On March 24 they arrived at Bologna. Here they were received by Field Marshal Count Pallavicini in a way that reminded them of Count Firmian. "They are two noblemen," writes L. Mozart, "who possess identical tastes and modes of thought, and are equally amiable, generous, and dignified." The Count arranged a brilliant concert in his own house, attended by 150 persons of the high nobility, among them the Cardinal Legate Antonio Colonna Branci-forte, and the chief of connoisseurs—Padre Martini. The company assembled at 8 o'clock, and did not disperse until near midnight.
L.. Mozart considered that Wolfgang made a greater effect in Bologna than elsewhere, that city being the seat of so many artists and learned men. Here they met the celebrated Spagnoletta (Gius. Useda), from Milan, the kapellmeister, Vincenzo Manfredini, known also as an author, who had visited them at Salzburg, on his journey from St. Petersburg in 1769, and the famous alto, Gius. Aprile.17Bologna, the father thought, and thought rightly, was the best centre whence Wolfgang's fame could spread over Italy, since he had there to stand the severest tests from Padre Martini, the idol of the Italians, and the acknowledged arbiter in all matters of art. The Franciscan Giambattista Martini18THE ITALIAN TOUR.(born 1760) was esteemed not only as the composer of short, concise, artistically worked-out sacred pieces, but, from his thorough and comprehensive researches, as unquestionably the most learned theoretical musician of his day. Only one volume of his pedantic "Storia della Musica" had as yet appeared, and his classical work on counterpoint was only in preparation;19but he was already considered infallible on all musical questions, both in Italy and abroad. His possession of an unequalled musical library20placed him in correspondence with numerous musicians, scholars, and princes. Disputed points were submitted to his arbitration, and his advice was sought in the bestowal of official places. A recommendation from Padre Martini was the best possible key to success. His authority was the more readily acknowledged, since he united to his rare attainments a singular degree of modesty, and a ready alacrity to afford instruction, counsel, or assistance whenever required. He preserved, even in his learned disputes, invariable dignity and amiability,21with a certain amount of cautious reserve. L. Mozart might well be anxious to win the favour of such a man for his son. Whenever they visited him Padre Martini gave Wolfgang a fugue to work out, which was always done to the great contrapuntist's entire satisfaction.
The companion figure to this learned monk was a musical celebrity of quite another kind, whose acquaintance Mozart also made in Bologna. Farinelli (Carlo Broschi, b. 1705), a pupil of Porpora, first appeared in 1722 in Metastasio's "Angelica," and an intimacy resulted between the singer and the poet (who called him hiscaro gemello) which had an important effect on the development of Italian opera. Farinelli's career in Italy was an unbroken success, and he was enthusiastically received in Vienna and London.22Arriving in Spain in 1736, his singing had power to dispel theFARINELLI—FLORENCE, 1770.melancholy of Philip V.; he was summoned daily to the king's presence, and became his acknowledged favourite, a position which he retained under Ferdinand VI. and Queen Barbara. On the accession of Charles III., in 1761, Farinelli was obliged to leave Spain, and living in wealthy ease at Bologna, indulged his tastes for art and science. He practised the amiable and refined hospitality of a cultivated man of the world in his beautiful villa, and took peculiar interest in his fellow-artists, who never failed even in his old age to be charmed with his singing.23
The reports that have come down to us concerning the compass and beauty of his voice, concerning his way of taking breath, hisportamento, his declamation,24are as wonderful as was the success of this king of artists both in public and at court. He appears almost as a personification of the greatness and power of song in the last century, of which we can scarcely form a true conception, and which cause the history of music in that age to be mainly a history of song and singers. The period of Mozart's musical education was still under this influence, and, although the absolute sovereignty of song was soon to decline, the impression made on him in his youth by Farinelli and other great singers was not likely to be forgotten.25
On March 30 the travellers reached Florence. Their Austrian introductions secured them a most favourable reception in this city. The imperial ambassador, Count Rosenberg, immediately made known their arrival at court, where they were very graciously received by the Archduke Leopold, He recollected their former stay at Vienna, and inquired after Nannerl. Wolfgang played at court on April 2, accompanied by Nardini, the celebrated violinist; the Marquis de Ligniville, director of music, laid the most difficult fugues before Wolfgang to work out; he accomplished everything "with as much ease as eating a piece of bread."
THE ITALIAN TOUR.
The Marquis de Ligniville, Duca di Conca, &c., was considered one of the most thorough masters of counterpoint in Italy. As a proof of his skill he had written a "Salve Regina"26and "Stabat Mater" for three parts, in the form of different kinds of canon. To the latter work is prefixed a long treatise (dated April 11, 1767) for the Philharmonic Society in Bologna, of which he was a member; the object of the treatise was to show that in accurate contrapuntal works the traditions of the old Roman school were preserved. In accordance with this view Ligniville apologises ironically to followers of the gusto moderno for the disuse of drums and trumpets, and for the simple old modulations to which he confines himself as being ignorant of the new lights. He allowed Wolfgang to study his works; and the latter copied neatly nine movements of the thirty canons of the "Stabat Mater." (Anh. 238 K.) Not satisfied with this, Wolfgang aimed at himself becoming a master of counterpoint. A "Kyrie a cinque con diversi canoni" in three five-part canons in unison was evidently an imitation of Ligniville's compositions, and was only one of many studies in the same difficult art.27A loose sheet contains besides the first canon of the Kyrie, a design for a four-part canon, and five close canons or riddle canons, the first part and the number of parts only being given, [See Page Image] expressly noted di Mozart:—
STUDIES IN CANON-WRITING, 1770.
2. Canon.—Ter temis canite vocibus. [See Page Image]
3. Canon.—Ad duodecimam: clama ne cesses.
Con - fi - te - bor ti bi Do - mi-ne in gen - ti -bus et no -mi - ni to - o can - ta -. - - - - - bo.
THE ITALIAN TOUR.
4. Canon.—Tertia pars si placet.
Con - fi - te.. bor ti-biDo - - - - - mi-ne in gen- ti-bu« et no -mi-ne tu - o can - ta bo.
5. Canon.—Ter voce ciemus.
[See Page Image] Nos. 1, 3, 4 of these are copied from the vignettes with which Padre Martini's "Storia Universale" is adorned.28He had made Wolfgang a present of his book, and the latter probably set to work at once to find out the knack of writing canons. We can see the ease with which he mastered his task.
At Florence, they fell in with their old London acquaintance Manzuoli, and Wolfgang was rejoiced to hear that there was a probability of his being engaged to sing in his opera at Milan.
In order to incite Manzuoli's ardour, Wolfgang gave him all his songs to sing, including those he had composed in Milan.
At Florence, too, Wolfgang formed a tender friendship with Thomas Linley, a boy of fourteen, the son of an English composer; he was a pupil of the celebrated violin-player Nardini, and played so exquisitely as almost to surpass his teacher. The two boys met at the house of Signora Maddalena Morelli, who was famous as an improvisatrice, under the name of Corilla,29and had been crowned as a poetess on the capitol in 1776;30during theROME, 1770—ALLEGRI'S MISERERE.few days that the Mozarts stayed in Florence the boys were inseparable, and performed together or by turns, "more like men than boys." They parted with many tears, and Tommasino, as Linley was called in Italy, brought to Wolfgang, as a parting gift, a poem which Corilla had written for him.
According to Burney,31Tommasino and little Mozart were talked of throughout Italy as two geniuses of the greatest promise, and in later life at Vienna, Mozart spoke with warmth of Linley,32and the hopes which had been frustrated by his early death.33
It was with regret that they left Florence; Leopold Mozart wrote to his wife: "I wish that you could see Florence, its neighbourhood, and the situation of the city; I am sure you would say that it is a place to live and die in." But time pressed, if they were to be in Rome for the carnival.
They had a fatiguing journey, in dreadful weather, that reminded them of Salzburg rather than of Rome, and passed through uncultivated country with wretched inns containing plenty of filth but little to eat, except perhaps a couple of eggs and some cabbage. They arrived in Rome about midday on Wednesday in Holy Week, amidst a storm of thunder and lightning, "received like grand people with a discharge of artillery." There was just time to hurry to the Sistine Chapel and hear Allegri's Miserere. It was here that Wolfgang accomplished his celebrated feat of musical ear and memory.34
It was the custom on Wednesday and Friday in Holy Week for the choir of the Pope's household to sing the Miserere (Ps. 50), composed by Dom. Allegri, which was arranged alternately for a four and five-part chorus, having a finalTHE ITALIAN TOUR.chorus in nine parts.35This performance was universally considered as one of the most wonderful in Rome; the impression made by it in conjunction with the solemn rites it accompanied was always described as overpowering.36"You know," writes L. Mozart, "that this celebrated Miserere is so jealously guarded, that members of the chapel are forbidden, under pain of excommunication, to take their parts out of the chapel, or to copy or allow it to be copied.37We have got it, notwithstanding. Wolfgang has written it down, and I should have sent it to Salzburg in this letter, were not our presence necessary for its production. More depends on the performance than even on the composition.38Besides, we must not let our secret fall into other hands,ut non incurramus mediate vel immediate in censuram ecclesiæ." When the performance was repeated on Good Friday, Wolfgang took his manuscript with him into the chapel, and holding it in his hat, corrected some passages where his memory had not been quite true. The affair became known, and naturally made a great sensation; Wolfgang was called upon to execute the Miserere in presence of the Papal singer Christofori, who was amazed at its correctness. L. Mozart's news excited consternation in Salzburg, mother and daughter believing that Wolfgang had sinned in transcribing the Miserere, and fearing unpleasant consequences if it should become known. "When we read your ideas about theMOZART'S RECEPTION IN ROME.Miserere," answered the father, "we both laughed loud and long. You need not be in the least afraid. It is taken in quite another way. All Rome, and the Pope himself, know that Wolfgang has written the Miserere, and instead of punishment it has brought him honour. You must not fail to show my letter everywhere, and let his Grace the Archbishop know of it."
The Mozarts prepared at once to take part in all the festivities of Holy and Easter weeks. "Our handsome dress," writes L. Mozart, "our German speech, and the want of ceremony with which I call to our servant to order the Swiss guard to make way for us, help us through everywhere." He appears to have been flattered that Wolfgang was sometimes taken for a German nobleman or prince, and he for his tutor. At the cardinals' table Wolfgang stood near the seat of Cardinal Pallavicini, who asked him his name. On hearing it he inquired in surprise, "What! are you the famous boy of whom I have heard so much?" talked to him kindly, praised his Italian, and spoke broken German to him.
At the conclusion of the Easter festivities they set to work to present their numerous letters of introduction, and were warmly received by the noble families of Chigi, Barberini, Bracciano, Altemps, and others: one assembly followed another, all in Wolfgang's honour. The astonishment at his performances increased, according to L. Mozart, the farther they proceeded into Italy; "but Wolfgang," he adds, "does not remain stationary; his acquirements increase day by day, so that the greatest masters and connoisseurs cannot find words for their astonishment." For the Academies he appears to have written a Symphony (81, K.) and two soprano songs (82, 83, K.)from Metastasio's "Demo-foonte,"39"Se ardire e speranfca" and "Se tutti i mali miei." In the midst of more serious study he found time to send his sister a new country dance, in return for which she was to send him some new minuets by Haydn. About this time they fell in with Meissner, who was on his way from Naples to Salzburg; Wolfgang appeared with him at the German Jesuit College, where Herr v. Mölk, of Salzburg, was studying.
THE ITALIAN TOUR.
On May 8, they quitted Rome, where their stay had been in every way agreeable; they had been comfortably lodged in the house of the Papal courier Uslinghi, on the Piazza del Clementino; their hostess and her daughter treated them with every attention and kindness, making them feel quite at home in the house, and refusing to hear of payment when they left. The journey to Naples was one not to be undertaken without some apprehension. The roads were unsafe, a merchant had lately been assassinated, and "sbirri and bloodthirsty Papal soldiers" were in pursuit of the murderer; L. Mozart hoped that similar measures would be taken in Naples. He thought it well, therefore, to travel with four Augustine monks, which was further an advantage, as it assured them a friendly welcome and hospitality in all the monasteries which lay on their way. In Capua, they were allowed to be present as guests at the taking of the veil by a nun of high rank.
Naples, where they remained from the middle of May to the middle of June, impressed our travellers with the irresistible charm of beautiful nature.
At first they suffered from cold, but this soon turned to excessive heat, and Wolfgang, who had always longed to look brown, saw his wish in a fair way to be accomplished. They had good recommendations to the court from Vienna. Queen Caroline, whom Wolfgang had lately seen in Vienna, received them graciously, accosting them whenever they met; but Wolfgang was not summoned to play at court. The King, although not unmusical, cared for nothing that required any cultivation; "what he is," writes L. Mozart, "can be better told than written." The all-powerful minister Tanucci, placed his major-domo at their service, to show them all that was worth seeing. Other nobles followed this example; and every evening a magnificent equipage was placed at their service, in which they joined the brilliantpasseggioof the nobility on the Strada Nuova or on the quay, clad in elegant summer costumes. L. Mozart had ordered for himself a coat of maroon-coloured watered silk with sky blue velvet facings, and Wolfgang rejoiced in an apple-green coat with rose-coloured facings and silverNAPLES, 1770—LADY HAMILTON.buttons. Among Wolfgang's patrons was the old Princess Belmonte, the friend of Metastasio, and interesting to musicians as having been roused from deep melancholy by the singing of the tenor Raff.
The rendezvous of artists and scholars was the house of the British ambassador, Sir Wm. Hamilton, whose acquaintance the Mozarts had made in London. He himself was a violin-player, and pupil of Giardini; and his charming first wife was not only a cultivated judge of music, but was considered the best pianoforte-player in Naples; her "brilliant shakes and turns" were not less admired than the touching expression of her playing, which was in accord with her gentle nature.40It was not without triumph that L. Mozart narrated her having trembled at playing before Wolfgang.
They found other old friends in the Swiss Tschudi, from Salzburg, and in a Dutchman named Doncker, who had been kind to them in Amsterdam; every one pressed forward to offer hospitality and assistance. Under these favourable circumstances, a public concert was given on May 28, with the most brilliant success; a success the more welcome, as they were not likely to find their tour a profitable one for some time to come. L. Mozart was delighted with the situation, fertility, animation, and curiosity of Naples; but he was shocked by the wretchedness of the population, and above all by the superstition which prevailed not only among the lazaroni, but also in the higher ranks of society. He witnessed an example of it when Wolfgang played at the Conservatorio della Pietà; the skill with which he used his left hand suggested to the audience that there was magic in a ring he wore; when he drew it off and played without it the wonder and applause were redoubled.
The time of their stay in Naples was favourable to musical interests. Simultaneously with the excellent representations of comic opera in the Teatro Nuovo, there was opened on May 30, the King's fête-day, the Grand Opera in San Carlo,THE ITALIAN TOUR.for which Jomelli, Caffaro, and Ciccio di Majo were engaged; Anna de Amicis was prima donna, Aprile principal male singer. By a curious coincidence, Wolfgang was a witness of the first attempt made by Jomelli, who had left Stuttgart for Naples in 1768, to regain the favour of his countrymen. De Rogatis' opera "Armida Abbandonata," in which he made his reappearance, was designed to satisfy the higher claims of dramatic music, and to bring the results of his studies in Germany before the Italians, who were, however, slow to appreciate them. Wolfgang thought the opera fine, but too pedantic and old-fashioned for the theatre. This seems to have been the universal opinion; and later the increasing distaste to Jomelli's operas obliged the withdrawal of his "Iphigenia in Aulide," and the substitution of "Demofoonte" (November 4, 1770).41
The Mozarts found Jomelli polite and friendly. Through him they became acquainted with the impresario Amadori, who offered Wolfgang alibrettofor San Carlo; but this, owing to his previous engagement in Milan, he was obliged to refuse, together with similar offers which had been made to him in Bologna and Rome.
On June 25, they travelled with post-horses back to Rome. Through the fault of a clumsy postilion their carriage was upset; Leopold saved his son by springing out before the danger came; he himself sustained considerable injury to his leg. Wolfgang was so tired by the journey (they had driven twenty-seven hours without a stop), that after he had eaten a little he fell asleep in his chair and was undressed and put to bed by his father, without waking.
This stay in Rome, during which they were present at the illumination of St. Peter's, at the delivery of Neapolitan tribute, and other ceremonies, brought Wolfgang a new distinction; he was invested by the Pope, in an"RITTER MOZART"—BOLOGNA, 1770.audience of July 8, with the order of the Golden Spur, which the father announces, not without pride, as "a piece of good luck."42"You may imagine how I laugh," he writes, "to hear him calledSignor Cavaliere."
The honour apparently made little impression on Wolfgang. For some years his father insisted on his signing his compositions "Del Sign. Cavaliere W. A. Mozart," and advised him to wear his order in Paris; but later he let it drop, and one never hears ofRitter Mozart, whereas Gluck, who like Klopstock, wished to be outwardly recognised as the prophet of higher culture, was very tenacious of his dignity as aRitter. Mozart was too simple-natured, and too essentially a musician, to set any store by outward distinctions.
On July 10, they left Rome, where Pomp. Battoni had painted a fine portrait of the young maestro, and travelled by way of Cività Castellana, Loretto, and Sini-gaglia to Bologna. They arrived on July 20, intending to remain here quietly until the completion and rehearsal of his opera should render Wolfgang's presence in Milan indispensable. L. Mozart's injured leg was still troublesome, and he was otherwise unwell, so that the friendly invitation of Count Pallavicini, to pass the hot season at his country-house in the neighbourhood of Bologna, was joyfully accepted. They found the coolest, best-appointed rooms prepared for them; couriers and servants were placed at their disposal, and their intercourse with the noble family was pleasant and unrestrained. The father was most carefully tended, and Wolfgang struck up a firm friendship with the young Count, who was just his own age, played the piano, spoke three languages, had six tutors, and was already a chamberlain.
THE ITALIAN TOUR.
Wolfgang composed industriously, and writes to his sister about four Italian symphonies, five or six songs, and a motett, which he had written. His only distress was that he had lost his singing voice; he had not five clear notes left, either high or low, and could no longer sing his own compositions. At Bologna they made the acquaintance of the operatic composer, Joh. Misliweczeck (1737-1781), who was finishing an oratorio for Padua, and was to write the opera in Milan for 1772. "He is an honest man," writes L. Mozart, "and we have become great friends." But their principal intercourse was with Padre Martini, with whom they became very intimate, visiting him daily, and holding long musical discussions. The discourse and instruction of the great contrapuntist could not be without influence on Wolfgang's work. A list of sketches in difficult contrapuntal forms, which according to the handwriting belong to this time, must have been studies suggested by Padre Martini. Of peculiar interest is a three-part Miserere for alto, tenor, and bass, with figured Continuo, superscribedDel Sigr. Caval. W. A. Mozart, in Bologna, 1770 (85 K.). It is evidently written under the influence of Allegri's Roman Miserere, generally harmonic, with some few imitative introductory passages, simple and very beautiful. The three last movements, Quoniam, Benigne, Tunc acceptabis, are written by another hand, and evidently not composed by Mozart; the subjects are severer and more simple. Probably Padre Martini wound up the youth's exercises by these movements of his own composition.43
The Philharmonic Society of Naples, whose festival performance Mozart had attended in company with Burney,44ELECTION TO THE ÀCCÀDEMIA FILARMONICA.honoured him with a signal proof of admiration and esteem. This famous society, founded in 1666, upon the presentation by Wolfgang of a memorial, and his accomplishment of a prescribed task, elected him a member of their body asCompositore. This honour was eagerly sought after by the most distinguished composers. For composers of church music it was important, since Benedict XIV., in a bull of 1749, had given a kind of overseership to the Philharmonic Society; only its members could become kapellmeisters to churches in Bologna, and by a Papal decree this membership was allowed to take the place of any examination.45The distinction was the greater since members were required46to be twenty years old, to have been admitted into the first class of compositore, and to have been a year in the second class of cantori and sonatori. Leopold describes the election as follows:—
At 4 o'clock in the afternoon of October 9 Wolfgang was required to appear at the hall of the society. There the Princeps Academiæ and the two censors (who are old kapellmeisters) gave him an antiphon from the Antiphonary; he was then conducted by the verger to a neighbouring apartment and locked in, there to set it in three parts. When it was ready it was examined by the censor, and all the kapellmeistem and composers, who voted on it by means of black and white balls. All the balls being white he was called in, and amid clapping of hands and congratulations the Princeps Academiæ in the name of the society announced his election. He returned thanks, and the thing was over. I was all the time on the other side of the hall cooped up in the Academical Library. Every one was astonished that he was ready so soon, for many have spent three hours over an antiphon of three lines. N.B.—You must know that it was not an easy task, for this kind of composition excludes many things of which he had been told beforehand. He finished it in exactly half an hour.
The task was, according to the old statute, a Cantus firmus from the Gregorian Antiphonary, to be elaborated contrapuntally for four, five, or eight voicesa capella(in duple time); it was to be executed strictly according to rule, adhering to the singular treatment of the harmonies belonging to the oldTHE ITALIAN TOUR.style of church music. After 1773, the examination became more severe,47and an Italian who stood the test at the beginning of this century, speaks of it as consisting of three separate compositions. First, the given subject was to be arranged for four voices infalsobordone, i.e., in plain harmonics, after the fashion of our congregational chorales. The second test consisted of adisposizione di parte. One voice retained the Cantus firmus, the others were to be set to it in canonic or imitative mode. The motifs were often taken from the Cantus firmus itself, in a rhythmical, diminished form. Strict imitation was not enjoined; it sufficed that the voices should follow each other with similar passages. The third task was afuga reale, a perfect fugue, according to the rules of the church mode of the Cantus firmus, in which one phrase is carried through as a theme, the other parts serving as intermediate phrases.
Wolfgang did not go through this examination without preparation. An elaboration in his boyish handwriting of the Cantus firmus "Cibavit eos in adipe" (44 K.) is probably an exercise made under Padre Martini's directions. His trial work was a Cantus firmus from the Roman Antiphonary, a freely imitative contrapuntal arrangement of the accompanying parts overlying the Cantus firmus of the bass, which is only to be adhered to in its melodic progressions, and may be modified in its rhythmical divisions. The original from Mozart's hand is in the archives of the Philharmonic Society, where it was found by Gaspari in a volume of various test works chiefly by Martini's pupils.48Next to it among the documents was a second elaboration written by Padre Martini, and copied by Wolfgang. Of this a second copy is in the Mozarteum, from Wolfgang's hand, with his father's subscription:Dal Sigr. Cavaliere Amadeo Wolfgango Mozart di Salisburgo, Scritto nella sala dell' accademia filarmonica in Bologna li 10 d' Ottobre, 1770. This was published as Wolfgang's own test work (86 K.).49Probably Padre Martini wentMILAN—"MITRIDATE."through the boy's work, which was not free from faults, and was entered in the protocol as "satisfying the conditions," and showed him how the task might have been executed; he took the copy of the corrected exercise to Salzburg when he returned there.
On October 18 they arrived at Milan, and set vigorously to work on the completion of the opera. The subject chosen was "Mitridate, Re di Ponto," opera seria in three acts, versified by Vittorio Amadeo Cigna-Santi of Turin, where it had already been produced in 1767 with the music of the kapellmeister Quirico Gasparini. It was first necessary to finish the recitatives begun in Bologna, and Wolfgang worked so hard at them that he excused himself to his mother for not writing: "His fingers ached so from writing recitatives." Every air in the opera was written after consultation with the singers, male and female, as to what was best suited to their voice and style. By studying the taste of the vocalists and so engaging their zeal, the composer found the best security for the favourable reception of his work. If he were not fortunate enough to please his singers, either the whole must be rewritten to suit them, or he must be prepared to hear his music fall flat before the audience, if indeed something quite different were not substituted by the performer. When the composer possessed true talent and judgment, this co-operation was less detrimental to the work than if it had been left altogether to the discretion of the performers; nevertheless, the danger of undignified subjection to their caprices was considerable.
Wolfgang strove to extricate himself, as best he might, from the difficulties and intrigues which hindered his work. These were the more vexatious, as the singers arrived in Milan so late as to give him little time for composition. His father was careful not to allow him to overtax his strength, and especially insisted on his not working immediately after eating, unless under the pressure of great necessity; they usually went for a walk first. The mental strain of so important a task had a sobering effect on the boy's spirits, and he repeatedly enjoins his mother and sister to pray for the success of the opera, "so that we may all live happilyTHE ITALIAN TOUR.together again." Leopold begs his friends in Salzburg to be charitable enough to write them cheerful, jocular letters, to distract Wolfgang's mind, There was, of course, the usual petty spite of the "Virtuosen canaille" to combat; they were not likely to leave unmolested a kapellmeister at once "a youth and a foreigner"; but the father shrank from no difficulties which could be overcome by "presence of mind and good sense," and declared they would gnaw through them all, "as the Hanswurst did through the Dreckberg."
The prima donna was not Gabrielli, but Antonia Bernasconi, daughter of a valet of the Duke of Wurtemberg, who had been educated as a singer by her stepfather, Andrea Bernasconi (kapellmeister at Munich since 1754).50With her was "the first battle to fight," for it was through her that the envious cabal sought to overthrow the young composer. An unknown opponent of Wolfgang tried to persuade her to reject the songs and duets which he had composed for her, and to substitute those of Gasparini. But Bernasconi withstood this infamous proposal. She declared, on the contrary, that she was "beside herself with joy" at the songs which Wolfgang had written "according to her will and desire"; and the experienced old maestro Lampugnani, who rehearsed her part with her, was never tired of praising the compositions. Another cloud in the theatrical heavens appeared in the person of the tenor, the Cavalier Guglielmo d' Ettore, who had performed with great success at Munich and Padua.51This storm, too, was happily allayed, but it must have been a threatening one, for L. Mozart reminds his son of it later, to encourage him, in Paris. The last arrival was the primo uomo—not Manzuoli, but Santorini, who had lately been singing at Turin, and had known them in Bologna. He was not at Milan till December 1, and the representation was to take place on the 26th.
The rehearsals began under favourable circumstances; even the copyist had performed his task so well that he"MITRIDATE"—HOPES AND FEARS.had made only one mistake in the recitatives, and the singers proved excellent. "As far as I can judge, without fatherly partiality," wrote L. Mozart on December 8, "I believe that Wolfgang has written the opera well and with spirit." On December 17 the first rehearsal with full orchestra52took place in the Redoutensaal, and the second two days later in the theatre; the verdict was altogether in favour of the new opera:—
Before the first rehearsal with the small orchestra, there were not wanting people who condemned the music beforehand as youthful and poor; they prophesied, as it were, declaring it impossible that so young a boy, and a German to boot, could write an Italian opera;53they acknowledged him to be a great performer, but denied that he could by any means understand thechiaro ed oscuroneeded in the drama. But since the first rehearsal these people are all dumbfoundered, and have not another word to say. The copyist is delighted, which is a good sign in Italy, for when the music pleases, the copyist often gains more by distributing and selling the songs than the kapellmeister by composing them;54the singers, male and female, are highly satisfied, and the duet between the primo uomo and prima donna is especially praised."
Theprofessori(instrumentalists) in the orchestra were pleased, and declared that the music was clear, distinct, and easy to play. Mozart's friends were as cheerful as his detractors were gloomy, and the most noted musicians, such as Fioroni, Sammartini, Lampugnani, and Piazza Colombo were decidedly in favour of the opera. Under these circumstances (although the first opera of the season was usuallyTHE ITALIAN TOUR.the least esteemed) they could look forward with calmness to the representation. This took place on December 26, under Wolfgang's conductorship, and the result surpassed all expectation. Every song, except those of the subordinate personages, was received with deafening applause, and with the cry "Evviva il maestro! evviva il maestrino!" Contrary to all custom at a first representation a song of the prima donna's was encored. At the second performance the applause was still greater, two songs and a duet being encored; but as it was Thursday, and the audience wished to go home to supper before midnight, so as not to encroach on Friday (fast day) the performance was cut short; it lasted, however, including the ballets at the end of each act, six good hours. On January 5, 1771, L. Mozart wrote home to his wife:—
Our son's opera is received with general approbation, and may be considered, as the Italians say,dalle stelle. Since the third performance we are alternately in the pit and the boxes, hearing or seeing, and every one is curious to talk with or look closely at the Signor Maestro, for the maestro is only bound to conduct the opera three evenings; Lampugnani accompanied at the second pianoforte, and now that Wolfgang does not play, he takes the first, and Melchior Chiesa the second. If any one had told me fifteen or eighteen years ago, when I heard so much of the opera songs and symphonies of Lampugnani in England, and Melchior Chiesa in Italy, that these two men would perform your son's music, and take his place at the piano to accompany his opera, I should probably have directed such a person to the madhouse as an idiot. We see by this how the power of God works in us men when we do not bury the talents that He has graciously bestowed on us.
The opera was repeated twenty times, and always with growing applause and a full house. The "Milan News," (January 2, 1771) assures its readers, that the youthful composer "studia il bello della natura e ce lo rappressenta adomo delle più rare grazie musicali." Wolfgang received from the public the appellation of the "Cavaliere Filarmonico," which was confirmed by the Accademia Filarmonica at Verona, who elected him as their kapellmeister on January 5, 1771.
Professional cares55did not engross all Mozart's time and attention. They became on intimate terms with the youngVENICE—PADUA—SALZBURG, 1771.difficult concerto at sight. They had a trip to Turin, saw a splendid opera, and were back in Milan on January 31,56leaving again shortly for Venice, where they arrived on the Monday in Carnival week. They were hospitably received by a merchant, Wider, a business friend of Hagenauer's.
They enjoyed in all comfort the pleasures of a Venetian carnival, and, having introductions to all the nobility, splendidly appointed gondoliers were always at their service; one invitation followed another, and almost every evening was passed at the opera, or at some other place of amusement. A concert was given by Mozart with brilliant success.
On the return journey, undertaken on March 13, they stayed one day in Padua, visiting the musical celebrities Franc. Ant. Ballotti (1697-1780), one of the first organ-players in Italy, and almost as good a theorist and contrapuntist as Padre Martini himself,57and the composer and Munich kapellmeister, Giov. Ferrandini58—Tartini had died the year before. Wolfgang played on the excellent organ in Santa Giustina. At Padua, too, he received a commission to write an oratorio to be completed at home as opportunity offered. At Vicenza they remained some days at the request of the Bishop, a Cornero, who had made their acquaintance at Venice; and at Verona they stayed with their old friend Luggiati, who gave a brilliant reception in Wolfgang's honour.
On March 28, 1771, Wolfgang was in Salzburg again, enriched with many experiences and loaded with honours, his talents matured and his tastes improved; but his nature as simple, modest, and childlike as when he had set out. The most direct result of the great success of his opera was a commission from the impresario in Milan for the first opera of the Carnival of 1773, with an increased remuneration of 130 gigliati.
THE ITALIAN TOUR.
At Verona, L. Mozart had already heard rumours of a document on its way from Vienna to Salzburg, which was to bring his son "immortal honour." They had scarcely arrived in Salzburg, when Count Firmian commissioned Wolfgang, in the name of the Empress Maria Theresa, to compose a theatrical serenade or cantata in celebration of the marriage of the Archduke Ferdinand with the Princess Maria Ricciarda Beatrice, daughter of the hereditary Prince Ercole Rainaldo, of Modena. As the marriage was to take place in October of the year 1771, it follows that the stay in Salzburg was not of long duration. During this interval he composed, principally no doubt to satisfy the demands of his official position, a "Litany" (109 K.), and a "Regina Coeli" (108 K.) in May, and a Symphony (110 K.) in July. Leopold Mozart had little hope that even Wolfgang's success in Milan would serve to advance his cause with the Archbishop in case of any more lucrative post becoming vacant. Such considerations did not trouble Wolfgang himself so much as his father; he took advantage of this interval to fall in love for the first time. His letters to his sister are full of hints of a nameless beauty, of unspeakable emotions; and the fact that the young lady married about the same time makes the picture complete of the first love of a boy of sixteen, which had, as might be expected, no lasting effect on his natural good spirits.
On August 13 they left Salzburg, and after a short stay in Verona arrived at Milan on August 21. The marriage was fixed for October 15, but the libretto had not yet been returned from Vienna, where it had been sent on approbation; in those days it was considered that a maestro should be so sure of his art that it should stand him in stead at all times and seasons.59Wolfgang was under no apprehension on this score; he was delighted with his gracious reception by the royal bride, and enjoyed the delicious fruit, eating a double share of it, as he says, out of brotherly love to hisMILAN, 1771—GABRIELLI.sister. When at last the book arrived at the end of August it was detained some days longer by the poet to make the numerous alterations required, and not until the beginning of September was it finally delivered over to Wolfgang. Then he set to work, composing so vigorously that on September 13 the recitatives and choruses were finished, and his father was of opinion that the whole opera with the ballet would be ready in twelve days, which indeed it was; and no wonder that Wolfgang complained that his fingers ached. In the room above that where he wrote was a violinist, in the room below another; a singing master lived next door, and an oboist opposite. "It is capital for composing," says Wolfgang; "it gives one new ideas."
During this visit to Milan they made the acquaintance of the great soprano, Catarina Gabrielli, famed for her intrigues no less than for her musical genius. The impression made by her on Wolfgang may be gathered from a letter to his father written later from Mannheim (February 19, 1778):—
Those who have heard Gabrielli must and will acknowledge that she is a mere executant; her peculiar style of delivery excites admiration, but only for the first three or four times of hearing her. In the long run she is not pleasing; one gets tired of passages, and she has the misfortune of not being able to sing. She cannot sustain a note in tune; she has nomessa di voce; in a word, she sings with art, but no understanding.
The intercourse of the Mozarts with their fellow-artists, "really good and famous singers, and sensible people," was cordial, and undisturbed either by intrigues or cabals. Wolfgang's assured position with regard to the public, as well as the favour in which he was held at the imperial court, doubtless contributed to preserve harmony. The tenor Tibaldi and Manzuoli, who was really engaged this time, came almost daily at 11 o'clock, and remained sitting at the table till one; Wolfgang composing all the time.
But the most satisfactory connection was that with Hasse, who was composing an opera on Metastasio's "Ruggiero," for the same festive occasion.60It was of no small significanceTHE ITALIAN TOUR.that men like Hasse and Metastasio, who had brought Italian opera to its highest point, and a famous poet, such as Gius. Parini, in Milan,61should have been content to place themselves on a level with young Mozart. It was momentous in the history of music, this handing over of the sceptre by the man who had ruled the Italian stage throughout his long career to the youth, who was not indeed destined to acquire equal fame living, but to whom posterity was to allot a far more glorious place. Hasse himself is said to have exclaimed: "This boy will throw us all into the shade."62It was like him to recognise without envy the artistic greatness of Mozart; all young artists63found him ready to appreciate and help forward their efforts,64and Mozart himself had been grateful for his support when fighting with the musical cabal in Vienna.65
The festivities66which had attracted a crowd of strangers to Milan began with the triumphant entry of the Duke, followed by the marriage ceremony in the cathedral; then came a concert and reception at court. On the 16th a public banquet was given to more than four hundred bridal couples, to whom the Empress had given dowries, and in the evening Hasse's opera "Ruggiero" was performed in the newly decorated theatre, with two gorgeous ballets in theentr'actes, "La Corona della gloria," by Pick, and "Pico e Canente," by Favier.
On the 17th, after a splendid procession on the Corso, Wolfgang's serenata "Ascanio in Alba" (111 K.), an allegorical pastoral play in two acts, with choruses and dances, (by Favier) was produced. After the first rehearsal, L. Mozart had been able to predict to his wife that the success of the work was assured. "Because, to begin with,"ASCANIO IN ALBA."not only are Signor Manzuoli and the other vocalists in the highest degree pleased with their songs, but they are as anxious as ourselves to hear the serenata with the full orchestra; secondly, because I know what he has written, and the effect it will have, and am quite convinced that it is excellent, both for the singers and the orchestra." He had not deceived himself, the applause was extraordinary; the serenata was repeated the next day, and until the close of the festivities was more frequently given than "Ruggiero." "I am sorry," writes L. Mozart, "that Wolfgang's serenata should have so entirely eclipsed Hasse's opera."
He refers his home circle to the judgment of a young Salzburg merchant, Kerschbaumer, "who, on the 24th, was a witness how the Archduke and Archduchess not only applauded two of the songs until they were repeated, but leaning from their box, both during and after the performance, they bowed towards Wolfgang, and testified their approval by cries of
'Bravissimo! maestro,' and clapping of hands, an example followed by all present." This time, too, Wolfgang received more substantial marks of favour; besides the stipulated fee, the Empress presented him with a gold watch set with diamonds, having on its back an admirably executed miniature of herself in enamel.67
Among the festivities, which lasted until the end of the month, were a splendidly appointed masked procession offacchini, in the costume of the surrounding peasantry, on the 19th; races for horses (barberi) on che 27th, for chariots (calessetti) on the 28th, and thecuccagnaon the 24th, when masses of viands were given up to the plunder of the people, and fountains of wine were opened.68On this occasion the Mozarts narrowly escaped a great danger. One of the great scaffoldings erected for spectators fell, and more than fifty persons were killed or injured. It was only an accidental delay which had prevented Wolfgang and his father from taking the seats which had been allotted them on thisTHE ITALIAN TOUR.erection, and had caused them to seat themselves in the court gallery.
After the close of the opera, Mozart wrote a symphony (112 K.) and a divertimento (113 K.), probably for a concert, but at all events to order. During this stay in Milan a contract was entered into with the theatre of S. Benedetto in Venice, by which Wolfgang was commissioned to write the second opera of the Carnival of 1773. How this was possible, since the contract stipulates for residence in Venice at the same time as it had been already promised in Milan, it is not easy to see, unless some indulgence on the part of the Venetian impresario was looked for, perhaps even promised.69The contract, however, was never fulfilled; Nau-mann became Mozart's substitute, arriving in Vienna just in time to undertake the opera. He produced his "Soliman" with very remarkable success.70
The return of the Mozarts to Salzburg was delayed until the middle of December, on the 30th of which month Wolfgang composed a symphony (114 K,), and was soon after seized with severe illness.71
Their arrival at home coincided with the death of Archbishop Sigismund, which took place after a lingering illness on December 16,1771. His successor was elected on March 14, 1772, in the person of Hieronymus Joseph Franz v. Paula, Count of Colloredo, Bishop of Gurk; to the universal surprise and grief of the populace, who had little prosperity to hope for under his rule.72An opera was required to form"IL SOGNO DI SCIPIONE"—SALZBURG, 1772.part of the festivities accompanying his installation, and this Wolfgang was commissioned to compose.73The subject chosen was "Il Sogno di Scipione" (126 K.), an allegoricalazione teatrale, by Metastasio, which had been performed with music by Predieri on the birthday of the Empress Elizabeth, October 1, 1735. It was written with reference to the unfortunate military events in Italy, and stress was laid on the bravery and steadfastness of a great general, even in defeat. How far this subject was applicable to the circumstances of Bishop Hieronymus does not seem to have been inquired; even the words of the Licenza were left unaltered, except that the name of Girolamo was substituted for Carlo. It is amusing to note that Mozart composing from his Metastasio, writes the words under his score: "Ma Scipio esalta il labbro eCarloil cuore," then effaces the name and writesGirolamo.
We do not know how far indifference towards the person of the new Archbishop is responsible for the fact that this opera betrays more of the character of an occasional piece written to order than any other composition by Mozart. It was probably produced in the beginning of May, 1772.74
The remaining compositions which fall authentically within this period are a symphony (124 K.), composed on February 21, and a litany, "De Venerabile" a very important work (125 K.), in March. January was lost by illness, and in April, Mozart was busy with his opera; but in May, a "Regina Coeli" (127 K.) and no fewer than three symphonies (128-130 K.) were ready; in June, a great divertimento (131 K); in July and August three more symphonies (132-135 K.); three quartets, or divertimenti (136-138 K.), fall also within the year 1772. These clearly identified compositions can scarcely be all that belong to this period. If the fact surprises us that Mozart, instead ofTHE ITALIAN TOUR.making studies for the new opera which he was to produce in the autumn, employed this interval almost entirely on church and instrumental music, we must look for an explanation of it in his position at Salzburg, from which we cannot doubt that he felt an intense longing to free himself.
A correspondent of Burney who was at Salzburg in the summer of 1772 informs him that he has visited Mozart the father, and heard Wolfgang and his sister play duets together; Wolfgang, he says, is undoubtedly a master of his instrument, but he appears to have reached his climax, and, judging from his orchestral music, he affords another proof that premature fruits are more rare than excellent.75It would be unreasonable to take this false prophecy amiss, for it no doubt reflects something of the state of opinion in Salzburg at the time.
On October 24 they set forth once more on the journey to Milan, in order to be there in good time for the new opera. On the way, "to make time pass," Wolfgang composed a pianoforte duet; his fête-day was merrily kept with the brothers Piccini, in Ala (October 31); and after the usual stay with Luggiati in Verona, they arrived at Milan on November 4. L. Mozart, who had lately been very well, appeared to profit by the change and irregularity of a travelling life, but at Milan the old complaint reappeared. Giddiness and numbness in the head, attributable to a bad fall, seized him more especially when he had been composing, and he could not free himself from "Salzburg thoughts," in which he would be unconsciously plunged for some time, and only with an effort banish them from his mind "like the wicked thoughts with which the devil used to tempt him in his youth." They were no doubt the reflection of his almost unendurable relations with the new Archbishop. He foresaw a troubled future, unless he could succeed in extricating Wolfgang from his undefined position in Salzburg, and placing him on a secure footing; and to this end he bent all his endeavours.
The opera which Wolfgang was to compose was "Lucio"LUCIO SILLA"—MILAN, 1772.Silla," the words by Giovanni da Camera, a poet of Milan. This time Wolfgang brought part of the recitative with him, but he did not gain by so doing; for the poet had in the meantime submitted his text to Metastasio, who made many alterations, and added a new scene.
He had plenty of time, however, to rewrite the recitatives and to compose the choruses and the overtures, for of the singers only Signora Félicita Suarti (who sang in Parma in 1769, and now took the part of secondo uomo), and the ultimo tenore had appeared. They found Milan very empty, every one still in the country; only the D'Aste family received them into the same intimacy as before.
Next arrived the primo uomo Venanzio Rauzzini (b. 1752), an excellent singer, an accomplished pianist, and a not inconsiderable composer. He had been in Munich since 1776, when Burney made his acquaintance, and learned that he was to sing in Mozart's opera.76His first song was soon ready; L. Mozart thought it incomparably beautiful, and that Rauzzini sang it "like an angel."77At last the prima donna De Amicis arrived, after a tedious journey from Venice. It was time, for the representation was fixed for the 26th December, and there were still fourteen pieces to be composed, among them the terzet and the duet, "which might be reckoned as four."
"I cannot possibly write you a long letter," wrote Wolfgang on the 5th December, "for I have nothing to say, and do not know what I am writing; my thoughts are always in my opera, and I am in danger of writing you a whole song instead of words."
Maria Anna de Amicis (born about 1740), a pupil of Tesi, had been brought from the opera buffa as prima donna to the opera seria by Chr. Bach in London (1762). She had been married five years to Buonsolazzi, an official in Naples,THE ITALIAN TOUR.and she brought her little daughter Sepperl with her to Milan.78Although the Mozarts had made her acquaintance during their Parisian tour, she was at first a little inclined to create difficulties; but the most friendly relations were soon established between them.
When she had mastered her three songs she was "in high delight, because Wolfgang had suited her so wonderfully well." He had furnished the principal song with some new and marvellously difficult passages.79L. Mozart wrote after the rehearsals, that she both sang and acted like an angel, and all Salzburg would be amazed to hear her.
There was still wanting the tenor Cardoni, and news at length arrived that he was so seriously ill he could not appear. Suitable messengers were at once despatched to Turin and Bologna, to seek for another good tenor, who was to be not only a good singer, "but especially a good actor, and a person of presence, to represent Lucio Silla with proper dignity." But such an one was not to be procured, and there was nothing for it at last but to take a church singer from Lodi, Bassano Morgnoni, who had occasionally sung in the theatre there, but never on a larger stage. He arrived on December 17, when the rehearsals were going on, and the following day Wolfgang wrote two of the four songs allotted to him. On December 21, 22, and 23 there were large parties of the nobility at Count Firmian's, at which vocal and instrumental music was performed from five o'clock in the evening until eleven. Wolfgang played each time, and was favourably noticed by all the great people.
The grand rehearsal passed off well; and the first representation on December 26, in spite of some drawbacks, was a great success. The opera began, according to custom, an hour after Ave Maria, and at half-past five the theatre wasPERFORMANCE OF "LUCIO SILLA."quite full. Just before Ave Maria the Archduke had risen from table, and retired to despatch five autograph congratulations on the New Year to Vienna; as might be expected, this took some time. The performers, male and female, in all the agitation of a first performance, and the hot impatient public were obliged to wait the arrival of the court until past eight o'clock. Unhappily the Lodi tenor had to express his anger by gestures during the prima donna's first song; in his efforts to surpass himself he gesticulated so wildly, "that he appeared to wish to box her ears, or hit her in the face with his clenched fist." Thereupon a laugh broke out; this confused De Amicis, who did not know for whom it was intended, and she sang ill the whole evening, especially after Rauzzini had been received on his first entry with applause from the Archduchess. Rauzzini had contrived to inform the Archduchess that he should be nervous at singing before her, and so had assured himself of the applause of the court. De Amicis was consoled by an invitation to court the next day, and then the opera went altogether well.
It was given more than twenty times to houses so full "that one could scarcely squeeze in." Each time some of the songs were encored, generally the prima donna's, which had "the upper hand."80
Wolfgang wrote a motett, "Exultate," for Rauzzini, (165 K.), which was performed before the actors on January, 1773. It is on the plan of a great dramatic scene, and maintains that style throughout. To a long and elaborate allegro succeeds a short recitative leading to a long, simple slow movement. The finale is an animated "Alleluia," cheerful and brilliant. Later (February 6) his father says he is busy with a quartet.
L. Mozart continually postponed their departure, at first with the expectation of seeing the second opera, which was much later than usual, owing to the many representations of "Lucio Silla," and afterwards under the pretext of an attackof rheumatism, which confined him to bed. In point of fact he had, with the powerful support of Count Firmian, proferred a request to the Grand Duke Leopold at Florence that the latter would attach Wolfgang to his court. The Grand Duke at first showed gracious dispositions, and L. Mozart must have wished to continue the negotiations from Milan. Even after their ultimate failure he thought he might count on powerful recommendations from Florence, and his thoughts turned again on a great professional tour. "Only be economical," he wrote, "for we must have money if we are to undertake a tour; I grudge every penny spent in Salzburg."
Towards the close of their stay a colleague from the Salzburg chapel, the horn-player Leutgeb, came to Milan, and was well received there.
At the beginning of March they really set out; for they might not be absent from their places on the anniversary of the Archbishop's election (March 14).
The remarkable success of the opera, and the lively interest excited by Wolfgang's person, leaves scarcely any doubt that further overtures were made to him in Italy; their non-acceptance must have been owing to the Archbishop's refusal of an extended leave of absence.