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):—
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 hisMANNHEIM.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."
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:—
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.
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 couldL. MOZART'S ANXIETIES.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.
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).
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.
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):—
MANNHEIM.
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.
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):—
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 DutchSCHWEITZER'S "ROSAMUNDE."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.
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."
The great musical event which was engrossing public attention at this time was the approaching production of Wieland and Schweitzer's "Rosamunde."
As the result of flattering overtures made to him during the summer of 1776,85Wieland set to work on his text in the spring of 1777.86The 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)87—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.88
MANNHEIM.
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.89
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?"
WIELAND AT MANNHEIM,
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 isà laSchweitzer, 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."90
The arrival of Wieland, who was esteemed before all German poets at Mannheim,91was 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;92and to Merck on the following day:93"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 growtoo happyamong these people. But that is provided against."
Mozart was not carried away by the universal enthusiasm for the celebrated poet, and sends his father the following impartial description (December 27, 1777):—
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 WeimarMANNHEIM.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.
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."
Wieland was delighted with Wendling, and all the preparations for the opera were found satisfactory.
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.94All 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."95The 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.96
The change of government had more lasting effects forPROSPECTS OF WORK IN VIENNA.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;97but the prospects of the future were uncertain and alarming, owing to the threatening turn taken by political events.
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):98—
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.99Benda 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.
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)MANNHEIM.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):—
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 gentlemen100has 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.
OVERTURES FROM THE ARCHBISHOP.
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.
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):—
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.
But even if his father had been willing to take these hints, Wolfgang would have had no ear for them.
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.101With 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'sMANNHEIM.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):—
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.102
The aria (295 K.), without the introductory recitative, has the following words:—
Se al labro mio non credi,Bella nemica mia,Aprimi il petto e vedi,Quai sia 1' amante cor;Il cor dolente e afflitoMa d' ogni colpa privo,Se pur non è delittoUn innocente ardor.
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 ofPREPARATIONS FOR PARIS.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]
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,103and the whole song is not inferior to later and better known works.
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 listMANNHEIM.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."
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:—
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.104Ramm 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 littleprægusto. 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.
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."
L. Mozart was not a little surprised that his wife and sonWOLFGANG'S WISH TO REMAIN IN MANNHEIM.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.
Wolfgang gave his father other reasons against the expedition (February 7, 1778):—
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.
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."
All things considered, we cannot but feel that Wolfgang'sMANNHEIM.father was justified in writing as follows (February 23, 1778)
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.
He made him easy as to lesson-giving in Paris (February 16, 1778)
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.
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 workREPROACHES AND EXPLANATIONS.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."
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:—
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 thatMANNHEIM.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.
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 throughoutpizzicato, 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 fluteTHE FATHER'S DISAPPOINTMENT.with a perfect knowledge of the instrument, itstechniqueand easily attained effects.
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.
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.).
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):—
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.
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 herMANNHEIM.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)
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.
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.
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,105was fifteenMDLLE. WEBER.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)
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.106The 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.
After his return he narrates the particulars of this "holi-day-trip" (February 2, 1778)
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,excellent. 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.
MANNHEIM.
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,prima vista, 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.A propos, 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.
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):—
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 hischeval de bataille. Afterwards Mdlle. Weber sang De Amicis'aria di bravuraquite"NON SÒ D' ONDE VIENE."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.
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):—
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.
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:—
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 timeMANNHEIM.I had heard it with the instruments. I wish you could have heard it as it was sung then, with such accuracy of taste, suchpianoandforte. Who knows? you may hear it yet. I hope so. The orchestra have not left off yet praising and talking of the song.
And he himself cannot leave off talking of it:—
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 withportamento, would find rare satisfaction in her singing of it.
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.
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,cantabilethroughout, 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.
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),SONG FOR AL. WEBER, 1778.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:—
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?