - </p> - <p> - <a name="linknote-70024" id="linknote-70024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-70024">return</a>)<br /> [ Arteaga, Rivol., 13 - t., II., p. 172 (II., p. 239, trans.), contradicted by Manfredini (Dif. d. - Mus. Med., p. 128. Cf. Rousseau, Dictionn. de Mus., Ouverture. Weber, - Hinterl. Schr., I., p. 68).] - </p> - <p> - <a name="linknote-70025" id="linknote-70025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-70025">return</a>)<br /> [ Rousseau, Diet, de - Mus., Orchestre. Kandler, Vita di Hasse, I. Furstenau, Zur Gesch. d. Mus. - in Dresden, II., p. 290.] - </p> - <p> - <a name="linknote-70026" id="linknote-70026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-70026">return</a>)<br /> [ Sacchi, Vita di C. - Broschi (Ven., 1784), p. 8. Burney, Reise, I., p. 153.] - </p> - <p> - <a name="linknote-70027" id="linknote-70027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-70027">return</a>)<br /> [ Ap. Zeno, Lettres, - IV., p. 21.] - </p> - <p> - <a name="linknote-70028" id="linknote-70028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-70028">return</a>)<br /> [ Arteaga, Rivol., 10, - I., p. 67 (II., p. 56).] - </p> - <p> - <a name="linknote-70029" id="linknote-70029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-70029">return</a>)<br /> [ Metastasio, Opp. - post., II., p. 409.] - </p> - <p> - <a name="linknote-70030" id="linknote-70030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-70030">return</a>)<br /> [ Grétry, Mém., I., p. - 114.] - </p> - <p> - <a name="linknote-70031" id="linknote-70031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-70031">return</a>)<br /> [ Cf. Arteaga, I., p. 69 - (II., p. 58). Goldoni, Mém., I., p. 176.] - </p> - <p> - <a name="linknote-70032" id="linknote-70032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-70032">return</a>)<br /> [ Arteaga's criticism - (Le Riv., c. 11) is in the main correct. Hiller's (Ueber Metastasio u. - seine Werke. Leipzig, 1786) is far more partial. See also Rousseau, - Dictionn. de Mus., Génie; Jacobs Nachtr. zu Sulzer, III., p. 95; Herder, - Briefe z. Bef. d. Hum., VII., p. 117; A W. Schlegel, Vorles, 16 W, V., p. - 350.] - </p> - <p> - <a name="linknote-70033" id="linknote-70033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-70033">return</a>)<br /> [ Karajan, Aus - Metastasio's Hofleben (Vienna, 1861).] - </p> - <p> - <a name="linknote-70034" id="linknote-70034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-70034">return</a>)<br /> [ Burney remarks how the - character of Metastasio is 'displayed in all his works (Reise, II., p. - 170).] - </p> - <p> - <a name="linknote-70035" id="linknote-70035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-70035">return</a>)<br /> [ Metastasio, Opp. - post., I., p. 384.] - </p> - <p> - <a name="linknote-70036" id="linknote-70036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-70036">return</a>)<br /> [ He mentions trifling - compositions (Opp. post., I., pp. 386, 402); some are printed—e.g., - 36 Canoni (Vienna Artaria, 1782).] - </p> - <p> - <a name="linknote-70037" id="linknote-70037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-70037">return</a>)<br /> [ Metastasio, Opp. - post., I., p. 384.] - </p> - <p> - <a name="linknote-70038" id="linknote-70038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-70038">return</a>)<br /> [ Metastasio, Opp. - post., II., p. 47.] - </p> - <p> - <a name="linknote-70039" id="linknote-70039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-70039">return</a>)<br /> [ Metastasio, Opp. - post., II., p. 329. Cf. Mancini, Rifl. prat, sul canto fig., p. 234. - Goldoni, Mém., I., 20, p. 110. Hagedom was of opinion that some of - Metastasio's operas were perfect tragedies (Werke, V., p. 113), and Bodmer - agreed with him (Ibid., p. 184).] - </p> - <p> - <a name="linknote-70040" id="linknote-70040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-70040">return</a>)<br /> [ Metastasio, Opp. - post., II., p. 355. In an interesting letter to Hasse (Opp. post., I., p. - 344), he dissects his Attilio Regolo, which Hasse was about to compose, so - that he may grasp the musical characteristics; he enters into detail so - minutely as to leave no doubt of his familiarity with musical - technicalities.] - </p> - <p> - <a name="linknote-70041" id="linknote-70041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-70041">return</a>)<br /> [ Metastasio, Opp. - post., II., pp. 38, 355.] - </p> - <p> - <a name="linknote-70042" id="linknote-70042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-70042">return</a>)<br /> [ Ap. Zeno writes in his - own justification (Lett., III., p. 91): "Ho caricata poi l' opera di - sentiment!, poichè questi sono ciö che più piace alla Corte e - mas-simamente al Padrone." Metastasio complains of Farinelli's writing an - opera for the court ladies, who would only play virtuous parts (Opp. - post., II., p. 39).] - </p> - <p> - <a name="linknote-70043" id="linknote-70043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-70043">return</a>)<br /> [ Zeno (Lett., II., p. - 413; VI., pp. 100, 194, 287) and Metastasio (Opp. post., II., III., p. - 164) complain bitterly of this. As an instance: to a finished opera for - five characters a sixth was required to be added (Opp. post., II., p. - 37).] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 8 - </h2> - <p> - <a name="linknote-8001" id="linknote-8001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-8001">return</a>)<br /> [ Leop. v. Sonnleithner - has treated thoroughly and well of Mozart's earlier operas. (Càcilia, - XXIII., p. 233; XXIV., p. 65; XXV., p. 65).] - </p> - <p> - <a name="linknote-8002" id="linknote-8002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-8002">return</a>)<br /> [ The quintet is omitted - in the copy at the Paris Conservatoire, but is present in that at the - British Museum (A. M. Z., 1864, p. 495). A song in the third act of the - libretto, for Aspasia, is altogether omitted.] - </p> - <p> - <a name="linknote-8003" id="linknote-8003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-8003">return</a>)<br /> [ They are as follows:—] - </p> - <p class="foot"> - (1) Aria for Aspasia, "Al destin che la minnacia," in G major, elaborate - and rather stiff. - </p> - <p class="foot"> - (8) Aria for Ismene, "In faccia al oggetto," in B major 3-4., with a - middle movement, in G minor 2-4, Allegretto; pretty but not very striking. - </p> - <p class="foot"> - (12) Aria for Sifare, "Lungi da te mio bene," in D major, Adagio; a - long-sustained but somewhat spiritless cantilene. It breaks off in 'the - middle movement in G major 3-4. - </p> - <p class="foot"> - (17) Duet in E flat major, much more elaborate; both the Adagio and - Allegro are repeated. The duet has many passages in thirds, but is also - somewhat stiff. - </p> - <p class="foot"> - (19) Aria for Mitridate "Vado incontro al fato estremo," in F major. The - rhythm is forcible and haughty, the harmonies unusually bold and striking. - Perhaps this led to its rejection by the singer; the aria which was - inserted in its stead doss not rise above the average in these respects.] - </p> - <p> - <a name="linknote-8004" id="linknote-8004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-8004">return</a>)<br /> [ Marpurg, Krit. Beitr., - III., p. 44.] - </p> - <p> - <a name="linknote-8005" id="linknote-8005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-8005">return</a>)<br /> [ Opere 41 Gius. Parini - publicate ed illustrate da Franc. Reina (Milan, 1802).] - </p> - <p> - <a name="linknote-8006" id="linknote-8006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-8006">return</a>)<br /> [ The three chief - characters had already appeared together at Bologna in 1762, in Gluck's - "Trionfo di Clelian Bologna" (Dittersdorf, Lebensbeschr.,p. 108).] - </p> - <p> - <a name="linknote-8007" id="linknote-8007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-8007">return</a>)<br /> [ Björnstahl, Briefe, II., - p, 296. Teutsch. Mercur, 1789, III., p. 299.] - </p> - <p> - <a name="linknote-8008" id="linknote-8008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-8008">return</a>)<br /> [ Erinnenmgen an Meyer, - I., p. 77.] - </p> - <p> - <a name="linknote-8009" id="linknote-8009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-8009">return</a>)<br /> [ Hiller, Wöch. Nachr., - III., p. 132.] - </p> - <p> - <a name="linknote-80010" id="linknote-80010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-80010">return</a>)<br /> [ André conjectures that - a separate last movement of a symphony (120 K.) which is identical in - paper and writing with the score of Ascanio, was intended to serve as a - conclusion to the overture when it was performed independently.] - </p> - <p> - <a name="linknote-80011" id="linknote-80011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-80011">return</a>)<br /> [ The subject is taken - from Cicero's Somnium Scipionis, which is followed even in details; - Metastasio has incorporated the myth of Silius Italicus, who in the - fifteenth book of his "Punica" makes Virtus and Voluptas appear to Scipio, - that he may choose between manly courage and sensual enjoyment; Metastasio - makes the apparitions Costanza and Fortuna ta suit the occasion.] - </p> - <p> - <a name="linknote-80012" id="linknote-80012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-80012">return</a>)<br /> [ G. A. Moreschi, - Riflessioni intorno le feste ed azione teatrali (vor Metastasio, Opp., - XII., p. IV.).] - </p> - <p> - <a name="linknote-80013" id="linknote-80013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-80013">return</a>)<br /> [ Metastasio recommends - this ending to Farinelli's imitation. (Opp. post, I., p. 301).] - </p> - <p> - <a name="linknote-80014" id="linknote-80014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-80014">return</a>)<br /> [ This overture has also - been prepared for independent performance by the addition of a closing - movement (161 K.).] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 9 - </h2> - <p> - <a name="linknote-9001" id="linknote-9001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-9001">return</a>)<br /> [ Winterfeld, Gabrieli, - II., p. 146. Kiesewetter, Schicks. d. weltl. Ges., p. 58.] - </p> - <p> - <a name="linknote-9002" id="linknote-9002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-9002">return</a>)<br /> [ P. J. Bacci, vita di S. - Filippo Neri (Rom., 1646), I., 19,4 p. 81: Che si cantasse ordino qualche - laude spirituale per sollevamento degli animi degli ascoltanti.] - </p> - <p> - <a name="linknote-9003" id="linknote-9003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-9003">return</a>)<br /> [ Bacci, II., 7,11: Nel - tempo del camevale per levar loro 1' occasione di andar al corso o aile - commedie lascive era solito far fare delle rappresentationi.] - </p> - <p> - <a name="linknote-9004" id="linknote-9004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-9004">return</a>)<br /> [ Menestrier (Des Reprès. - en Musique, p. 191)—followed by Bonnet, Hist.de Musique, p. 373, or - Bourdelot, Hist, de Mus. I., p. 295—ascribes the introduction of - "musique dramatique" to Filippo Neri: "faisant composer par les plus - habiles maîtres de musique des récits et des dialogues sur les principaux - sujets de l'écriture sainte, il faisoit chanter par les plus belles voix - de Rome ces récits dans son église," and brings forward as examples "Jesus - and the Samaritan Woman," "Job and his Friends," "The Annunciation," &c. - But he seems to have forestalled later performances.] - </p> - <p> - <a name="linknote-9005" id="linknote-9005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-9005">return</a>)<br /> [ Burney,Gen. Hist, of - Mus., IV., p. 96. Kiesewetter, Schicks d. weltl. Ges., p. 44.] - </p> - <p> - <a name="linknote-9006" id="linknote-9006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-9006">return</a>)<br /> [ Schelle thought that the - vastness of the oratorium of the Chiesa Nuova was unsuited for such - performances (N. Zeitschr. f. Mus., LX., p. 79); but there is decided - testimony against this view.] - </p> - <p> - <a name="linknote-9007" id="linknote-9007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-9007">return</a>)<br /> [ P. delle Valle, in a - letter written 1640. Doni, Opp., II.] - </p> - <p> - <a name="linknote-9008" id="linknote-9008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-9008">return</a>)<br /> [ The celebrated male - soprano, Vittorio Loreto, who entered the Papal Kapelle in 1620 (Lindner - zur Tonkunst, p. 43), enchanted the public with a Magdalene's song, - probably by Dom. Mazocchi (Kircher, Musurg., VII., 9 t. I., p. 674), which - he executed in sacello patrun congregations oratorü (Erythräus, pinac. - II., 68).] - </p> - <p> - <a name="linknote-9009" id="linknote-9009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-9009">return</a>)<br /> [ According to Quadrio - (Stor. di ogni poes., V., p. 425) the term oratorio was first used by - Franc. Balducci (d. 1642); in Allacci's Dramaturgia (Ven., 1755) it often - occurs after 1659; historians of literature, such as Muratori (d. Perfetta - Poesia, III., 5) or Apostolo Zeno (Fontanini, Bibl. d. Eloq. Ital., I., - p.489) use it as the customary one.] - </p> - <p> - <a name="linknote-90010" id="linknote-90010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-90010">return</a>)<br /> [ The treatises of Fink - (in Ersch and Gruber's Encyclopédie, III., 4 p. 405) and Keferstein (A. M. - Z., XLV.,p. 873) are very unsatisfactory,] - </p> - <p> - <a name="linknote-90011" id="linknote-90011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-90011">return</a>)<br /> [ During Lent oratorios - were performed in the theatres even at a later date. Goethe (Werke, XIX., - p. 182) saw "The Destruction of Jerusalem by Nebuchadnezzar" in Naples. - Cf. Dittersdorfs Lebensbeschreibung, p. 144. Teutsch. Mercur, 1789, III., - p. 218.] - </p> - <p> - <a name="linknote-90012" id="linknote-90012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-90012">return</a>)<br /> [ Hiller, Wöchentl. - Nachr., I., p. 47. Burney, Reise, I., p. 276. At Vienna oratorios were - regularly performed in the Imperial Chapel, and afterwards in the theatre, - for charitable objects.] - </p> - <p> - <a name="linknote-90013" id="linknote-90013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-90013">return</a>)<br /> [ It was first brought - out at Vienna in 1734, with music by Reutter; afterwards composed by Flor. - Gassmann (Dittersdorfs Selbstbiogr., p. 203), and partially adapted by - Salieri in 1821 (Wiener mus. Ztg., V., p. 294). It was also composed by - Jomelli, Cafaro, Bernasconi in Munich, 1754, Sales in Coblenz, 1783, - Schuster and Naumann in Dresden (Reichardt, Berl. mus. Ztg., I., p. 171), - and by Mussini in Berlin (Ibid., II., p. 39), &c.] - </p> - <p> - <a name="linknote-90014" id="linknote-90014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-90014">return</a>)<br /> [ Scheibe, Krit. Musi - eus, 22, p. 216.] - </p> - <p> - <a name="linknote-90015" id="linknote-90015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-90015">return</a>)<br /> [ André informs me that, - according to a book of words with which I am unacquainted, this oratorio - was performed in Lent of 1786 (not at Vienna, as Sonnleithner inferred), - and Mozart appears to have composed another introductory chorus, "Qual - fiero caso," and a quintet, "Te solo adoro," which André conjectures to be - in Berlin; they have not been found, however (Nohl, Musiker-briefe, pp. - 335, 337)] - </p> - <p> - <a name="linknote-90016" id="linknote-90016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-90016">return</a>)<br /> [ Mattheson, Critica - Musica, I., p. no: "Dass die tiefen Singbässe einer Harmonie viele - Majestät, viele Harmonie und force geben, ist unstreitig; ob aber allemahl - etwas agréable, und nicht vielmehr sehr oft was rude und entsetzliches - dabei vermacht sey, will dem Zuhörer ùberlaasen."] - </p> - <p> - <a name="linknote-90017" id="linknote-90017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-90017">return</a>)<br /> [ Hiller, Wöchentl. - Nachr., I., pp. 326, 343, 353.] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 10 - </h2> - <p> - <a name="linknote-10001" id="linknote-10001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-10001">return</a>)<br /> [ Opitz's "Dafhe" (1627) - follows Rinuccini's original in fidelity to the ancient style; a second - adaptation, performed in 1672 and 1678, with music by Gius. Peranda and G. - A. Bontempi (Fürstenau, Zur Gesch. d. Mus. in Dresden, I., pp. 234, 251, - 254), is enlarged, chiefly by comic scenes of great coarseness between - Jakels the piper, Käthe the peasant-girl, and her father Chremes. It was - similarly treated in Hamburg. (Lindner, Die erste Deutsche Oper, p. 52).] - </p> - <p> - <a name="linknote-10002" id="linknote-10002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-10002">return</a>)<br /> [ There are two thick - volumes in the collection of the King of Saxony, containing comic scenes - from nineteen operas by Al. Scarlatti, Gasparini, Giovanni Buononcini, - Luigi Manci, Gius. Aldovrandini, and Severo de Luca.] - </p> - <p> - <a name="linknote-10003" id="linknote-10003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-10003">return</a>)<br /> [ Grimm, Corresp. littM - I., p. 203.] - </p> - <p> - <a name="linknote-10004" id="linknote-10004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-10004">return</a>)<br /> [ Goethe, Werke, XIX., p. - 421.] - </p> - <p> - <a name="linknote-10005" id="linknote-10005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-10005">return</a>)<br /> [ Goethe's Scherz, List - und Rache, is an intermezzo thus increased (Werke, XIX., p. 421.).] - </p> - <p> - <a name="linknote-10006" id="linknote-10006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-10006">return</a>)<br /> [ Rousseau, Dictionn. de - Mus., Intermidd. C£ Hiller, Wöch. Nachr., I., p. 145.] - </p> - <p> - <a name="linknote-10007" id="linknote-10007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-10007">return</a>)<br /> [ The opera bnffa had no - strict rule even as to its divisions. Either the two acts of the - intermezzi were preserved, or the opera might be divided into three or - four acts.] - </p> - <p> - <a name="linknote-10008" id="linknote-10008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-10008">return</a>)<br /> [ Mattei (Riforma del - Teatro vor Metastasio, Opp. III., p. xix.): Le com-medie (per musica) - presso di noi son piene di caratteri caricati, e la lingua specialmente - Napoletana non è altro che un ammasso di espressioni caricate; non ci è - aria, in cui non si esprime o il cane, o la gatta, o gli uccelli, o la - ruota che gira o il cannone che spara, e altre cose simili; qui troverete - un ubbriaco, là un matto; qui un che parla e sconnetta, là un che - balbuttisce ec. Quelle cose son facilissime ad esprimersi in musica (se - ben gl' ignoranti le ammirano e restano attoniti) in quella maniera - stessa, ch' è facile a un pittore esprimere un volto caricato: poichè - comunque riesca il ritratto, basta, che vi si vegga quel lungo naso, o - quel occhio Iosco del principale: ognuno lo conosce, ognuno giura chè - desso.] - </p> - <p> - <a name="linknote-10009" id="linknote-10009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-10009">return</a>)<br /> [ Arteaga's recipe for an - opera buffa (Rivol., c. 15, III., p. 140.; Part II., p. 440) may be - recognised in the majority of comic opera libretti.] - </p> - <p> - <a name="linknote-100010" id="linknote-100010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-100010">return</a>)<br /> [ Goldoni, Mém., II., - p. 226.] - </p> - <p> - <a name="linknote-100011" id="linknote-100011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-100011">return</a>)<br /> [ Goethe, XIX., p. - 420.] - </p> - <p> - <a name="linknote-100012" id="linknote-100012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-100012">return</a>)<br /> [ Goethe, XIX., p. - 443.] - </p> - <p> - <a name="linknote-100013" id="linknote-100013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-100013">return</a>)<br /> [ Goethe, XIX., p. 451. - Briefw. m. Zelter, II., p. 19.] - </p> - <p> - <a name="linknote-100014" id="linknote-100014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-100014">return</a>)<br /> [ Goldoni, Mém., II., - p. 305. Arteaga.] - </p> - <p> - <a name="linknote-100015" id="linknote-100015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-100015">return</a>)<br /> [ Arteaga, Rivol., c. - 13, II., p. 298; Part II. p. 263. Manfredini, Difesa d. Mas. Mod., p. 194. - Mattei, Rif. del Teatro vor Metastasio, Opp. III., p. 37.] - </p> - <p> - <a name="linknote-100016" id="linknote-100016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-100016">return</a>)<br /> [ Laborde, Essai, III., - p. 198.] - </p> - <p> - <a name="linknote-100017" id="linknote-100017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-100017">return</a>)<br /> [ Arteaga, c. 15, III., - p. 138; Part II., p. 409.] - </p> - <p> - <a name="linknote-100018" id="linknote-100018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-100018">return</a>)<br /> [ Burney, Reise, I., p. - 229.] - </p> - <p> - <a name="linknote-100019" id="linknote-100019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-100019">return</a>)<br /> [ Sonnleithner has - furnished me with a book of the words, published in Vienna.] - </p> - <p> - <a name="linknote-100020" id="linknote-100020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-100020">return</a>)<br /> [ Castil-Blaze, L'Opéra - Ital., p. 242.] - </p> - <p> - <a name="linknote-100021" id="linknote-100021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-100021">return</a>)<br /> [ Director Franz Hauser - possesses the copy of a score of the first act as far as the beginning of - the finale, with German words, in which the music has undergone numerous - alterations, especially with a reference to the stronger orchestras of the - present day. It is not known by whom this arrangement was undertaken.] - </p> - <p> - <a name="linknote-100022" id="linknote-100022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-100022">return</a>)<br /> [ Schubart, Teutsch. - Chron., 1775, p. 267. Burney, Reise, II., p. 109. Mozart met her again in - 1789, in Dresden, where she died at an advanced age.] - </p> - <p> - <a name="linknote-100023" id="linknote-100023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-100023">return</a>)<br /> [ Arteaga, Riv. del - Teatro, 15, III., p. 143; Part II., p. 412.] - </p> - <p> - <a name="linknote-100024" id="linknote-100024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-100024">return</a>)<br /> [ Arteaga, Riv. del - Teatro, c. 15, III-, p. 415.] - </p> - <p> - <a name="linknote-100025" id="linknote-100025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-100025">return</a>)<br /> [ One or two less - important echoes of "Figaro" are also to be found.] - </p> - <p> - <a name="linknote-100026" id="linknote-100026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-100026">return</a>)<br /> [ Rudhart, Gesch. d. - Oper zu München, I., p. 159.] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 11 - </h2> - <p> - <a name="linknote-11001" id="linknote-11001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-11001">return</a>)<br /> [ Metastasio cites - Justinian (XI., 10) and Curtius (IV., 3), who relate that Alexander set on - the throne of Sidon a distant descendant of the royal house, Abdalonymus, - who was living in poverty as a gardener, but who was worthy of the honour - by reason of his beautiful form and noble mind.] - </p> - <p> - <a name="linknote-11002" id="linknote-11002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-11002">return</a>)<br /> [ The care with which - Metastasio avoids this discordant name (un nome ipocondriaco) is - characteristic. (Cf. Opp. post., II., pp. 12, 35.)] - </p> - <p> - <a name="linknote-11003" id="linknote-11003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-11003">return</a>)<br /> [ Metastasio, Opp. post., - II., p. 34.] - </p> - <p> - <a name="linknote-11004" id="linknote-11004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-11004">return</a>)<br /> [ Cf. Grimm, Corresp. - litt., VI., p. 17.] - </p> - <p> - <a name="linknote-11005" id="linknote-11005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-11005">return</a>)<br /> [ Metastasio, Opp. post., - II., p. 33.] - </p> - <p> - <a name="linknote-11006" id="linknote-11006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-11006">return</a>)<br /> [ Metastasio, p. 31.] - </p> - <p> - <a name="linknote-11007" id="linknote-11007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-11007">return</a>)<br /> [ Metastasio, p. 34, cf. - p. 4.] - </p> - <p> - <a name="linknote-11008" id="linknote-11008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-11008">return</a>)<br /> [ Metastasio, p. 30.] - </p> - <p> - <a name="linknote-11009" id="linknote-11009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-11009">return</a>)<br /> [ By Sarti, 1752; - Jomelli, 1755; Hasse, Gluck (Metastasio, lett. V., p. 35), 1756; - Guglielmi, 1767.] - </p> - <p> - <a name="linknote-110010" id="linknote-110010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-110010">return</a>)<br /> [ Metastasio himself - counselled Farinelli to make this alteration. (Opp. post., II., p. 31.)] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - THE FOOTNOTES OF CHAPTER 12 - </h2> - <p> - <a name="linknote-12001" id="linknote-12001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-12001">return</a>)<br /> [ His father tells him - (December 15, 1780) that Fr. Duschek considered herself indebted to him - for the former song, and pressed for another, which he had refused as - impossible at that time.] - </p> - <p> - <a name="linknote-12002" id="linknote-12002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-12002">return</a>)<br /> [ A song (119 K.) printed - only with German words, "Der Liebe himmlisches Gefuhl," is a bravura song - in the old style, of undoubted early Italian origin.] - </p> - <p> - <a name="linknote-12003" id="linknote-12003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-12003">return</a>)<br /> [ [Koch-Stemfeld] Die - leiten dreissig Jahre des Erzbisthums Salzburg, p. 255. Cf. Burney, Reise, - III., p. 260. Schubart, Aesthetik, p. 157.] - </p> - <p> - <a name="linknote-12004" id="linknote-12004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-12004">return</a>)<br /> [ Cf. "Nachricht von dem - gegenwartigen Zustande der Musik St. Hoch-furstlichen Gnaden des - Erzbischofs zu Salzburg im Jahre 1757," in Marpurg's Krit. Beitr., III., - p. 183, probably by L. Mozart. Many notices are given in the Mozart - correspondence. Ben. Pillwein's Lexikon Salzburgischer Künstler (Salzburg, - 1821), and the Biographien Salzburgischer Tonkünstler (Salzburg» 1845), - are too superficial for musicians.] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - THE FOOTNOTES OF CHAPTER 13 - </h2> - <p> - <a name="linknote-13003" id="linknote-13003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-13003">return</a>)<br /> [ Schubart, Teutsch. - Chron., 1775, p. 408; Dressier, Theaterschule, p. 42.] - </p> - <p> - <a name="linknote-13004" id="linknote-13004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-13004">return</a>)<br /> [ J. E. Altenburg, - Anleitg. zur heroisch-musik. Trompeter- Pauker-Kunst. (Halle, 1795,1., p. - 26).] - </p> - <p> - <a name="linknote-13005" id="linknote-13005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-13005">return</a>)<br /> [ [Schinn und Otter] - Biographische Skizze von Michael Haydn (Salzburg, 1808).] - </p> - <p> - <a name="linknote-13006" id="linknote-13006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-13006">return</a>)<br /> [ K. R[isbeck] expresses - himself to the same effect, Briefe e. reis. Franz, I. p. 357. Michael - Haydn became very industrious later in life.] - </p> - <p> - <a name="linknote-13007" id="linknote-13007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-13007">return</a>)<br /> [ Wolfgang says of - Schweizer (December 3, 1777), that he is as "dry and sleek as our Haydn, - only his language is more refined."] - </p> - <p> - <a name="linknote-13008" id="linknote-13008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-13008">return</a>)<br /> [ This book (mentioned in - Cäcilia IV., p. 290) contains the following scores, in Mozart's - handwriting:— - </p> - <p class="foot"> - M. Haydn, In Te Domine speravi, fuga, a 4 voci, 2 viol., org. - </p> - <p class="foot"> - Eberlin, Missa canonica, a 4 voci, org. - </p> - <p class="foot"> - Eberlin, Hymnus, Recessit Pater noster, a 4 voci. - </p> - <p class="foot"> - Eberlin, Hymnus, Tenebræ factæ sunt, a 4 voci, org. - </p> - <p class="foot"> - Eberlin, Graduale pro dominica in palmis, Tenuisti a 4 voci, org. - </p> - <p class="foot"> - Eberlin, Offertorium pro dominica in palmis Improperium, a 4 voci, org. - Eberlin, Communio pro dominica in palmis, Pater si potest, a 4 voci, org.] - </p> - <p class="foot"> - M. Haydn, Tenebræ, a 4 voci, org. - </p> - <p class="foot"> - Eberlin, Three Motetti. In nomine Domini; Christus factus est; Domine - Jesu, a 4 voci. - </p> - <p class="foot"> - M. Haydn, Ave Maria, pro adventu Domini, a sopr. solo c. rip. - </p> - <p class="foot"> - Eberlin, Benedixisti, a 4 voci, org. - </p> - <p class="foot"> - Eberlin, Cum Sancto Spiritu, fuga, a 4 voci. - </p> - <p class="foot"> - Eberlin, Kyrie, fuga, a 4 voci. - </p> - <p class="foot"> - Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.] - </p> - <p> - <a name="linknote-13009" id="linknote-13009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-13009">return</a>)<br /> [ Frz. Lorenz's "Haydns, - Mozarts und Beethovens Kirchenmusik und ihre katholischen und - protestantischen Gegner," is a plea for impartial judgment. Breslau, - 1866.] - </p> - <p> - <a name="linknote-130010" id="linknote-130010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-130010">return</a>)<br /> [ Cf. A. M. Z., XXIII., - p. 683.] - </p> - <p> - <a name="linknote-130011" id="linknote-130011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-130011">return</a>)<br /> [ Marpurg, Krit. - Beitr., III., p. 195.] - </p> - <p> - <a name="linknote-130012" id="linknote-130012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-130012">return</a>)<br /> [ A similar disposition - is described by Mattheson (Neu eröff. Orch., I., p. 158).] - </p> - <p> - <a name="linknote-130013" id="linknote-130013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-130013">return</a>)<br /> [ A short account is - given by L[orenz], Deutsche Mus. Ztg., 1862, p. 265.] - </p> - <p> - <a name="linknote-130014" id="linknote-130014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-130014">return</a>)<br /> [ The text of the - masses and of other important church compositions is given in Appendix VI. - [to the German original of this work].] - </p> - <p> - <a name="linknote-130015" id="linknote-130015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-130015">return</a>)<br /> [ They are denoted in - the text by large initial capitals.] - </p> - <p> - <a name="linknote-130016" id="linknote-130016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-130016">return</a>)<br /> [ Biogr. Skizzen von - Michael Haydn, p. 48.] - </p> - <p> - <a name="linknote-130017" id="linknote-130017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-130017">return</a>)<br /> [ The beginning of such - a Kyrie is preserved. (Anh. 18 K.).] - </p> - <p> - <a name="linknote-130018" id="linknote-130018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-130018">return</a>)<br /> [ The first words - "Gloria in excelsis Deo" are intoned by the priest from the altar in the - prescribed way, and the choir fall in with the words "et in terra pax"; - the same thing occurs at the beginning of the Credo, which the choir takes - up at the words "Patrem omnipotentem." The first words are consequently - frequently left uncomposed; sometimes, however, the choir repeat the words - intoned by the priest.] - </p> - <p> - <a name="linknote-130019" id="linknote-130019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-130019">return</a>)<br /> [ In accordance with - this, the word "quoniam" is repeated before each comma in some masses. - (257 K.)] - </p> - <p> - <a name="linknote-130020" id="linknote-130020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-130020">return</a>)<br /> [ The Credo of this - mass (257 K.) is mutilated in the printed score, the repeated—[See - Page Image] with all that belongs to it having been struck out.] - </p> - <p> - <a name="linknote-130021" id="linknote-130021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-130021">return</a>)<br /> [ In earlier times the - chief emphasis was laid on the words "et homo factus est," which Beethoven - makes so emphatic in his Mass in D.] - </p> - <p> - <a name="linknote-130022" id="linknote-130022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-130022">return</a>)<br /> [ Mozart writes from - Mannheim (November 4, 1777): "It is not the custom here to write a - Benedictus, but the organist has to go on playing all the time."] - </p> - <p> - <a name="linknote-130023" id="linknote-130023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-130023">return</a>)<br /> [ L. Mozart mentions a - mass for Count Spaur, which may be this.] - </p> - <p> - <a name="linknote-130024" id="linknote-130024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-130024">return</a>)<br /> [ In Italy three - independent movements were made of the Kyrie, Christe, Kyrie, the last - being an elaborate fugue. In Dresden also this was customary, and is to be - found in the masses of Hasse, Naumann, and other Dresden composers, as - also in Bach's B minor mass.] - </p> - <p> - <a name="linknote-130025" id="linknote-130025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-130025">return</a>)<br /> [ A. M. Z., XIX., p. - 368.] - </p> - <p> - <a name="linknote-130026" id="linknote-130026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-130026">return</a>)<br /> [ A. Reissmann's Gesch. - d. Mus., III., p. 39.] - </p> - <p> - <a name="linknote-130027" id="linknote-130027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-130027">return</a>)<br /> [ A. M. Z., XI., p. - 460.] - </p> - <p> - <a name="linknote-130028" id="linknote-130028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-130028">return</a>)<br /> [ The date upon a copy - at St. Peter's, in Salzburg, December 22, 1777, can only refer to the - performance.] - </p> - <p> - <a name="linknote-130029" id="linknote-130029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-130029">return</a>)<br /> [ Biogr. Skizze von - Michael Haydn, p. 18.] - </p> - <p> - <a name="linknote-130030" id="linknote-130030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-130030">return</a>)<br /> [ The Masses (220, - 257-59,262, K.), were bound together in a little blue book, with the title - in the father's hand, "V. Missæ in C," and a suggestion of the subjects. - The first has been taken out, and was evidently the one which Wolfgang - gave to the Abbot of the Holy Cross at Augsburg, as he writes to his - father (November 20, 1777).] - </p> - <p> - <a name="linknote-130031" id="linknote-130031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-130031">return</a>)<br /> [ Sometimes his church - music was mutilated and distorted, sometimes operatic and other - compositions were arranged for church performance. A great deal was given - out with his name in which he had little part, such as a Mass in G Major - (Anh., 23a K.), rightly omitted by Seyfried (Cäcilia, V., p. 77; cf. VI., - p. 129), another doubtful Mass in B flat major (Anh., 233 K.), and - finally, an unauthenticated Mass in G major (140 K.), which, in my - opinion, is unworthy of Mozart, but which Köchel and Lorenz consider to be - genuine.] - </p> - <p> - <a name="linknote-130032" id="linknote-130032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-130032">return</a>)<br /> [ A. M. Z., XVI., p. - 612. The criticism of Rochlitz (fur Freunde der Ton-kunst, IV., p. 237) is - feeble and colourless. Thibaut does not scruple to include Haydn and - Mozart in his censure on those who write "our new masses and other church - music in a purely amorous style, giving them an altogether operatic stamp, - and imitating the most popular, and therefore the least refined operas" - (Ueber Reinheit der Tonkunst, p. 10). The tendency of the romantic school - was to favour the early Italian church music, very often ignorantly, and - to the prejudice of Mozart. Cf. Tieck Phantas., I., p. 468.] - </p> - <p> - <a name="linknote-130033" id="linknote-130033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-130033">return</a>)<br /> [ Ueber Reinheit der - Tonkunst, p. 11.] - </p> - <p> - <a name="linknote-130034" id="linknote-130034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-130034">return</a>)<br /> [ A. M. Z., III., p. - 494.] - </p> - <p> - <a name="linknote-130035" id="linknote-130035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-130035">return</a>)<br /> [ A. M. Z., III., p. - 493.] - </p> - <p> - <a name="linknote-130036" id="linknote-130036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-130036">return</a>)<br /> [ A. M. Z.f I., p. - 116.] - </p> - <p> - <a name="linknote-130037" id="linknote-130037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-130037">return</a>)<br /> [ It is very - interesting to compare Michael Haydn's Litaniæ de venerabili sacramento in - G minor (Leipzig: Breitkopf and Härtel), which was written at the same - time and under similar circumstances. It is an excellent work, displaying - the cultivation of a master both in design and execution. The fact of its - being on the whole less graceful, and more serious, only shows the - difference of the artistic nature of the two masters; the general - conception is not essentially different, and Michael Haydn also yields to - operatic influence.] - </p> - <p> - <a name="linknote-130038" id="linknote-130038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-130038">return</a>)<br /> [ This movement ended - originally in B flat major. Mozart rightly preferred to close the - introduction in the dominant (F major), and thus gave greater breadth to - the finale.] - </p> - <p> - <a name="linknote-130039" id="linknote-130039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-130039">return</a>)<br /> [ Mozart has - abbreviated it in three places, and has altered wherever necessary. The - shortened fugue is printed in Cantate I.] - </p> - <p> - <a name="linknote-130040" id="linknote-130040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-130040">return</a>)<br /> [ L. Mozart wrote at - the beginning: "The solo of the Agnus Dei is written in the bass for Herr - Meissner."] - </p> - <p> - <a name="linknote-130041" id="linknote-130041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-130041">return</a>)<br /> [ One of these Regina - coeli—we do not know which—was composed for Frau Haydn, and - afterwards sung, as L. Mozart writes (April 12,1778), by Ceccarelli.] - </p> - <p> - <a name="linknote-130042" id="linknote-130042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-130042">return</a>)<br /> [ I have grave doubts - of the genuineness of a short Salve Regina for solo voices and chorus (92 - K.).] - </p> - <p> - <a name="linknote-130043" id="linknote-130043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-130043">return</a>)<br /> [ Perhaps this is one - of the motetts which Wolfgang composed in Milan in 1771. A second aria in - cavatina form, "Quaere superna," with an introductory recitative, "Ergo, - inter est," in G major (143 K.), was evidently intended for an - interpolation.] - </p> - <p> - <a name="linknote-130044" id="linknote-130044"> </a> - </p> - <p class="foot"> - 44 (<a href="#linknoteref-130044">return</a>)<br /> [ When Mozart was - travelling in 1777, his father wrote to him (October 4): "I inclose the - chorale, which may be useful and even necessary to you at some time or - other; you ought to know everything."] - </p> - <p> - <a name="linknote-130045" id="linknote-130045"> </a> - </p> - <p class="foot"> - 45 (<a href="#linknoteref-130045">return</a>)<br /> [ P. Martini, Storia - Univ., II., p. 281.] - </p> - <p> - <a name="linknote-130046" id="linknote-130046"> </a> - </p> - <p class="foot"> - 46 (<a href="#linknoteref-130046">return</a>)<br /> [ Stadler's Defence of - the Authenticity of Mozart's Requiem, p. 10.] - </p> - <p> - <a name="linknote-130047" id="linknote-130047"> </a> - </p> - <p class="foot"> - 47 (<a href="#linknoteref-130047">return</a>)<br /> [ An analysis is given - in A. M. Z., X., p. 43; cf. XIII., p. 305.] - </p> - <p> - <a name="linknote-130048" id="linknote-130048"> </a> - </p> - <p class="foot"> - 48 (<a href="#linknoteref-130048">return</a>)<br /> [ Ulibicheff, II., p. - 333: Pour rompre la monotonie que des paroles tant de fois répétées sur le - même sujet devaient introduire dans un morceau de 160 mesures, d'un - mouvement grave, le compositeur avait les ressources inépuisables de la - modulation et de l'analyse contrapontique. Il les employa avec la science - de Bach, avec la gravité onctueuse des maîtres catholiques du XVIIme - siècle, avec le sentiment profond et le goût qui n'appartenaient qu'à - Mozart.] - </p> - <p> - <a name="linknote-130049" id="linknote-130049"> </a> - </p> - <p class="foot"> - 49 (<a href="#linknoteref-130049">return</a>)<br /> [ Thibaut, Ueber - Reinheit der Tonkunst, p. 109.] - </p> - <p> - <a name="linknote-130050" id="linknote-130050"> </a> - </p> - <p class="foot"> - 50 (<a href="#linknoteref-130050">return</a>)<br /> [ Zelter was not - satisfied with Thibaut's judgment (Briefw. m. Goethe, IV., p. 37). - Rochlitz (A. M. Z., XXVII., p. 461) attempts a lame apology for Mozart.] - </p> - <p> - <a name="linknote-130051" id="linknote-130051"> </a> - </p> - <p class="foot"> - 51 (<a href="#linknoteref-130051">return</a>)<br /> [ Two violin parts, <i>ad - libitum</i>, meant for support, are added.] - </p> - <p> - <a name="linknote-130052" id="linknote-130052"> </a> - </p> - <p class="foot"> - 52 (<a href="#linknoteref-130052">return</a>)<br /> [ The Offertory, Sub - tuum præsidium (198 K.), a duet for soprano and tenor, is simple and - melodious, and has the soft and tender character appropriate to the - worship of the Virgin.] - </p> - <p> - <a name="linknote-130053" id="linknote-130053"> </a> - </p> - <p class="foot"> - 53 (<a href="#linknoteref-130053">return</a>)<br /> [ Marpurg, Krit. - Beitr., III., p. 195.] - </p> - <p> - <a name="linknote-130054" id="linknote-130054"> </a> - </p> - <p class="foot"> - 54 (<a href="#linknoteref-130054">return</a>)<br /> [ Altenburg, Anl. z. - Tromp.-Kunst, p. 108.] - </p> - <p> - <a name="linknote-130055" id="linknote-130055"> </a> - </p> - <p class="foot"> - 55 (<a href="#linknoteref-130055">return</a>)<br /> [ Marpurg, Krit. - Beitr., III., p. 195.] - </p> - <p> - <a name="linknote-130056" id="linknote-130056"> </a> - </p> - <p class="foot"> - 56 (<a href="#linknoteref-130056">return</a>)<br /> [ Rochlitz's remarks on - Bach's influence over Mozart are unfounded (A. M. Z II., p. 641).] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 14 - </h2> - <p> - <a name="linknote-14001" id="linknote-14001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-14001">return</a>)<br /> [ Burney cites instances - in Milan (I., p. 66), Bologna (I., p. 167), Brussels (II., p. 43), Vienna - (II., p. 239).] - </p> - <p> - <a name="linknote-14002" id="linknote-14002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-14002">return</a>)<br /> [ Burney, Reise, I., p. - 67; II., p. 276.] - </p> - <p> - <a name="linknote-14003" id="linknote-14003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-14003">return</a>)<br /> [ Burney writes of a - church symphony by Galuppi, which he heard in Venice (I., p. 108): "In the - symphony, which was full of charming passages, the orchestra imitated an - echo. There were two organs and two pairs of French horns"; and of a - similar one by Furlanetto (I., p. 126): "Then followed a long symphony, in - the form of a dialogue between two orchestras."] - </p> - <p> - <a name="linknote-14004" id="linknote-14004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-14004">return</a>)<br /> [ Barney frequently - mentions concertos at church performances (L, pp. 116, 177; II., p. 85).] - </p> - <p> - <a name="linknote-14005" id="linknote-14005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-14005">return</a>)<br /> [ Dies, Jos. Haydn, p. - 104.] - </p> - <p> - <a name="linknote-14006" id="linknote-14006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-14006">return</a>)<br /> [ Ditteradorf, - Selbstbiogr., p. iro.] - </p> - <p> - <a name="linknote-14007" id="linknote-14007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-14007">return</a>)<br /> [ Biogr. Skizze von Mich. - Haydn, p. 18.] - </p> - <p> - <a name="linknote-14008" id="linknote-14008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-14008">return</a>)<br /> [ Schubart, Aesthetik, p. - 123. Selbstbiogr., 14 I., j-. 20c. Schlosser, Gesch. d. achtz. Jahrh., - II., p. 252.] - </p> - <p> - <a name="linknote-14009" id="linknote-14009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-14009">return</a>)<br /> [ Cramer, Magaz. f. Mus., - I., p. 776; cf. p. 783.] - </p> - <p> - <a name="linknote-140010" id="linknote-140010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-140010">return</a>)<br /> [ Reichardt, Briefe e. - aufm. Reis., II., p. 121.] - </p> - <p> - <a name="linknote-140011" id="linknote-140011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-140011">return</a>)<br /> [ Dittersdorf, - Selbstbiogr., p. 13.] - </p> - <p> - <a name="linknote-140012" id="linknote-140012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-140012">return</a>)<br /> [ Burney, Reise, II., - p. 75.] - </p> - <p> - <a name="linknote-140013" id="linknote-140013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-140013">return</a>)<br /> [ Dies, Biogr. Nachr., - p. 55. Griesinger, Biogr. Not, p. 29.] - </p> - <p> - <a name="linknote-140014" id="linknote-140014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-140014">return</a>)<br /> [ Cramer, Magaz. f. - Mus., II., p. 959.] - </p> - <p> - <a name="linknote-140015" id="linknote-140015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-140015">return</a>)<br /> [ Hiller, Wöch. Nachr., - 1770, pp. 178, 207.] - </p> - <p> - <a name="linknote-140016" id="linknote-140016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-140016">return</a>)<br /> [ Burney, Reise, III., - p. 260.] - </p> - <p> - <a name="linknote-140017" id="linknote-140017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-140017">return</a>)<br /> [ [Koch-Stemfeld] Die - letzten dreissig Jahre des Erzstiftes Salzburg, p. 3x4.] - </p> - <p> - <a name="linknote-140018" id="linknote-140018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-140018">return</a>)<br /> [ The Elector Friedrich - August of Saxony was so nervous at playing before other people, that his - wife scarcely ever heard him (Burney, Reise, III-, p. 18).] - </p> - <p> - <a name="linknote-140019" id="linknote-140019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-140019">return</a>)<br /> [ Characteristic traits - are given in Dittersdorf 8 description of the musical establishment of the - Prince von Hildburghausen (Selbstbiogr., p. 43).] - </p> - <p> - <a name="linknote-140020" id="linknote-140020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-140020">return</a>)<br /> [ Burney, Reise, I., p. - 69.] - </p> - <p> - <a name="linknote-140021" id="linknote-140021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-140021">return</a>)<br /> [ Dittersdorf, - Selbstbiogr., p. 50.] - </p> - <p> - <a name="linknote-140022" id="linknote-140022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-140022">return</a>)<br /> [ Burney, Reise, II., - p. 102.] - </p> - <p> - <a name="linknote-140023" id="linknote-140023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-140023">return</a>)<br /> [ Freiherr von Böcklin, - who visited Salzburg in his eightieth year, gave it as his opinion that - though the church music was good, and some of the wind instruments worth - hearing: "the orchestra is not brilliant on the whole; nevertheless there - are some excellent and well-known musicians among them, who soften the - shadows by their enchanting playing of concertos and sonatas, and even - transmit so much of their own light to their defective accompaniers as to - give strangers a favourable idea of the whole performance" (Beiträge zur - Geschichte der Musik, 1790, p. 28).] - </p> - <p> - <a name="linknote-140024" id="linknote-140024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-140024">return</a>)<br /> [ Marpurg, Beitr., - III., p. 186.] - </p> - <p> - <a name="linknote-140025" id="linknote-140025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-140025">return</a>)<br /> [ Dittersdorf, - Selbstbiogr., p. 141.] - </p> - <p> - <a name="linknote-140026" id="linknote-140026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-140026">return</a>)<br /> [ Carpanï, Le Haydine, - p. 56.] - </p> - <p> - <a name="linknote-140027" id="linknote-140027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-140027">return</a>)<br /> [ Burney (Reise, II., - p. 73): "Here it was that Stamitz first overstepped the usual limits of - the opera overture, which hitherto had only consisted of a sort of summons - to silence and attention on the entry of the singers."] - </p> - <p> - <a name="linknote-140028" id="linknote-140028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-140028">return</a>)<br /> [ Griesinger, Biogr. - Notizen, p. 15.; Dies, Biogr. Nachr., p. 37.] - </p> - <p> - <a name="linknote-140029" id="linknote-140029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-140029">return</a>)<br /> [ Burney, Reise, III., - p. 209.] - </p> - <p> - <a name="linknote-140030" id="linknote-140030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-140030">return</a>)<br /> [ It may be considered - characteristic of our times that modern musicians so seldom excel in this - particular direction. Schumann, who repeatedly remarks on the phenomenon, - considers that it is an extinct branch of musical art, and that a new - character must be invented for middle movements (Ges. Schr., I., p. 283, - 289).] - </p> - <p> - <a name="linknote-140031" id="linknote-140031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-140031">return</a>)<br /> [ Mattheson, Vollk. - Kapellmeister, p. 223; cf. Neu eroffnetes Orch., pp. 174, 184. Kircher - gives a description of the dances with examples by Capsberger (Mus., I., - p. 586).] - </p> - <p> - <a name="linknote-140032" id="linknote-140032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-140032">return</a>)<br /> [ Nottebohm, Monatschr. - f. Theat. u. Mus., 1855, pp. 408, 456; 1857, PP* 288, 341, 391.] - </p> - <p> - <a name="linknote-140033" id="linknote-140033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-140033">return</a>)<br /> [ The minuet of - Beethoven's eighth symphony is in slower tempo than any other movement, - and its solemn yet graceful dignity contrasts humorously with the - liveliness of the other movements. The charming minuet of Mendelssohn's A - major symphony again provokes an involuntary smile.] - </p> - <p> - <a name="linknote-140034" id="linknote-140034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-140034">return</a>)<br /> [ The orchestral - minuets written for dancing by Mozart, of which there must have been more - than the sixty known to exist (103,104, 105, 122, 164,176;), are, like the - Contretanze (106,123,267, K.), very simple, and practically arranged, with - a few modest instrumental effects.] - </p> - <p> - <a name="linknote-140035" id="linknote-140035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-140035">return</a>)<br /> [ I made acquaintance - with them through André's autograph collection» and also through three - little blue books placed at my disposal by the owner, A. Cranz, of - Hamburg. (A. M. Z., XXXIII., p. 733.) The first of these contains nine - symphonies, the second a concertone and three serenate, the third a - serenata. The dates are erased, but Sonnleithner has fortunately - discovered and replaced them (Recensionen, 1862, Nr. 39, p. 614). In - Breitkopf and Härtel's old warehouse, twenty symphonies in parts were also - preserved. Since ten of these are among André's, and two belong to "Lucio - Silla" and "Sogno di Scipione," we may conclude the rest to be equally - genuine; and since none of those known belong to a later date than 1772, - and "Lucio Silla" was performed at the Carnival of 1773, the others can - scarcely be put later. In confirmation of this it will be remembered that - on February 7, 1772, Leopold Mozart offered Breitkopf some of his son's - compositions, and among them symphonies.] - </p> - <p> - <a name="linknote-140036" id="linknote-140036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-140036">return</a>)<br /> [ Still shorter and - more precise is a serenade in four movements that, according to the first - superscription, was originally a contretänz.] - </p> - <p> - <a name="linknote-140037" id="linknote-140037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-140037">return</a>)<br /> [ Where stringed - instruments are employed the bass part is only indicated as basso; and no - hint is given as to whether the double-bass or violoncello, or both - together, were intended.] - </p> - <p> - <a name="linknote-140038" id="linknote-140038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-140038">return</a>)<br /> [ The same five - instruments were employed for two divertimenti for wind instruments (166, - 168, K.), of which one is dated 1773. The paper and handwriting are - identical.] - </p> - <p> - <a name="linknote-140039" id="linknote-140039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-140039">return</a>)<br /> [ Mozart had employed - four horns earlier, two being in another key, in symphonies (130. 132, - 183, K., and that to the "Betuüa Liberata"), and in. operatic - accompaniments ("Ascanio." ii; "Finta Giardiniera," 13. 26; "Re Pastore," - 12).] - </p> - <p> - <a name="linknote-140040" id="linknote-140040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-140040">return</a>)<br /> [ To the first of these - belongs the march written for the same instruments (248 K.).] - </p> - <p> - <a name="linknote-140041" id="linknote-140041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-140041">return</a>)<br /> [ Mozart, who, in - October, 1877, mentions only two cassations, asks from Vienna (July 4, - 1781) for the three cassations in F, B, and D.] - </p> - <p> - <a name="linknote-140042" id="linknote-140042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-140042">return</a>)<br /> [ Three pages of the - first allegro of a similar divertimento in F major are preserved (288 K.); - since Mozart only mentions three such pieces by name in Vienna, it is not - probable that a fourth was completed.] - </p> - <p> - <a name="linknote-140043" id="linknote-140043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-140043">return</a>)<br /> [ A scherzo-like - pastorale (Anh., 294 K.), in which a corno pastoriccio is added to the - quartet, has been ascribed to Mozart without sufficient grounds, and is - more likely by his father.] - </p> - <p> - <a name="linknote-140044" id="linknote-140044"> </a> - </p> - <p class="foot"> - 44 (<a href="#linknoteref-140044">return</a>)<br /> [ Mozart must have - composed more than a few of such compositions, which were always in - request but many are included among his published harmonie-musik, arranged - in very arbitrary fashion, and altogether unauthentic.] - </p> - <p> - <a name="linknote-140045" id="linknote-140045"> </a> - </p> - <p class="foot"> - 45 (<a href="#linknoteref-140045">return</a>)<br /> [ The trio has been - struck out and written again by the father, who has transposed the first - violins an octave lower throughout.] - </p> - <p> - <a name="linknote-140046" id="linknote-140046"> </a> - </p> - <p class="foot"> - 46 (<a href="#linknoteref-140046">return</a>)<br /> [ n. Ztschr. f. Mus., - XLV., p. 60.] - </p> - <p> - <a name="linknote-140047" id="linknote-140047"> </a> - </p> - <p class="foot"> - 47 (<a href="#linknoteref-140047">return</a>)<br /> [ 'The trio of the - minuet has also been written again, but here it is an altogether new - composition, far superior to the first.] - </p> - <p> - <a name="linknote-140048" id="linknote-140048"> </a> - </p> - <p class="foot"> - 48 (<a href="#linknoteref-140048">return</a>)<br /> [ A little piece for - two violins and bass (266 K.), consisting of a polonaiselike movement - following some slow introductory bars, and of a minuet, is not of - importance.] - </p> - <p> - <a name="linknote-140049" id="linknote-140049"> </a> - </p> - <p class="foot"> - 49 (<a href="#linknoteref-140049">return</a>)<br /> [ When the Vienna - quartets appeared, and Toricella announced "Six quartets by Mozart at a - low price," the publisher Artaria drew the attention of the public to the - fact that these quartets were old works of Mozart's, written fifteen years - previously (Wien. Ztg., 1785; Nr. 75 Anh.). To this Toricella replied in a - fresh announcement: "Concerning the quartets of fifteen years ago, I - believe that they need no recommendation but the name of their author, and - I am equally convinced that, being in their whole style completely new to - many amateurs, they may be considered as novelties, and as genuine - compositions of Mozart."] - </p> - <p> - <a name="linknote-140050" id="linknote-140050"> </a> - </p> - <p class="foot"> - 50 (<a href="#linknoteref-140050">return</a>)<br /> [ Mozart afterwards - composed a rondo, mentioned by his father (September 25, 1777), to the - Concerto in B major (207 K.) for Brunetti.] - </p> - <p> - <a name="linknote-140051" id="linknote-140051"> </a> - </p> - <p class="foot"> - 51 (<a href="#linknoteref-140051">return</a>)<br /> [ Car. Pichler, - Zeitbilder, p. 149.] - </p> - <p> - <a name="linknote-140052" id="linknote-140052"> </a> - </p> - <p class="foot"> - 52 (<a href="#linknoteref-140052">return</a>)<br /> [ The piece is in E - flat major; the viola part is written in D major, and was to be tuned half - a tone higher, both to give it a clear sound and to make the execution - easier.] - </p> - <p> - <a name="linknote-140053" id="linknote-140053"> </a> - </p> - <p class="foot"> - 53 (<a href="#linknoteref-140053">return</a>)<br /> [ Schubart, Aesthet. d. - Mus., p. 233.] - </p> - <p> - <a name="linknote-140054" id="linknote-140054"> </a> - </p> - <p class="foot"> - 54 (<a href="#linknoteref-140054">return</a>)<br /> [ Mus. Real-Ztg., 1789, - p. 240.] - </p> - <p> - <a name="linknote-140055" id="linknote-140055"> </a> - </p> - <p class="foot"> - 55 (<a href="#linknoteref-140055">return</a>)<br /> [ The musical - collection of Baron von Dürnitz is in the possession of Herr Oec. Rabl, at - Münchshofen.] - </p> - <p> - <a name="linknote-140056" id="linknote-140056"> </a> - </p> - <p class="foot"> - 56 (<a href="#linknoteref-140056">return</a>)<br /> [ Among these may be - included an arrangement of three clavier sonatas by Joh. Chris. Bach (p. - 38) as a concerto (107 K.) with quartet accompaniment. I cannot decide how - much of this is Mozart's.] - </p> - <p> - <a name="linknote-140057" id="linknote-140057"> </a> - </p> - <p class="foot"> - 57 (<a href="#linknoteref-140057">return</a>)<br /> [ Cf. Kelly, Remin., - I., p. 9.] - </p> - <p> - <a name="linknote-140058" id="linknote-140058"> </a> - </p> - <p class="foot"> - 58 (<a href="#linknoteref-140058">return</a>)<br /> [ An unfinished Sonata - in G major (357 K.) was perhaps completed and afterwards lost.] - </p> - <p> - <a name="linknote-140059" id="linknote-140059"> </a> - </p> - <p class="foot"> - 59 (<a href="#linknoteref-140059">return</a>)<br /> [ Yet Dressier mentions - in his Theaterschule in 1777 (p. 46): "Die Hrn. Mozart und Schröder, zwei - ausserordentliche Genies, Musici, Klavierspieler, und Compositeurs der - Deutschen," whose merit is acknowledged in foreign countries.] - </p> - <p> - <a name="linknote-140060" id="linknote-140060"> </a> - </p> - <p class="foot"> - 60 (<a href="#linknoteref-140060">return</a>)<br /> [ The close of the - adagio in Beethoven's C major symphony will occur to every musician; the - opening of his E flat major concerto is also founded on a similar idea to - this of Mozart's.] - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 15 - </h2> - <p> - <a name="linknote-15001" id="linknote-15001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-15001">return</a>)<br /> [ Messages and birthday - congratulations to the servant-maids were never forgotten in his letters - home. When Wolfgang was expected home from Paris, Theresa, the cook, sent - word to him repeatedly how many capons she was preparing in his honour.] - </p> - <p> - <a name="linknote-15002" id="linknote-15002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-15002">return</a>)<br /> [ Besides the canary - which Wolfgang constantly alludes to in his letters, the dog, Wimperl, was - always tenderly inquired after.] - </p> - <p> - <a name="linknote-15003" id="linknote-15003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-15003">return</a>)<br /> [ J. Mayr, Die ehem. - Univ. Salzburg, p. 12.] - </p> - <p> - <a name="linknote-15004" id="linknote-15004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-15004">return</a>)<br /> [ Cf. the account of - these two in K. R[isbeck], Briefe eines reisenden Franzosen über - Deutschland, 1784, I., p. 155; and for Count Zeil see (Footnote - Koch-Shernfeld), Die letzten dreissig Jahre des Erzstiftes Salzburg, p. - 40.] - </p> - <p> - <a name="linknote-15005" id="linknote-15005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-15005">return</a>)<br /> [ K. R[isbeck], Briefe, - I., p. 156. [Koch-Stemfeld] Die letzten dreissig Jahre des Erzstiftes - Salzburg, p. 256.] - </p> - <p> - <a name="linknote-15006" id="linknote-15006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-15006">return</a>)<br /> [ Wolfgang said he knew a - Salzburger who complained that he could not see Paris properly, because - the houses were too high.] - </p> - <p> - <a name="linknote-15007" id="linknote-15007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-15007">return</a>)<br /> [ Wolfgang wrote to his - sister from Milan that he had learnt a new language; it was rather - childish, but good enough for Salzburg. He wrote to Bullinger (August - 7,1778) that he could not possibly be happy in Salzburg, where there was - no society; and to his father (January 8, 1779): "I assure you solemnly - that I cannot endure the Salzburgers (I mean the natives of Salzburg); - their speech and manners are odious to me."] - </p> - <p> - <a name="linknote-15008" id="linknote-15008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-15008">return</a>)<br /> [ Literar. Anekd. auf e. - Reise durch Deutschland (Frkf., 1790), p. 228. K. R[isbeck], Briefe, I., - p. 159. [Koch-Sternfeld] Die letzten dreissig Jahre. p. 157.] - </p> - <p> - <a name="linknote-15009" id="linknote-15009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-15009">return</a>)<br /> [ K. R[isbeck], Briefe, - I., p. 157. [Koch-Sternfeld] p. 157.] - </p> - <p> - <a name="linknote-150010" id="linknote-150010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-150010">return</a>)<br /> [ K. R[isbeck], I., p. - 159.] - </p> - <p> - <a name="linknote-150011" id="linknote-150011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-150011">return</a>)<br /> [ For a more detailed - account see [Koch-Sternfeld] p. 28.] - </p> - <p> - <a name="linknote-150012" id="linknote-150012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-150012">return</a>)<br /> [ cf., p. 237.] - </p> - <p> - <a name="linknote-150013" id="linknote-150013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-150013">return</a>)<br /> [ Burney, Reise, II., - p. 77.] - </p> - <p> - <a name="linknote-150014" id="linknote-150014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-150014">return</a>)<br /> [ Burney, Reise, II., - p. 57. Cf. Thayer, Beethoven's Leben, I., p. 60, 311.] - </p> - <p> - <a name="linknote-150015" id="linknote-150015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-150015">return</a>)<br /> [ Burney, Reise, III., - p. 275. "The musicians in almost every town are envious of each other, and - all unite in envying the Italians who settle in the country. It must be - acknowledged that the Italians are caressed and flattered, and often - receive twice as high a salary as native musicians of greater merit."] - </p> - <p> - <a name="linknote-150016" id="linknote-150016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-150016">return</a>)<br /> [ [Koch-Stemfeld] Die - letzten dreissig Jahre, p. 233.] - </p> - <p> - <a name="linknote-150017" id="linknote-150017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-150017">return</a>)<br /> [ Burney, Reise, III., - p. 260, following a correspondent, who was not very much prepossessed by - Mozart (p. 139).] - </p> - <p> - <a name="linknote-150018" id="linknote-150018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-150018">return</a>)<br /> [ Schubart, Aesthet., - p. 157. Koch-Stemfeld, p. 255: "The court music was good, but not so good - as under Archbishop Sigismund, when it was comparatively better paid."] - </p> - <p> - <a name="linknote-150019" id="linknote-150019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-150019">return</a>)<br /> [ Meissner was one of - the Archbishop's favourites, and yet even he was told by the court - chamberlain, when a cold prevented his singing, that he must sing and - attend to the service, or he would be dismissed. "Such is the reward of - favourites of the great!" (L. Mozart, October 6, 1777.)] - </p> - <p> - <a name="linknote-150020" id="linknote-150020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-150020">return</a>)<br /> [ Cf., p. 26, 42, 72.] - </p> - <p> - <a name="linknote-150021" id="linknote-150021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-150021">return</a>)<br /> [ [Koch-Stemfeld], p. - 44: "When the proclamation, 'Hieronymus!' reached the expectant crowd from - the balcony of the palace, the people could not believe their ears. As the - solemn procession, with the newly elected ruler, pale and sickly in its - midst, filed into the cathedral for the Te Deum, a dead silence reigned. - It was a fair-day. An urchin in the midst of the gazing throng gave a - huzza, and received a box on the ear from a merchant standing near, with - the words, 'Boy, dost thou shout when all the people weep?' The voice of - the people, on which the prosperity of a prince so much depends, was never - more plainly heard. Hieronymus felt it deeply; many similar expressions in - private conversations were reported to him, and many invitations to court - were discontinued for long."] - </p> - <p> - <a name="linknote-150022" id="linknote-150022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-150022">return</a>)<br /> [ K. R[isbeck], Briefe - eines reisenden Franzosen, I., p. 158: "As far as head goes there could - not be a better ruler, but as to heart—I do not know. He knows that - he is unpopular with the Salzburgers, and despises and avoids them in - consequence."] - </p> - <p> - <a name="linknote-150023" id="linknote-150023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-150023">return</a>)<br /> [ The following - description is taken from [Koch-Sternfeld], p. 312.] - </p> - <p> - <a name="linknote-150024" id="linknote-150024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-150024">return</a>)<br /> [ "I did not venture to - contradict," writes Wolfgang to his father (February 19,1778), "because I - had come straight from Salzburg, where one gets out of the habit of - contradicting."] - </p> - <p> - <a name="linknote-150025" id="linknote-150025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-150025">return</a>)<br /> [ [Koch-Sternfeld], p. - 43.] - </p> - <p> - <a name="linknote-150026" id="linknote-150026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-150026">return</a>)<br /> [ [Koch-Sternfeld], p. - 313.] - </p> - <p> - <a name="linknote-150027" id="linknote-150027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-150027">return</a>)<br /> [ Wolfgang writes - ironically to his father from Mannheim (November 4, 1777): "I played my - concerto to him (Ramm) at Cannabich's, on the pianoforte, and although it - was known to be mine, it pleased very much. Nobody said that it was not - well arranged; no doubt because the people here know nothing about such - things; they should ask the Archbishop—he would set them right at - once."] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 16 - </h2> - <p> - <a name="linknote-16001" id="linknote-16001"> </a> - </p> - <p class="foot"> - 1 (<a href="#linknoteref-16001">return</a>)<br /> [ Müller, Abschied von - der Bühne, p. 215.] - </p> - <p> - <a name="linknote-16002" id="linknote-16002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-16002">return</a>)<br /> [ Rudhart, Gesch. d. Oper - zu München, I., p. 134.] - </p> - <p> - <a name="linknote-16003" id="linknote-16003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-16003">return</a>)<br /> [ Müller, Abschied von - der Bühne, p. 219.] - </p> - <p> - <a name="linknote-16004" id="linknote-16004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-16004">return</a>)<br /> [ Müller, Abschied von - der Bühne, p. 219.] - </p> - <p> - <a name="linknote-16005" id="linknote-16005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-16005">return</a>)<br /> [ Rudhart, Gesch. d. Oper - zu München, I., p. 130.] - </p> - <p> - <a name="linknote-16006" id="linknote-16006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-16006">return</a>)<br /> [ Sospiri, - crotchet-rests.] - </p> - <p> - <a name="linknote-16007" id="linknote-16007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-16007">return</a>)<br /> [ He got up in his honour - a little serenade for wind instruments; another time they had dancing: "I - danced only four minuets, for there was only one lady among them who could - keep time."] - </p> - <p> - <a name="linknote-16008" id="linknote-16008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-16008">return</a>)<br /> [ Müller, Abschied von - der Bühne, p. 222.] - </p> - <p> - <a name="linknote-16009" id="linknote-16009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-16009">return</a>)<br /> [ He had brought on this - illness by excess, and L. Mozart consequently forbade his son to visit - him. But Misliweczeck asked for him so continually, and expressed so - earnest a wish to see him, that Mozart could not refuse, and met him in - the garden of the Ducal Hospital. The way in which he apologises to his - father, and the pity he expresses for the unfortunate man, whose affection - touched him deeply, do honour alike to the goodness and the innocence of - his heart.] - </p> - <p> - <a name="linknote-160010" id="linknote-160010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-160010">return</a>)<br /> [ Schubart, Teutsche - Chronik, 1776, p. 239. Fr. Nicolai, Reise, VIII., p. 156.] - </p> - <p> - <a name="linknote-160011" id="linknote-160011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-160011">return</a>)<br /> [ Here we recognise the - pupil of his father; we have seen the opinion of the latter as to <i>tempo - rubato</i> in the hands of the true virtuoso, p. 12.] - </p> - <p> - <a name="linknote-160012" id="linknote-160012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-160012">return</a>)<br /> [ Mozart was said to - have composed a mass for the Monastery of the Holy Cross about this time; - the autograph score was taken from the monastery in the troubled times - which followed, and passed into private hands; it came to light in 1856, - and was acknowledged as genuine by Gathy (Revue et Gaz. Mus., 1856, Nr. - 12, p. 90). After an examination of the manuscript, through the kindness - of Herr Speyer, I can affirm with certainty that the mass is neither - composed nor written by Mozart. It is in C minor, with accompaniment for - strings, flutes, trumpets, drums, and organ. It has many solos. A long - symphony in two movements precedes the Credo; a Laudate Dominum is - inserted as an offertory. The discrepancies of form might be explained by - the Augsburg traditions, but (beside that there is no mention in his - letters of any such composition) the composition and handwriting are - equally unlike Mozart.] - </p> - <p> - <a name="linknote-160013" id="linknote-160013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-160013">return</a>)<br /> [ Cramer, Musik, 1788, - II., p. 126.] - </p> - <p> - <a name="linknote-160014" id="linknote-160014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-160014">return</a>)<br /> [ The disputes between - Catholics and Protestants in Augsburg amounted to fanaticism, and affected - great matters as well as small (Schubart, Selbst-biographie, 17, II., p. - 15. K. R[isbeck], Briefe fiber Deutschland, II., p. 55).] - </p> - <p> - <a name="linknote-160015" id="linknote-160015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-160015">return</a>)<br /> [ The list of members, - which Wolfgang gives his father, is a counterpart to Goethe's <i>dramatis - personæ</i> to "Hans Wurst's Hochzeit."] - </p> - <p> - <a name="linknote-160016" id="linknote-160016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-160016">return</a>)<br /> [ Paul von Stetten, - Kunst-, Gewerb-, und Handwerks-Geschichte der Reich-stadt Augsburg (1779), - p. 554.] - </p> - <p> - <a name="linknote-160017" id="linknote-160017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-160017">return</a>)<br /> [ Wolfgang liked to be - called <i>sly</i> ("schlimm.") When Madame Duschek heard that he had left - Salzburg she wrote that "she had just heard of the disagreeable affair at - Salzburg; that he and she were quite agreed on the subject; and if - Wolfgang, slyer than ever, now liked to come straight to Prague, he would - receive the heartiest welcome"; so his father writes (September 28, 1777). - His tendency to criticism, and the tone he usually assumed in jesting, - will show pretty well what was meant by "schlimm."] - </p> - <p> - <a name="linknote-160018" id="linknote-160018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-160018">return</a>)<br /> [ Mozart maintained a - correspondence with his cousin.] - </p> - <p> - <a name="linknote-160019" id="linknote-160019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-160019">return</a>)<br /> [ Lang, Memoiren, I., - p. 56.] - </p> - <p> - <a name="linknote-160020" id="linknote-160020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-160020">return</a>)<br /> [ Schubart, Aesthetik, - p. 169.] - </p> - <p> - <a name="linknote-160021" id="linknote-160021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-160021">return</a>)<br /> [Karl Theodor, born - 1724, Elector Palaüne in 1743, died Elector of Bavaria 1799.] - </p> - <p> - = - </p> - <div style="height: 4em;"> - <br /><br /><br /><br /> - </div> - <h2> - FOOTNOTES CHAPTER 17 - </h2> - <p> - <a name="linknote-17002" id="linknote-17002"> </a> - </p> - <p class="foot"> - 2 (<a href="#linknoteref-17002">return</a>)<br /> [ Schubart, - Selbstbiographie 14,1., p. 200. Goethe, Wahrheit und Dichtung, B. 11. - (Werke, XVIII., p. 48.) Herder's Nachl., III., pp. 371, 374. Schiller, - Thalia, I., p. 176.] - </p> - <p> - <a name="linknote-17003" id="linknote-17003"> </a> - </p> - <p class="foot"> - 3 (<a href="#linknoteref-17003">return</a>)<br /> [ Schubart, Teutsche - Chronik, 1775, p. 729. Hausser, Geschichte d. rhein. Pfalz, II., p. 943.] - </p> - <p> - <a name="linknote-17004" id="linknote-17004"> </a> - </p> - <p class="foot"> - 4 (<a href="#linknoteref-17004">return</a>)<br /> [ Guhrauer, Lessing, II., - 2 p. 286.] - </p> - <p> - <a name="linknote-17005" id="linknote-17005"> </a> - </p> - <p class="foot"> - 5 (<a href="#linknoteref-17005">return</a>)<br /> [ Wieland (Briefe an - Merck, I., p. 105; II., p* 104).] - </p> - <p> - <a name="linknote-17006" id="linknote-17006"> </a> - </p> - <p class="foot"> - 6 (<a href="#linknoteref-17006">return</a>)<br /> [ Schubart, Teutsche - Chronik, 1775, pp. 718, 730.] - </p> - <p> - <a name="linknote-17007" id="linknote-17007"> </a> - </p> - <p class="foot"> - 7 (<a href="#linknoteref-17007">return</a>)<br /> [ A description is given - in Müller's Abschied von der Bühne, p. 204.] - </p> - <p> - <a name="linknote-17008" id="linknote-17008"> </a> - </p> - <p class="foot"> - 8 (<a href="#linknoteref-17008">return</a>)<br /> [ Müller, who was in - Mannheim, December, 1776, notices (Abschied von der Bühne, p. 207) from - the expressions of the Elector and of the minister, Von Hompesch, how full - the Mannheim people were of these projects.] - </p> - <p> - <a name="linknote-17009" id="linknote-17009"> </a> - </p> - <p class="foot"> - 9 (<a href="#linknoteref-17009">return</a>)<br /> [ Devrient, Geschichte - der deutschen Schauspielkunst, II., p. 303.] - </p> - <p> - <a name="linknote-170010" id="linknote-170010"> </a> - </p> - <p class="foot"> - 10 (<a href="#linknoteref-170010">return</a>)<br /> [ F. H. Jacobi (Briefe, - I., p. 273). Wieland writes to Merck (II., p. 116): "I must go to - Mannheim, for I must and will have my fill of music once in my life, and - when or where shall I have a better opportunity?" Klopstock, too, went to - Mannheim chiefly on account of its music (Briefe an Merck, II., p. 51), - and "they were anxious to satisfy his fastidious taste" (Schubart, - Teutsche Chronik, 1775, p. 183).] - </p> - <p> - <a name="linknote-170011" id="linknote-170011"> </a> - </p> - <p class="foot"> - 11 (<a href="#linknoteref-170011">return</a>)<br /> [ Lord Fordyce - declared, as Schubart relates (Aesthetik, p. 131), that Prussian tactics - and Mannheim music placed Germany at the head of nations.] - </p> - <p> - <a name="linknote-170012" id="linknote-170012"> </a> - </p> - <p class="foot"> - 12 (<a href="#linknoteref-170012">return</a>)<br /> [ Schubart notes this - as an advance (Teutsche Chronik, 1774, pp. 310, 360).] - </p> - <p> - <a name="linknote-170013" id="linknote-170013"> </a> - </p> - <p class="foot"> - 13 (<a href="#linknoteref-170013">return</a>)<br /> [ Cf. Pasqué, Goethe's - Theaterleitung in Weimar, II., p. 353.] - </p> - <p> - <a name="linknote-170014" id="linknote-170014"> </a> - </p> - <p class="foot"> - 14 (<a href="#linknoteref-170014">return</a>)<br /> [ "Alceste:" a - vaudeville in five acts. Leipz. Weidm., 1773.] - </p> - <p> - <a name="linknote-170015" id="linknote-170015"> </a> - </p> - <p class="foot"> - 15 (<a href="#linknoteref-170015">return</a>)<br /> [ Teutsch. Mercur, - 1773, I., pp. 34, 223; cf. II., p. 221.] - </p> - <p> - <a name="linknote-170016" id="linknote-170016"> </a> - </p> - <p class="foot"> - 16 (<a href="#linknoteref-170016">return</a>)<br /> [ Dressier, - Theaterschule, p. 169. Etwas von und uber Musik fur das Jahr 1777 - (Frankfort, 1778), p. 39.] - </p> - <p> - <a name="linknote-170017" id="linknote-170017"> </a> - </p> - <p class="foot"> - 17 (<a href="#linknoteref-170017">return</a>)<br /> [ Morgenblatt, 1820, - Nr. 160.] - </p> - <p> - <a name="linknote-170018" id="linknote-170018"> </a> - </p> - <p class="foot"> - 18 (<a href="#linknoteref-170018">return</a>)<br /> [ Wieland asks for - subscriptions to the clavier arrangement of "Alceste" which appeared, - beautifully got up, in 1774 (Teutsch. Mercur, 1774, IV., p. 2gg). A second - arrangement appeared in Berlin in 1786.] - </p> - <p> - <a name="linknote-170019" id="linknote-170019"> </a> - </p> - <p class="foot"> - 19 (<a href="#linknoteref-170019">return</a>)<br /> [ Gedanken und - Konjekturen zur Gesch. d. Musik (Stendal, 1780), p. 8. Musik. Alman., 1782 - (Alethinopel), p. 51. Schubart's Aesthetik, p. no.] - </p> - <p> - <a name="linknote-170020" id="linknote-170020"> </a> - </p> - <p class="foot"> - 20 (<a href="#linknoteref-170020">return</a>)<br /> [ Zelter, Briefw. m. - Goethe, V., p. 55.] - </p> - <p> - <a name="linknote-170021" id="linknote-170021"> </a> - </p> - <p class="foot"> - 21 (<a href="#linknoteref-170021">return</a>)<br /> [ Teutsch. Mercur, - 1773, II., p. 306. Knebel, Litt. Nachl., II., p. 151. Böttiger, Litt. - Zust., I., p. 190.] - </p> - <p> - <a name="linknote-170022" id="linknote-170022"> </a> - </p> - <p class="foot"> - 22 (<a href="#linknoteref-170022">return</a>)<br /> [ Teutsch. Mercur, - 1775, III., p. 268. Schubart,' Teutsche Chronik, 1775, pp. 535, 575, 716, - 720.] - </p> - <p> - <a name="linknote-170023" id="linknote-170023"> </a> - </p> - <p class="foot"> - 23 (<a href="#linknoteref-170023">return</a>)<br /> [ Müller, Abschied von - der Bühne, p. 212.] - </p> - <p> - <a name="linknote-170024" id="linknote-170024"> </a> - </p> - <p class="foot"> - 24 (<a href="#linknoteref-170024">return</a>)<br /> [ Günther von - Schwarzburg," ein Singspiel in drei Aufzügen fur die Kur-pfàlzische - Hofsingbühne. Mannheim: Schwan, 1777.] - </p> - <p> - <a name="linknote-170025" id="linknote-170025"> </a> - </p> - <p class="foot"> - 25 (<a href="#linknoteref-170025">return</a>)<br /> [ The beautifully - engraved score (by Götz, of Mannheim) is dedicated to Karl Theodor, "the - enlightened patron of music, under whose mighty protection the palatinate - stage first sang a German hero."] - </p> - <p> - <a name="linknote-170026" id="linknote-170026"> </a> - </p> - <p class="foot"> - 26 (<a href="#linknoteref-170026">return</a>)<br /> [ The scenery was - painted by Quaglio; the ballet was arranged by Lauchery, and composed by - Cannabich. Burney says (Reise, II., p. 72) that 48,000 florins were spent - on a carnival opera.] - </p> - <p> - <a name="linknote-170027" id="linknote-170027"> </a> - </p> - <p class="foot"> - 27 (<a href="#linknoteref-170027">return</a>)<br /> [ Teutsche Chronik, - 1766, p. 630.] - </p> - <p> - <a name="linknote-170028" id="linknote-170028"> </a> - </p> - <p class="foot"> - 28 (<a href="#linknoteref-170028">return</a>)<br /> [ The opera was - successfully performed several times at Mannheim during 1785. Schiller's - Thalia, I., p. 185 (Boas. Nachtr., II., p. 32, 494).] - </p> - <p> - <a name="linknote-170029" id="linknote-170029"> </a> - </p> - <p class="foot"> - 29 (<a href="#linknoteref-170029">return</a>)<br /> [ There is a long - discussion on the subject in the Rhein. Beitr., 1777, I., p. 377. Cf. - Betrachtungen der Mannheim. Tonschule, I., p. 116, Etwas von u. üb. Musik, - p. 34. Düntzen Frauenbilder a. Goethe's Jugendheit, p. 258.] - </p> - <p> - <a name="linknote-170030" id="linknote-170030"> </a> - </p> - <p class="foot"> - 30 (<a href="#linknoteref-170030">return</a>)<br /> [ Briefe an Merck, I., - p. 100.] - </p> - <p> - <a name="linknote-170031" id="linknote-170031"> </a> - </p> - <p class="foot"> - 31 (<a href="#linknoteref-170031">return</a>)<br /> [ Müller, Abschied von - der Bühne, p. 20S.] - </p> - <p> - <a name="linknote-170032" id="linknote-170032"> </a> - </p> - <p class="foot"> - 32 (<a href="#linknoteref-170032">return</a>)<br /> [ Schubart, Aesthetik, - p. 131.] - </p> - <p> - <a name="linknote-170033" id="linknote-170033"> </a> - </p> - <p class="foot"> - 33 (<a href="#linknoteref-170033">return</a>)<br /> [ Musik. Alman. f. - 1782, p. 23.] - </p> - <p> - <a name="linknote-170034" id="linknote-170034"> </a> - </p> - <p class="foot"> - 34 (<a href="#linknoteref-170034">return</a>)<br /> [ In the list of - singers for 1756 a number of Italian singers were included who had - disappeared by 1797.] - </p> - <p> - <a name="linknote-170035" id="linknote-170035"> </a> - </p> - <p class="foot"> - 35 (<a href="#linknoteref-170035">return</a>)<br /> [ Heinse, Schr., III., - p. 221.] - </p> - <p> - <a name="linknote-170036" id="linknote-170036"> </a> - </p> - <p class="foot"> - 36 (<a href="#linknoteref-170036">return</a>)<br /> [ Wieland, Br. an Fr. - la Roche (p. 191.) Schubart is more critical (Aesthetik, p. 144): "She has - distinguished herself as one of our best theatrical singers. She played in - French, Italian, and German, and oftener in comic than in tragic parts. - She began to decline early in life, which would have been more easily - detected in serious parts."] - </p> - <p> - <a name="linknote-170037" id="linknote-170037"> </a> - </p> - <p class="foot"> - 37 (<a href="#linknoteref-170037">return</a>)<br /> [ Briefe, Von Gleim und - Heinse, I., 424.] - </p> - <p> - <a name="linknote-170038" id="linknote-170038"> </a> - </p> - <p class="foot"> - 38 (<a href="#linknoteref-170038">return</a>)<br /> [ Jacobi, Briefe, I., - p. 279.] - </p> - <p> - <a name="linknote-170039" id="linknote-170039"> </a> - </p> - <p class="foot"> - 39 (<a href="#linknoteref-170039">return</a>)<br /> [ Burney, Reise, II., - p. 71. Hist, of Mus., IV., pp. 481, 508. Schubart, Aesthetik, p. 143. - Busby, Hist, of Mus., II., p. 361. Gesch. d. Mus., II., p. 404.] - </p> - <p> - <a name="linknote-170040" id="linknote-170040"> </a> - </p> - <p class="foot"> - 40 (<a href="#linknoteref-170040">return</a>)<br /> [ Briefe an Merck, I., - p. 108.] - </p> - <p> - <a name="linknote-170041" id="linknote-170041"> </a> - </p> - <p class="foot"> - 41 (<a href="#linknoteref-170041">return</a>)<br /> [ A sketch of Raaff's - life and character is given by A. M. Z., XII., p. 857. I found plenty of - traditions in Bonn also.] - </p> - <p> - <a name="linknote-170042" id="linknote-170042"> </a> - </p> - <p class="foot"> - 42 (<a href="#linknoteref-170042">return</a>)<br /> [ Metastasio, Opp. - post., I., p. 359.] - </p> - <p> - <a name="linknote-170043" id="linknote-170043"> </a> - </p> - <p class="foot"> - 43 (<a href="#linknoteref-170043">return</a>)<br /> [ Some instances of - liberality and favour displayed towards him in Spain and Portugal are - given by Reichardt (Berlin, Musik. Zeit., 1805,1., p. 278). He left Lisbon - just before the earthquake, and built a chapel at Holzem in gratitude for - his escape.] - </p> - <p> - <a name="linknote-170044" id="linknote-170044"> </a> - </p> - <p class="foot"> - 44 (<a href="#linknoteref-170044">return</a>)<br /> [ Cäcilia, V., p 44.] - </p> - <p> - <a name="linknote-170045" id="linknote-170045"> </a> - </p> - <p class="foot"> - 45 (<a href="#linknoteref-170045">return</a>)<br /> [ Schubart, - Selbstbiographie 14,1., p. 214; Aesthetik, p. 137.] - </p> - <p> - <a name="linknote-170046" id="linknote-170046"> </a> - </p> - <p class="foot"> - 46 (<a href="#linknoteref-170046">return</a>)<br /> [ After his farewell - performance of Idomeneo, in 1781, Raaff lived a retired life at Munich in - the society of a few friends, dividing his time between devotional - exercises and reading. He died in 1797.] - </p> - <p> - <a name="linknote-170047" id="linknote-170047"> </a> - </p> - <p class="foot"> - 47 (<a href="#linknoteref-170047">return</a>)<br /> [ "We had the virtuoso - Hartig here lately," writes Jacobi to Wieland (June 8, 1777, I., p. 272): - "You should hear the fellow sing! We had the recitative from Alceste, 'O - Jugendzeit, o goldne Wonnetage' four times. I wish you could have had the - pleasure of hearing it."] - </p> - <p> - <a name="linknote-170048" id="linknote-170048"> </a> - </p> - <p class="foot"> - 48 (<a href="#linknoteref-170048">return</a>)<br /> [ Schubart, - Selbstbiogr. 14,1., p. 214,] - </p> - <p> - <a name="linknote-170049" id="linknote-170049"> </a> - </p> - <p class="foot"> - 49 (<a href="#linknoteref-170049">return</a>)<br /> [ Schubart, Aesthetik, - p. 132.] - </p> - <p> - <a name="linknote-170050" id="linknote-170050"> </a> - </p> - <p class="foot"> - 50 (<a href="#linknoteref-170050">return</a>)<br /> [ A summary of the - Mannheim Kapelle for 1756 is given in Marpurg's Kritischen Beiträgen, II., - p. 567, and one for 1767 in Hiller's Wöchentl. Nach-richten, II., p. 177; - in the latter the clarinets are included. Mozart writes to his father - (November 4,1777): "The orchestra is very good and strong; on each side - are ten or eleven violins, four tenors, two oboes, two flutes and two - clarinets, two horns, four violoncelli, four bassoons, four double-basses, - and trumpets and drums." Two platforms were erected in the opera hall for - the trumpet chorus.] - </p> - <p> - <a name="linknote-170051" id="linknote-170051"> </a> - </p> - <p class="foot"> - 51 (<a href="#linknoteref-170051">return</a>)<br /> [ Originally the - clarinet was, as the name shows, closely allied to the trumpet, the soft - tones of which skilfully applied were almost identical with the clarinet. - Its use was afterwards extended from military and wind bands to the grand - orchestra. Hiller remarks upon clarinets as an innovation in Agricola's - "L' Amore di Psiche" (Wöchentl. Nachr., 1769, Anh., p. 87). In older - scores, even in some of Mozart's, the clarinets are sometimes placed with - the brass instruments, and are gradually transferred to the wood, until - finally they are employed independently in the blending of the - tone-colouring. Cf. Adam, "Dem. Souv. d'un Music.," 181.] - </p> - <p> - <a name="linknote-170052" id="linknote-170052"> </a> - </p> - <p class="foot"> - 52 (<a href="#linknoteref-170052">return</a>)<br /> [ Burney, Reise, II. p. - 74.] - </p> - <p> - <a name="linknote-170053" id="linknote-170053"> </a> - </p> - <p class="foot"> - 53 (<a href="#linknoteref-170053">return</a>)<br /> [ Burney, Reise, II., - 74. Schubart, Selbstbiogr. 14,1., p. 212. A. M. Z., I., p. 882.] - </p> - <p> - <a name="linknote-170054" id="linknote-170054"> </a> - </p> - <p class="foot"> - 54 (<a href="#linknoteref-170054">return</a>)<br /> [ Reichardt says - (Briefe eines aufmerksamen Reisenden, I., p. 11) of the Berlin orchestra: - "I must not speak in this place of the masterly effects produced in the - Mannheim orchestra by the swelling and diminution of a long note, or of - several successive notes, which gives, if I may so speak, to the whole - colouring a darker or a lighter shade. This would be considered too great - an innovation by Hasse and Graun." He relates that the first time Jomelli - made use of the <i>crescendo</i>, the audience gradually rose from their - seats, and at the <i>diminuendo</i> they began to breathe freely, and - became conscious of having stopped their breath; and he declares that the - same effect was produced upon himself at Mannheim.] - </p> - <p> - <a name="linknote-170055" id="linknote-170055"> </a> - </p> - <p class="foot"> - 55 (<a href="#linknoteref-170055">return</a>)<br /> [ Schubart, Aesthetik, - p. 130.] - </p> - <p> - <a name="linknote-170056" id="linknote-170056"> </a> - </p> - <p class="foot"> - 56 (<a href="#linknoteref-170056">return</a>)<br /> [ Schubart, Aesthetik, - p. 130: "No orchestra in the world has ever surpassed that of Mannheim in - execution. Their <i>forte</i> is a thunder, their <i>crescendo</i> a - cataract, their <i>diminuendo</i> the distant rippling of a crystal - stream, their <i>piano</i> the soft breath of early spring."] - </p> - <p> - <a name="linknote-170057" id="linknote-170057"> </a> - </p> - <p class="foot"> - 57 (<a href="#linknoteref-170057">return</a>)<br /> [ Burney, Reise, II., - p. 73.] - </p> - <p> - <a name="linknote-170058" id="linknote-170058"> </a> - </p> - <p class="foot"> - 58 (<a href="#linknoteref-170058">return</a>)<br /> [ Burney, Reise, II., - p. 73.] - </p> - <p> - <a name="linknote-170059" id="linknote-170059"> </a> - </p> - <p class="foot"> - 59 (<a href="#linknoteref-170059">return</a>)<br /> [ Schubart, Aesthetik, - p. 137. Musik. Alman., 1782 (Alethin), p. 6.] - </p> - <p> - <a name="linknote-170060" id="linknote-170060"> </a> - </p> - <p class="foot"> - 60 (<a href="#linknoteref-170060">return</a>)<br /> [ Schubart, - Selbstbiogr. 14,1., p. 210. Cf. p. 227. A. M. Z., V., p. 276.] - </p> - <p> - <a name="linknote-170061" id="linknote-170061"> </a> - </p> - <p class="foot"> - 61 (<a href="#linknoteref-170061">return</a>)<br /> [ Cf. Schubart, - Aesthetik, p. 129. A list of the grand operas which were performed at - Mannheim under Karl Theodor is given by Lipowsky, Baierisches - Musik-Lexicon, p. 387.] - </p> - <p> - <a name="linknote-170062" id="linknote-170062"> </a> - </p> - <p class="foot"> - 62 (<a href="#linknoteref-170062">return</a>)<br /> [ Schubart describes - the many advantages which Mannheim afforded (Selbstbiographie 14,1., p. - 196).] - </p> - <p> - <a name="linknote-170063" id="linknote-170063"> </a> - </p> - <p class="foot"> - 63 (<a href="#linknoteref-170063">return</a>)<br /> [ The rehearsal was of - Handel's "Messiah," but Mozart did not sit it out, being very much - fatigued by the previous rehearsal of a Magnificat by Vogler, which lasted - a whole hour (October 31, 1777). He does not mention the performance on - November 1. In the observations of the Mannh.Tonsch., I., p. 119, it is - noticed that all the audience yawned during the "Messiah," admirably as it - was performed, while Vogler's Magnificat "excited indescribable delight." - It was afterwards announced that the second part of the "Messiah" would - not be performed, because no audience would stand the dry music.] - </p> - <p> - <a name="linknote-170064" id="linknote-170064"> </a> - </p> - <p class="foot"> - 64 (<a href="#linknoteref-170064">return</a>)<br /> [ It was said that - 200,000 gulden were spent annually on music and the opera. K. Rfisbeck, - Briefe, IM p. 332.] - </p> - <p> - <a name="linknote-170065" id="linknote-170065"> </a> - </p> - <p class="foot"> - 65 (<a href="#linknoteref-170065">return</a>)<br /> [ Schubart, - Selbstbiographie 14,1., p. 210.] - </p> - <p> - <a name="linknote-170066" id="linknote-170066"> </a> - </p> - <p class="foot"> - 66 (<a href="#linknoteref-170066">return</a>)<br /> [ Schubart, - Selbstbiographie 14, I., pp. 223, 225. K. R[isbeck], Briefe, I., p. 341.] - </p> - <p> - <a name="linknote-170067" id="linknote-170067"> </a> - </p> - <p class="foot"> - 67 (<a href="#linknoteref-170067">return</a>)<br /> [ An expression in an - unpublished letter from the painter Kobell to Dalberg shows her to have - been very attractive: "Many of such priceless moments of bliss were - granted to me in the society of lovely Rose Cannabich. Her memory is the - paradise of my heart!" An enthusiastic account of her is given in the - Musik. u. Kunstleralm., 1783, p. 27. She was afterwards (1786) mentioned - as Madame Schulz.] - </p> - <p> - <a name="linknote-170068" id="linknote-170068"> </a> - </p> - <p class="foot"> - 68 (<a href="#linknoteref-170068">return</a>)<br /> [ Schubart, Aesthetik, - p. 144.] - </p> - <p> - <a name="linknote-170069" id="linknote-170069"> </a> - </p> - <p class="foot"> - 69 (<a href="#linknoteref-170069">return</a>)<br /> [ Wieland, Briefe an - Fr. La Roche, p. 192; cf. Briefe von Gleim u. Heinse, I., p. 424.] - </p> - <p> - <a name="linknote-170070" id="linknote-170070"> </a> - </p> - <p class="foot"> - 70 (<a href="#linknoteref-170070">return</a>)<br /> [ The two French songs, - "Oiseau, si tous les ans" (307 K.), and "Dans un bois solitaire" (308 K.), - are doubtless those here mentioned.] - </p> - <p> - <a name="linknote-170071" id="linknote-170071"> </a> - </p> - <p class="foot"> - 71 (<a href="#linknoteref-170071">return</a>)<br /> [ Wolzogen, - Recensionen, 1865, Nr. 6, p. 82. Cf. Schubart, Aesthetik, p. 143.] - </p> - <p> - <a name="linknote-170072" id="linknote-170072"> </a> - </p> - <p class="foot"> - 72 (<a href="#linknoteref-170072">return</a>)<br /> [ Schubart, - Selbstbiogr. 14, I., p. 203.] - </p> - <p> - <a name="linknote-170073" id="linknote-170073"> </a> - </p> - <p class="foot"> - 73 (<a href="#linknoteref-170073">return</a>)<br /> [ A. M. Z., XXVIII., p. - 466.] - </p> - <p> - <a name="linknote-170074" id="linknote-170074"> </a> - </p> - <p class="foot"> - 74 (<a href="#linknoteref-170074">return</a>)<br /> [ C. M. von Weber's - Lebensbild, I., p. 248.] - </p> - <p> - <a name="linknote-170075" id="linknote-170075"> </a> - </p> - <p class="foot"> - 75 (<a href="#linknoteref-170075">return</a>)<br /> [ "In respect of - playing at sight" says the Musik. Real-Zeitg., 1788, p. 61, "Vogler is - perhaps unsurpassed and unique." Cf. Musik. Corresp. 1790, p. 119; 1792, - p. 379. Schubart, Aesthetik, p. 133. Many preferred Beecké and Mozart to - him (Musik. Real-Zeitg., 1789, p. 262).] - </p> - <p> - <a name="linknote-170076" id="linknote-170076"> </a> - </p> - <p class="foot"> - 76 (<a href="#linknoteref-170076">return</a>)<br /> [ Musik, Real-Zeitg., - 1788, p. 70.] - </p> - <p> - <a name="linknote-170077" id="linknote-170077"> </a> - </p> - <p class="foot"> - 77 (<a href="#linknoteref-170077">return</a>)<br /> [ Musik. Real-Zeitg., - 1788, p. 77. Forkel's Musik. Alman. 1789, p. 135.] - </p> - <p> - <a name="linknote-170078" id="linknote-170078"> </a> - </p> - <p class="foot"> - 78 (<a href="#linknoteref-170078">return</a>)<br /> [ N. Ztschr. f. Mus., - II., p. 85.] - </p> - <p> - <a name="linknote-170079" id="linknote-170079"> </a> - </p> - <p class="foot"> - 79 (<a href="#linknoteref-170079">return</a>)<br /> [ Cf. C. M. von Weber's - Lebensbild, III., p. 178. Gfr. Weber, Cäcilia, XV., p. 40.] - </p> - <p> - <a name="linknote-170080" id="linknote-170080"> </a> - </p> - <p class="foot"> - 80 (<a href="#linknoteref-170080">return</a>)<br /> [ Musik. Corresp., - 1788, p. 70.] - </p> - <p> - <a name="linknote-170081" id="linknote-170081"> </a> - </p> - <p class="foot"> - 81 (<a href="#linknoteref-170081">return</a>)<br /> [ A. M. Z., XXVIII., p. - 354.] - </p> - <p> - <a name="linknote-170082" id="linknote-170082"> </a> - </p> - <p class="foot"> - 82 (<a href="#linknoteref-170082">return</a>)<br /> [ Schubart, Aesthetik, - p. 182.] - </p> - <p> - <a name="linknote-170083" id="linknote-170083"> </a> - </p> - <p class="foot"> - 83 (<a href="#linknoteref-170083">return</a>)<br /> [ L. Mozart had written - to his son (November 2,1777): "I wish you could get something to do in - Mannheim. They always play German operas; perhaps you could get one to - write. If this should happen, you know beforehand that I should recommend - the easy popular style of composition; the grand and dignified style is - proper for grand affairs; everything in its place." It is plain that he - only contemplated vaudeville, and had heard nothing of the new appearance - of a grand German opera.] - </p> - <p> - <a name="linknote-170084" id="linknote-170084"> </a> - </p> - <p class="foot"> - 84 (<a href="#linknoteref-170084">return</a>)<br /> [ They were the - children of the actress Seiffert (Countess Haydeck). The son was - afterwards Prince von Brezenheim; the daughters were married to men of - high rank. Hausser, Geschichte der rhein. Pfalz, II., p. 934.] - </p> - <p> - <a name="linknote-170085" id="linknote-170085"> </a> - </p> - <p class="foot"> - 85 (<a href="#linknoteref-170085">return</a>)<br /> [ Briefe an Merck, II., - p. 76.] - </p> - <p> - <a name="linknote-170086" id="linknote-170086"> </a> - </p> - <p class="foot"> - 86 (<a href="#linknoteref-170086">return</a>)<br /> [ Briefe an Merck, I., - p. 105; II., p. 89. Cf. Malten's Bibl. d. Weltk. 1840, I, p. 380.] - </p> - <p> - <a name="linknote-170087" id="linknote-170087"> </a> - </p> - <p class="foot"> - 87 (<a href="#linknoteref-170087">return</a>)<br /> [ Böttiger, Litt. - Zust., I., p. 229.] - </p> - <p> - <a name="linknote-170088" id="linknote-170088"> </a> - </p> - <p class="foot"> - 88 (<a href="#linknoteref-170088">return</a>)<br /> [ Jacobi's Auserl. - Briefwechsel, I., p. 262. Briefe an Merck, II., p. 93; I., pp. 102, 118.] - </p> - <p> - <a name="linknote-170089" id="linknote-170089"> </a> - </p> - <p class="foot"> - 89 (<a href="#linknoteref-170089">return</a>)<br /> [ Wieland, Briefe an - Fr. La Roche, pp. 184, 187.] - </p> - <p> - <a name="linknote-170090" id="linknote-170090"> </a> - </p> - <p class="foot"> - 90 (<a href="#linknoteref-170090">return</a>)<br /> [ Holzbauer said of - Schweitzer to Heinse: "He is a genius; when he makes a lucky hit he is - divine; but at other times he writes as if he were tipsy." (Briefe an - Gleim und Heinse, I., p. 424). A detailed criticism is given in the Rhein. - Beitr. 1780,1., pp. 330, 497. [Klein] Ueber Wieland's "Rosamunde," - Schweitzer's Musik und die Vorstellung dieses Singspiels in Mannheim. - Frkf., 1781.] - </p> - <p> - <a name="linknote-170091" id="linknote-170091"> </a> - </p> - <p class="foot"> - 91 (<a href="#linknoteref-170091">return</a>)<br /> [ Schubart, - Selbstbiographie 14 I., p. 217.] - </p> - <p> - <a name="linknote-170092" id="linknote-170092"> </a> - </p> - <p class="foot"> - 92 (<a href="#linknoteref-170092">return</a>)<br /> [ Wieland, Briefe an - Fr. La Roche, pp. 191, 193.] - </p> - <p> - <a name="linknote-170093" id="linknote-170093"> </a> - </p> - <p class="foot"> - 93 (<a href="#linknoteref-170093">return</a>)<br /> [ Briefe an Merck, I., - p. 121.] - </p> - <p> - <a name="linknote-170094" id="linknote-170094"> </a> - </p> - <p class="foot"> - 94 (<a href="#linknoteref-170094">return</a>)<br /> [ Hausser, Geschichte - der rhein. Pfalz, II., p. 957.] - </p> - <p> - <a name="linknote-170095" id="linknote-170095"> </a> - </p> - <p class="foot"> - 95 (<a href="#linknoteref-170095">return</a>)<br /> [ Auswahl denkw. Briefe - von Wieland, II., p. 58.] - </p> - <p> - <a name="linknote-170096" id="linknote-170096"> </a> - </p> - <p class="foot"> - 96 (<a href="#linknoteref-170096">return</a>)<br /> [ Briefe an Merck, II., - pp. 122, 124.] - </p> - <p> - <a name="linknote-170097" id="linknote-170097"> </a> - </p> - <p class="foot"> - 97 (<a href="#linknoteref-170097">return</a>)<br /> [ K. R[isbeck], Briefe - über Deutschland, I., p. 340. Cf. Brandes, Selbstbio-graphie, II., p. - 279.] - </p> - <p> - <a name="linknote-170098" id="linknote-170098"> </a> - </p> - <p class="foot"> - 98 (<a href="#linknoteref-170098">return</a>)<br /> [ In December, 1777, - the Emperor commissioned Muller to engage Hartig as a tenor for Vienna, - but the negotiations fell through (Müller, Abschied von der Bühne, p. - 254); Mozart may have gained his information in this way.] - </p> - <p> - <a name="linknote-170099" id="linknote-170099"> </a> - </p> - <p class="foot"> - 99 (<a href="#linknoteref-170099">return</a>)<br /> [ In 1776 Count Kohary, - who farmed the theatre, became insolvent, and the Emperor took the - administration of it into his own hands. It became the national instead of - the court theatre.] - </p> - <p> - <a name="linknote-1700100" id="linknote-1700100"> </a> - </p> - <p class="foot"> - 100 (<a href="#linknoteref-1700100">return</a>)<br /> [ He had recommended - Schweitzer to come to Vienna. (Muller, Abschied von der Bühne, p. 188).] - </p> - <p> - <a name="linknote-1700101" id="linknote-1700101"> </a> - </p> - <p class="foot"> - 101 (<a href="#linknoteref-1700101">return</a>)<br /> [ Padre Martini - dedicated to him the second part of his Storia della Musica (1770), and - kept up a correspondence with him.] - </p> - <p> - <a name="linknote-1700102" id="linknote-1700102"> </a> - </p> - <p class="foot"> - 102 (<a href="#linknoteref-1700102">return</a>)<br /> [ The autograph, with - the superscription: "Aria per il Sigre. Raaff di Amadeo Wolfgango Mozart; - Mannheim li 27 di Febr., 1788," shows the corrections and somewhat - important abbreviations which were made at Raaff s desire.] - </p> - <p> - <a name="linknote-1700103" id="linknote-1700103"> </a> - </p> - <p class="foot"> - 103 (<a href="#linknoteref-1700103">return</a>)<br /> [ As a detail, the - independent use of the bassoons, henceforth constantly adopted by Mozart, - is worthy of remark.] - </p> - <p> - <a name="linknote-1700104" id="linknote-1700104"> </a> - </p> - <p class="foot"> - 104 (<a href="#linknoteref-1700104">return</a>)<br /> [ Wolzogen (Recens., - 1865, Nr. 6, p. 81) asserts from family tradition that this rumour was - false.] - </p> - <p> - <a name="linknote-1700105" id="linknote-1700105"> </a> - </p> - <p class="foot"> - 105 (<a href="#linknoteref-1700105">return</a>)<br /> [ According to M. von - Weber (C. M. von Weber, IM p. 6), Fridolin von Weber (b. 1733), alter - studying law in Freiburg and becoming Doctor of Theology, succeeded his - father as agent to the Schönau estate in 1754. Karl Theodor, finding him a - first-rate singer and violinist, took him to Mannheim. His younger - brother, Franz Anton, was the father of C. M. von Weber. In the album of - Franz Anton's son Edmund, Mozart wrote: "Vienna, January 8, 1787, five - o'clock in the morning, before setting out.—Be industrious; flee - from idleness, and never forget your loving cousin, Wolfgang Amade - Mozart."] - </p> - <p> - <a name="linknote-1700106" id="linknote-1700106"> </a> - </p> - <p class="foot"> - 106 (<a href="#linknoteref-1700106">return</a>)<br /> [ This is confirmed - by Schubart (Aesthetik, p. 192). Cf. Musjk. Alman. (Alethinop, 1782).] - </p> - <p> - <a name="linknote-1700107" id="linknote-1700107"> </a> - </p> - <p class="foot"> - 107 (<a href="#linknoteref-1700107">return</a>)<br /> [ Schubart says of - Vogler (Aesthetik, p. 135): "His lessons in singing were much sought - after. The well-known singer Lange, of Vienna, was his pupil. She has - heighth and depth, and accents her notes accurately. She sings <i>piena - voce</i> and <i>mezza voce</i> equally well. Her <i>portamento</i>, the - accuracy of her reading, the delicacy of her delivery, her <i>megzotinto</i>, - her wonderful cadenzas, and her dignified bearing, are in great measure - due to her great master." Some of all this should be ascribed to Mozart. - Vogler's lessons were given at a later time in Munich. Brandes, on the - contrary (Selbstbiogr., II., p. 260), says that Kirnberger and others - warned him against Vogler as a cacher for his daughter Minna.] - </p> - <p> - <a name="linknote-1700108" id="linknote-1700108"> </a> - </p> - <p class="foot"> - 108 (<a href="#linknoteref-1700108">return</a>)<br /> [ Piccinni's - "Roland," the first opera he wrote in Paris, was performed early in 1778.] - </p> - <p> - <a name="linknote-1700109" id="linknote-1700109"> </a> - </p> - <p class="foot"> - 109 (<a href="#linknoteref-1700109">return</a>)<br /> [ "I have many very - good friends in Mannheim (influential and wealthy ones)," he writes (March - 24, 1778), "who all wish me to remain. Well, wherever I am well paid, - there I stay. Who knows?—it may come to pass; I wish for it, and, as - usual, I am full of hope."] - </p> - <div style="height: 6em;"> - <br /><br /><br /><br /><br /><br /> - </div> - - -<pre> - - - -End of Project Gutenberg's Life Of Mozart, Vol. 1 (of 3), by Otto Jahn - -*** END OF THIS PROJECT GUTENBERG EBOOK LIFE OF MOZART, VOL. 1 (OF 3) *** - -***** This file should be named 43411-h.htm or 43411-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/4/1/43411/ - - -Produced by David Widger - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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