The Palatinate Academy of Science,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 Germany2—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.3
Klopstock's presenceART IN THE PALATINATE.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 Lessing4and Wieland.5His zealous co-operation was given to the plan of founding a German drama in the place of the usual French one;6the national theatre was built,7and efforts were made to retain Lessing as dramatist and Eckhoff as actor.8When this failed, the engagement of Marchand secured them at least a first-rate actor.9
But music was incontestably the peculiar province of Mannhein, the "paradise of musicians."10Here too, patrioticMANNHEIM.feeling was supreme.11Original German operas took the place of the grand Italian opera, with its appendage of translated comic opera, generally borrowed from the French.12
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.13His "Alcestis"14was intended as an important step in this direction, as is proved by his "Letters on the German opera of 'Alcestis,'"15which, 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.16It 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 Klein17he speaks of Gluck's "Alceste" as a divine work, but does not hesitate to declare Schweitzer's composition to be the best that hadSCHWEITZER'S "ALCESTE."ever been heard of the kind. Schweitzer's music18was in fact much applauded, and he was judged to have accomplished more than the poet.19His 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 Zelter20and 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.
"Alceste" was first performed in Weimar on May 28, 1773, and frequently repeated, always with the greatest success;21this was also the case in Gotha and Frankfort; and on August 13, 1775, Karl Theodor produced the opera with great brilliancy at Schwetzingen.22The 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 summerMANNHEIM.Wieland received a commission to write a new opera, which Schweitzer was to compose under his immediate direction.
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.23Professor 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,"24which was composed by Holzbauer,25and performed on January 5, in the magnificent opera-house,26with all the expenses guaranteed.27Schubart had anticipated with joy "the glorious revolution in taste,"28and the applause was great, although the success was not so deep and lasting as might have been expected. The critics29found 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.30An 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"GÜNTHER V. SCHWARZBURG."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;31Schubart praised its mixture of German feeling and foreign grace,32and other critics spoke of its stamp of genius and its gentle grace.33Mozart, 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.
The most distinguished vocalists, male and female, of the Mannheim opera were, thanks to Holzbauer's excellent school of music, almost all Germans.34Among them was Dorothea Wendling (néeSpumi, 1737-1811), "the German Melpomene of Mannheim's Golden Age,"35who 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.36Her beauty (Heinse saw in herMANNHEIM.countenance all that was caressing, soft, and feminine, combined with the glow and animation of a passionate nature)37and her excellent acting38elevated her performances to a very high point. Her sister-in-law, Elizabeth Auguste Wendling (néeSarselli, 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,39was 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.40
But the fame of these youthful singers was far surpassed by that of the now elderly tenor Anton Raaff.41He 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.42After a short stay in Italy, he repaired in 1752 toANTON RAAFF.Lisbon for three years, and from thence in 1755 to Madrid, where he lived in close friendship with his musical director, Farinelli.43In 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.44On 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.45Added 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):—
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 theMANNHEIM.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.
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:—
At hisdébutin 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 ofcantabile. 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 truecantabileis 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.
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.46
CHURCH MUSIC IN MANNHEIM.
The most distinguished tenor singer in Mannheim, after Raaff, was his pupil Frz. Hartig (b. 1750).47
Church music in Mannheim did not stand on the same high level as the opera.48Schubart 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.49Mozart 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:—
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.
The organ was still worse provided for, and Mozart pours out the full measure of his scorn on the two court organists:—
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 IMANNHEIM.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. Histour de forceis 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.
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.50It 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."51
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.52The Mannheim orchestra was not only well-appointed and strong, but uniform and certain in execution, with delicate gradations of tone until thenTHE MANNHEIM ORCHESTRA.unknown.53Piano 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;54other means, too, such as the skilful blending of the wind and stringed instruments,55were made the most of to produce a well-arranged, finely gradationed whole.
The excellence of the Mannheim orchestra—whose performances excited as much admiration among contemporaries56as 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).57The 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.58The 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 anMANNHEIM.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 direction59to "a true German heart,"60and 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.
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.61The 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.
His stay in a town so thoroughly and genuinely musical,62must 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 literaryCHR. DANNER.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.63"I thought that I should not be able to keep from laughing, when I was introduced to people. Some of them, who knew meper renommée, 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.
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, heMANNHEIM.must have felt completely at his ease. The members of the band were well paid64and 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.65Mozart'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.66
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 "al solito" 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):—
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.
THE CANNABICH FAMILY.
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."67The 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 rightMANNHEIM.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.
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.68Afterwards 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.69She 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.70An aria with recitative was also sketched out for Dorothea Wendling, the mother; she had herself selected the words fromFLUTE AND OBOE CONCERTOS.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—heis 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."71
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 hischeval de bataille, playing it five times during the same winter (February 13, 1778) with great success, "although it was known to be by me."
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)
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. HeMANNHEIM.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 apizzicatoeffect, 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.
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 inpienoand 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,72he once played to a friend for an hour and a half.
The great admiration he excited as a clavier-player is described by his mother (December 28, 1777):—
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.
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.73But Mozart had plenty of opportunity for comparing himself with other clavier-players.
VOGLER AS A VIRTUOSO.
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)74during Mozart's stay at Mannheim. "Last evening but one," he informs his father (December 26, 1777), "I wasal solitoat 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."
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.
He tells his father (January 17, 1778) of his meeting Vogler at a large party:—
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.)—prima vista;75the 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
I mean, who are worthy of the name) can only say that they haveseenmusic and clavier-playing. They hear and think andfeeljust as little as the performer himself. You can imagine that the worst part of it to me is not being able to say:Much too quick. 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?
In what does the art of playing at sight consist? In playing the piece correctly, in strict time, giving the proper expression to everyMANNHEIM.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.
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;76and 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;77many complaints were made of his haughty and depreciatory manner; and his own performances fell far short of the expectations excited by himself.
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.
VOGLER's CHARACTER.
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,78which 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,79were 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 onlyMANNHEIM.friend, that is the only intimate friend, that Vogler had." His daily offerings to Vogler's vanity were much to be regretted;80he objected, however, in after-days to be called Vogler's pupil.81He seems to have taken a dislike to Mozart, which the latter had cause to feel very sensibly.
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):—
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.
Wolfgang's mother was not opposed to the project; she writes to her husband (December 11, 1777):—
PLANS FOR A JOURNEY TO PARIS.
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.
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:—
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
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."
I made an obeisance.
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":—
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 yearsMANNHEIM.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."
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."
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.82Something, 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.
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 congenialTHE ELECTOR.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.
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):—
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.83He has one son and three daughters;84the 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.
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,MANNHEIM.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."
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:—
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.
Hereupon followed a very vague money account from the wife (December 11, 1777):—
MOZART AND THE ELECTOR.
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.
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:—
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).
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."
The negotiations with the Elector continued, and Wolfgang sought to enlighten his father concerning Cannabich's intentions and behaviour (November 29, 1777):—
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. TheMANNHEIM.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."
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"—"A propos," she said, "I am glad that you are to remain the winter here." "Indeed!
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.
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:—
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,HOPES OF SERVICE AT MANNHEIM."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.