Non si d' onde vieneQuel tenero affettoQuel moto, che ignotoMi nasce nel pettoQuel gel, che le veneScorrendo mi và.Nel seno a destarmiSi fieri contrast!Non parmi che bastiLa sola pietà.
Mozart describes graphically how the voice and singing of Mdlle. Weber floated before him, and inspired his composition, but he does not tell us how Metastasio's words, released from their dramatic connection, became the soliloquy of a young heart, feeling with amazement the first stirrings ot love, and scarcely venturing to realise the depth and intensity of its passion; for pity is assuredly not enough to excite such expressions of emotion. This was the condition of his own heart, and what he felt himself, that he also placed in the heart of his beloved, and, being an artist, on her lips—certainly without analysing his feelings or hers. The song expresses purely and beautifully the emotions of a maiden who stands in doubt and perplexity at the innocent impulses of her heart, incomprehensible even to herself. But her budding inclination has not yet become a dominant passion, and she feels that she stands at the turning-point of her whole existence. There reposes, therefore, on the whole song the calmness and purity of innocence, together with intense warmth and deep agitation, and Mozart has lent to these emotions the inexpressible charm of melody.
The charm is not broken by the occurrence of sharper discords than are usual with Mozart; but they are bothMANNHEIM.appropriately placed, and in full harmony with the tone of the whole.
The song gives a favourable indication of the powers of the singer. The style is simple and sustained throughout, varied by original and expressive embellishments, and at the close by a couple of quick runs going up to—[See Page Image]
It excites no small astonishment to find such capabilities of voice, execution, and delivery in a girl of fifteen. Mozart composed the same song again for the bass singer Fischer, in March, 1787 (512 K.). The construction of the song is, as the words require, the same, but the treatment is as different as possible. This time the true sense of the dramatic situation is grasped; a man, a ruler, who has a long life's experience behind him, feels his strong mind moved to a tenderness which he cannot understand, and which therefore troubles him; he seeks to resist it, but falls ever again under its irresistible sway. The sense of surprise and passionate resistance is powerfully rendered, and many passages—"Quel gel che scorrendo le vene mi và," for instance—are of wonderful power and beauty. In fact, the song presupposes the union of strength and softness, flexibility of voice and cultivated delivery, which existed to perfection in Fischer; it might be said as truly of him as of Mdlle. Weber, that the song fitted him like a garment.
Mozart's change of determination with regard to the Parisian journey is easily explained by the light of his love for Mdlle. Weber, although he was far from acknowledging this, even to himself. No doubt he was sincere in writing to his father (February 4, 1778): "It is out of the question for me to travel with a man who leads a life of which the youngest among us would be ashamed, and the thought of assisting a poor family, without doing harm to myself, pleases me to the very depths of my soul." He longed ardently to liberate the Weber family from their trying position; but love for his Aloysia was the most powerful, although the secret motive. The direction of his thoughtsMOZART AND THE WEBERS.may be gathered from his remarks on the wealthy marriage made by his friend Herr von Schiedenhofen (February 7, 1778):—
It is a mercenary marriage, and nothing further. I would not marry in that way; I should like to make my wife happy, and not expect to make my fortune through her. So I will let it alone for the present, and enjoy my freedom, until I can afford to support a wife and family. It was necessary for Herr von Schiedenhofen to choose a rich wife for the sake of his title. The nobility can never marry from inclination or love, but only from interest and various considerations; it would not become such high personages to love their wives when once they have brought into the world a fat little son and heir. But we poor common folk, not onlymaywe take a wife whom we love, and who loves us, but we ought, can, and will take such an one; for we are not nobly born, aristocratic, or rich, but lowly, mean, and poor, and so not needing a rich wife; our wealth dies with us, for it is in our brains—and no one can take it from us, unless he cut off our head—and then we should not want anything more.
The father must have shaken his head at this diatribe. Wolfgang's wish at least to live in the neighbourhood of Aloysia, until he could call her his own, was joined to his irresistible impulse to compose operas. In order to attain both these ends he had conceived a project which would, he supposed, be of equal advantage to her family and his own. The Webers were quite ready to fall in with what was clearly to their advantage, and it only remained to obtain the consent of Wolfgang's father to his remaining in Mannheim and completing the compositions he had undertaken:—
At the same time Herr Weber will be exerting himself to get concert engagements for himself and me; we shall travel together, too. Travelling with him will be just the same as travelling with you. In fact, the reason I like him so much is that, excepting in appearance, he resembles you entirely; his temper and turn of mind are identical with yours. If my mother were not, as you know, averse to much writing, she would say the same thing. I must acknowledge that I enjoyed travelling with the Webers; we were happy together, and merry; and I had the satisfaction of conversing with a man like yourself. I had no need to trouble myself about anything; if anything was torn I found it mended; in fact, I was treated like a prince. This oppressed family has become so dear to me that it is my greatest wish to make them happy—which is perhaps in my power. My advice is that they should go to Italy. You would be doing me a great favour if you would write as soon as possible to ourMANNHEIM.good friend Lugiati (p. 108), and inquire from him what is the highest sum paid to a prima donna in Verona—the higher the better, for it is easy to lower one's terms—and perhaps she could get a better engagement afterwards in Venice. I will stake my life on her singing, and I know that she does me honour. She has profited much by my instruction, even in this short time, and I have not much doubt as to her acting powers.
If all this takes place, we—that is, M. Weber, his two daughters and I—shall have the honour of paying a passing visit in a fortnight or so, to my dear father and my dear sister, and my sister will find a friend and companion; she enjoys the same reputation here on account of her good bringing up as my sister does in Salzburg; her father is respected as mine is; and the whole family is like the Mozart family. This arouses envy in the same way, of course; but when it comes to the point the most envious are obliged to speak the truth; honesty is the best policy. I cannot tell you how pleased I should be to bring them to Salsburg, only that you might hear her.
She sings my songs written for De Amicis—the bravura songs, as well as "Parto m' affretto" and "Dalla sponda tenebrosa"—quite superbly. I beg that you will do your best to help us to go to Italy; you know my greatest ambition—to write operas. I would gladly write an opera for thirty sequins at Verona, that she might gain reputation by it; for if I had not written it I fear she would be sacrificed. In the meantime I shall make so much money by the expeditions I shall make with them that I shall not be in any way injured. I think we shall go to Switzerland, perhaps also to Holland; write to me soon about it. If it all comes to pass, the other daughter, who is the elder, will be very useful, for she cooks well, and we can keep house for ourselves. I only beg you not to delay answering me. Do not forget my wish to write operas! I am jealous of every one who writes one; I could weep for vexation when I hear or see an aria. But Italian, not German; seria, not buffa!
Now I have laid open my whole heart to you, and my mother is quite of my way of thinking. I kiss your hand a thousand times, and am, till death, your obedient son.
In a later letter he repeats his pressing request (February 14, 1778):—
I earnestly entreat you to do what you can for Weber; I have his success very much at heart; a man and his wife, five children, and an income of 450 florins! Remember my request as to Italy, and also about myself; you know my ambition and my passion. I hope it will all go right; I put my trust in God, and He will not forsake us. Now farewell, and do not forget my earnest petition and recommendation.
Wolfgang's mother was not quite so much of his opinion as he imagined; this is apparent from her postscript, which shows also that she was entirely without influence over her son:—
PATERNAL WARNINGS.
My dear Husband,—You will perceive from this letter that when Wolfgang makes a new friendship he is ready to sacrifice his life and all he holds dear for the object of it. It is true that she sings divinely, but one should never so entirely set aside one's own interests. I have never approved of the companionship with Wendling and Ramm, but I dared not make any objection, and I am never listened to. But as soon as he knew the Webers, he altered his mind altogether. In fact, he prefers being with other people to being with me; I object to this thing and that which does not please me, and that annoys him. So you must decide for yourself what is to be done. I write this in the greatest secrecy while he is dining.
And what said the father? This letter was a greater blow than any which had yet befallen him, and Wolfgang's romantic project almost bereft him of reason. He did not indeed doubt that "much persuasion had been brought to bear on Wolfgang, to induce him to prefer a vagabond life to the fame which could be acquired in a city so celebrated, and so ready to welcome true talent, as Mannheim"; but he was horrified to find that the influence of strangers could so deprive him of consideration for himself and others. "Your kind heart leads you to see no fault in any man who praises you loudly and exalts you to the skies, and to bestow all your love and confidence on him; when you were a child, on the contrary, your modesty was so excessive that you wept when you were openly praised." Sharp remedies seemed in this case necessary, and these L. Mozart applies with all the authority of an experienced man, and the severity of a conscientious father. He lays before his son in an exhaustive letter how far he has hitherto been from attaining the main object of his journey, and how much he is in danger of forgetting his duty to his family and himself, for the gratification of a senseless passion. It was not difficult to show that the idea was immature and impracticable of producing a young girl, who had never sung in public, nor appeared on the stage, before an Italian public, which would be certain to condemn her even if she sang like Gabrielli herself. L. Mozart goes on to show how, with war threatening, the present was not the time for a professional tour, and how a wandering life with a stranger and his daughters would deprive him of his reputation, ruin hisMANNHEIM.prospects, and bring disgrace on his family: "It lies now in your own power alone to raise yourself to as high a position as a musician has ever attained; you owe all to the extraordinary talent bestowed upon you by the all-gracious God, and it depends upon your own sense and behaviour whether you become an ordinary musician, forgotten by the world, or a celebrated kapellmeister whose fame shall be handed down to posterity in books—whether you herd all together in a room full of squalling brats, on a heap of straw, or spend a Christian life, full of honour, pleasure and profit, and die respected by all the world, leaving your family well provided for."
L. Mozart felt that immediate action was necessary; all his former objection to the journey to Paris vanished before the necessity of extricating his son from his present dangerous entanglement. "Away with you to Paris, and that soon!" he cried. "Put yourself at the side of great men—aut Cosar aut nihil!The mere thought of seeing Paris should have preserved you from all passing distractions. The name and fame of a man of great talent goes through all the world from Paris." The company of Wendling and Ramm was not as important to him as his was to them. But his mother must go with him in order to arrange everything properly; they were not to limit their stay to a few months, but were to remain as long as was necessary to gain renown and money; the more so since Paris was the safest place to live in during war. Hard as it was upon him, the father undertook to provide money and letters of credit for the journey.
In making this appeal to the conscience, the ambition, and the better judgment of his son, L. Mozart was wise enough not to allude directly to his attachment to Aloysia Weber, although he must have been well aware of its existence. Wolfgang had not openly expressed it, and his father was careful not to oppose a sentiment which was invincible because inaccessible to reason. But as a proof that he was not indifferent to the misfortunes of those with whom Wolfgang had so much sympathy, he did not withhold the advice for which he had been asked. The manWOLFGANG'S FILIAL SUBMISSION.who could best help them was Raaff; Wolfgang should endeavour to interest him in Mdlle. Weber, and his influence would be all powerful with the impresaii. He further advised that she should make herdébuton the Mannheim stage, were it only for the sake of practice.
The effect of this letter was what he anticipated. Wolfgang was brought to a knowledge of the fact that he had nearer duties to fulfil, to which his dreams and aspirations after an uncertain future must give way. He yielded with a heavy heart but with childlike submission to his father's will, and answered (February 19, 1778)
I always anticipated that you would be against the journey with the Webers, for I never seriously entertained the idea myself; that is, under our present circumstances; but I had given my word that I would write to you about it. Herr Weber does not know how we stand; I have told no one; and so because I wanted to be free from care for any one, and to be happy together, I forgot the present impossibility of the affair, and also to inform you of my true opinion of it. What you say concerning Mdlle. Weber is all true; and, as I wrote before, I know as well as you do that she is too young, and wants the power of acting, and should therefore recite in the theatre as often as possible; but one has to proceed cautiously with some people. The good Webers are as tired of being here as some one else you know was elsewhere; and they are inclined to think everything possible. I had promised them to write to my father; but even before my letter had reached Salzburg I had been advising them to be patient, that she was a little too young, &c. They take everything well from me, for they have a high opinion of me. The father has spoken by my advice to Madame Toscani (an actress) about giving his daughter instruction in acting. All that you say of Mdlle. Weber is true, except one thing: that she sings like a Gabrielli; I should be very sorry if she did. Every one who has heard Gabrielli says she was nothing but a passage and roulade maker; in a word, that she sang with art, but no understanding (p. 135). But Mdlle. Weber sings from her heart, andcantabileby preference. I am now making her sing passages in the great arie, because it is necessary if she goes to Italy that she should sing bravura songs; she will not forget hercantabile,because it comes natural to her.107Now you know all, and I recommend her to you with my whole heart.
MANNHEIM.
But it was a hard struggle that he had to make with himself; it affected his health, and he was for several days confined to his room. His father's warnings had struck chords in his innermost being, which vibrated painfully; the thought of having forfeited his father's full confidence rendered him inconsolable. "Believe whatever you please of me, only not that I am wicked. There are people who believe it is impossible to love a poor girl without having evil intentions. I am no Brunetti, and no Misliweczeck—I am a Mozart, a young but an honourable Mozart." Gradually, however, his loving trust in his father regained its old supremacy. "'God first, and then papa'; that was my motto as a child, and I am true to it still." He and his mother began to prepare in earnest for their departure, and the father was ready with instructions and good advice, nor did he withhold the paternal blessing from his well-loved son:—
How deeply I feel the wider separation that is about to take place between us you can partly imagine, but I cannot expect you to feel the intensity with which it oppresses me. If you will only reflect seriously on all that I did for you two children in your early years, you will not certainly accuse me of timidity, but you will do me the justice to acknowledge that I am, and always have been, a man with courage to venture anything. At the same time I used all possible prudence and foresight; against accidents no one can provide, for God alone sees into the future. I have not, my dear Wolfgang, the least mistrust in you; on the contrary, I have perfect confidence and hope in your filial love. Everything now depends on the sound understanding which you certainly possess if you will only listen to it, and upon fortunate circumstances; these last are not to be controlled, but I hope and pray that you will always take counsel of your understanding. You are now about to enter a new world, and you must not believe that I am prejudiced in considering Paris so dangerous a place;au contraire, my own experience gives me no cause to think it at all dangerous. But the circumstances of my former and your present stay there are as widely asunder as heaven and earth.
DEPARTURE FROM MANNHEIM, 1778.
After explaining this in more detail, and giving Wolfgang minute directions as to the position he should take in Paris. L. Mozart concludes with the words:—
I know that you look upon me not only as your father, but as your truest and firmest friend; and that you are well aware that our happiness and misery—nay more, my long life or speedy death are, under God, so to speak, in your hands. If I know you aright, I have nothing to look forward to but that pleasure which will be my only consolation in your absence, and I must resign myself to neither seeing, hearing, nor embracing you. Live like a good Catholic Christian; love God and fear Him; pray to Him sincerely and devoutly, and let your conduct be such that should I never see you again, my death-bed may be free from anxiety. From my heart I bless you, and remain till death your loving father and firmest friend.
It was only when Mozart's departure from Mannheim drew very near that the loss on both sides was fully realised. The farewell concerts which he arranged as displays for himself, his compositions, and his pupils, impressed his extraordinary talents on the public mind. Regrets at his departure were heard on all sides, not only from musicians, but from all men of cultivation who had the fame of Mannheim at heart, among them the author of the "Deutsche Hausvater" (March 24, 1778):—
Before leaving Mannheim I made copies for Herr von Gemmingen of the quartet (80 K.) which I wrote that evening in the inn at Lodi; also of the quintet (174 K.), and of the Fischer variations (179 K.). He wrote me an extremely polite note, expressing his pleasure at the remembrance, and sent me a letter to his very good friend, Herr von Sickingen, adding, "I am well assured that you will do more to recommend this letter, than it can possibly do to recommend you." And he sent me three louis-d'or to cover the cost of copying the music. He assured me of his friendship, and begged for mine in return. I must say that all the cavaliers who knew me, the court councillors, chamberlains, court musicians, and other good people, were vexed and disappointed at my leaving. There is no mistake about that.
He was in some degree consoled by the prospect of finding opportunities for composition in Paris (February 28, 1778)
What I chiefly look forward to in Paris is the Concert Spirituel, for which I shall probably have to write something. The orchestra is so good and strong, and my most favourite compositions, choruses, can beMANNHEIM.well performed there; I am very glad that the Parisians are so fond of them. The only fault that was found with Piccinni's new opera "Roland"108was that the choruses were weak and poor, and the music altogether a little monotonous; otherwise it was very well received. The Parisians were accustomed to Gluck's choruses. Rely upon me, I shall do all that is in my power to bring honour to the name of Mozart; I am not afraid.
The parting from Mdlle. Weber had still to be gone through; he describes it candidly to his father (March 24, 1778)
Mdlle. Weber very kindly netted me a purse as a remembrance and small acknowledgment of my services. Her father copied all that I wanted for me, and gave me some music-paper and Molière's comedies (which he knew I had not read), with the inscription, "Ricevi, amico, le opere del Molière in segno di gratitudine e qualche volta ricordati di me." When he was alone with mamma, he said, "We are losing our best friend, our benefactor. Yes, there is no doubt that your son has done much for my daughter, and has interested himself in her so that she cannot be grateful enough to him." The day before I left they wanted me to sup with them, but I could not be away from home, so refused. But I was obliged to spend a couple of hours before supper with them, and they never left off thanking me, and wishing they were in a position to testify their gratitude. When at last I went away they all wept. It is very foolish, but the tears come in my eyes whenever I think of it. He went down the steps with me, and stood at the house-door till I had turned the corner, when he called for the last time, "Adieu!"
This time the father painted no leave-taking on the quoits, but thanked God in his heart that his son had escaped a great danger. Wolfgang did not openly declare that his love for Mdlle. Weber was heartfelt and sincere, and that he believed it to be returned, that he went forth with the full determination of winning a position, and being able to call her his own; but he was little careful to conceal these hopes from his father109as to hide from him the correspondence which he carried on with the Webers. The father, withLOVE OF FATHER AND SON.full confidence in the honourable character of his son, was content to leave this connection to the future so soon as he saw the first step assured in Wolfgang's professional career.
Our glance must needs linger with approbation on the picture of a youth glowing with ardent passion, yet with self-mastery enough to listen to the first warning of his good and wise father, and so sure of the constancy of his feelings as to be willing to yield his warmest wishes to the fulfilment of his moral duties. In the love and confidence existing between father and son we rejoice to acknowledge the best and truest ornament of a German artist-life.
1 (return)[ An artist named Anton Mozart is mentioned by P. v. Stetten as settled in Augsburg, in the seventeenth century (Kunstgesch d. Stadt Augsburg, p. 283).]
2 (return)[ An oil portrait, preserved in the Mozarteum at Salzburg, shows him to have been a tall, handsome man, but with no resemblance either to his son or grandson.]
3 (return)[ A description of Leopold Mozart is given by Hamberger (Christenthum u. moderne Cultur, p. 25).]
4 (return)[ R. P. Hist. Univ. Salisb., pp. 29, 90 (s. Meyer d. ehem. Univ. Salzburg.)]
5 (return)[ Schubart's Aesthetik der Tonkunst, p. 157.]
6 (return)[ Marpurg, Hist. krit. Beitr., III., p. 183.]
7 (return)[ Schubart's Aesthetik d. Tonk., p. 157.]
8 (return)[ "Have you a good subject for an oratorio?" writes L. Mozart to Lotter (December 29, 1755). "If I had it in time I would compose another for Lent. Have you the one which I composed last year, Christus begraben? We have to produce two Oratoria every Lent, and where are we to find subjects enough? It must not be de passions Christi, but it might be some penitential story. Last year, for instance, we produced one on Peter's Repentance, and another is now being composed on David in the Wilderness." He must have composed the above-mentioned oratorio twice, for as early as 1741 it had been printed in Salzburg as "Christus begraben; Cantata for three voices: Magdalena, Nicode-mus, Joseph von Arimathaea. Chorus of disciples and friends of our Lord. Words by S. A. Wieland. Music by J. G. L. Mozart]."]
9 (return)[ Gerber includes among these "Semiramis," "Die verstellte Gartnerin," "Bastien und Bastienne," compositions of Wolfgang's, of which the scores were left in his father's possession. "La Cantatrice ed il Poeta," an intermezzo mentioned by Gerber, is quite unknown to me.]
10 (return)[ Catalogo delle sinfonie che si trovano in manuscritto nella officina musica di G. G. J. Breitkopf in Lipsia, P. I. (1762), p. 22. Suppl. I. (1766), p. 14. Suppl. X. (1775),p. 3.]
11 (return)[ Mozart published it in 1759 with the title "Der Morgen und Abend den Inwohnern der hochfurstl. Residenzstadt Salzburg melodisch und harmonisch angekündigt." A notice of it is to be found in Marpurg's Histor. krit. Beitr., IV., p. 403.]
12 (return)[ A "Divertimento à 4 instr. conc., Viol., Violone., 2 Co.," is included in Breitkopfs Cat., Suppl. II. (1767), p. zi.]
13 (return)[ Haffner's Ouvres mêlées (Würzb.), V. 4, VI. 5, IX. 4.]
14 (return)[ Cacilia, XXVI., p. 82.]
15 (return)[ A Max d'or (about thirteen shillings) was paid to him for copies of four flute concertos, a ducat for a pastoral symphony, and a florin for two shorter ones.]
16 (return)[ A. M. Z., XXIII., p. 685.]
17 (return)[ This was the Society of Musical Science, founded at Leipzig in 1738 by Mag. Lor. Mitzler; s. Mitzler's Musik Bibl., III., p. 346; Musik. Almanach, 1782, p. 184. In his Violin Method, p. 7, L. Mozart praises this Society, and hopes that it will direct its scientific researches to questions of practical interest in music]
18 (return)[ A long series of letters to his friendly publisher J. J. Lotter, at Augsburg, written during 1755 and 1756, when his work was in the press, testify to L. Mozart's care for accuracy of expression, orthography, and printing.]
19 (return)[ Ph. Era. Bach advises clavier-players to hear as much good singing as possible; "it gives the habit of thinking in song, and it is well always to sing a new idea aloud to oneself, so as to catch the right delivery" (Versuch über die wahre Art das Klavier zu spielen, I., p. 90).]
20 (return)[ "Wherein consists good execution?" says Ph. Em. Bach (Versuch über die wahre Art das Klavier zu spielen, I., p. 86). "In the power of expressing musical ideas to the ear correctly and with full effect, whether singing or playing."]
21 (return)[ Marpurg's Hist. krit. Beitr., III., p. 160.]
22 (return)[ Schubart's Aesth. d. Tonk., p. 157.]
23 (return)[ Briefw. m. Goethe, V., p. 191.]
24 (return)[ Schubart's Aesth. d. Tonk., p. 158.]
25 (return)[ Stranitzky, who introduced the buffoon (Hanswurst) on the Vienna stage, gave him the Salzburg dialect (Sonnenfels ges. Schriften, VI., p. 372), and the buffoon was ever afterwards a native of Salzburg. The people of Salzburg were credited not only with boorish manners, but with a dulness of intellect amounting to stupidity. Mozart complains of it, and there was a proverb in Salzburg itself: "He who comes to Salzburg becomes in the first year stupid, in the second idiotic, and in the third a true Salzburger."]
26 (return)[ The full name in the Church Register is Joannes Chrysostomus Wolfgangus Theophilus (Gottlieb, the father writes), and in his earlier letters he adds his "Confirmation name" Sigismundus. On several of his early works and on the Parisian engraving of 1764 his signature is J. G. Wolfgang, but afterwards he always signed Wolfgang Amade.]
27 (return)[ I have taken this account from Schlichtegroll's Nekrolog, which is founded on communications from Wolfgang's sister.]
28 (return)[ Recensionen, 1864.x., p. 512. The exercise-book is a square folio, with the title "Pour le Clavecin. Ce livre appartient à Marie Anne Mozart. 1759." It was perfect when Fröhlich saw it (A. M. Z., XIX., p. 96); now, unfortunately, a number of leaves are wanting. Nissen has given specimens from this book, some of the earliest compositions.]
29 (return)[ Das Neueste aus der anmuth. Gelehrs., 1761, p. 60.]
30 (return)[ The original is in the possession of Aloys Fuchs, who communicated it to me. Schlichtegroll and Nissen have both made use of it.]
31 (return)[ "Both as a child and a boy you were serious rather than childish," writes L. Mozart, February 16, 1778, "and when you were at the clavier, or otherwise engaged with music, you would not suffer the least joking to go on with you. Your very countenance was so serious that many observant persons prophesied your early death on the grounds of your precocious talent and serious expression."]
32 (return)[ "As a boy, your modesty was so excessive that you used to weep when you were overpraised," writes L. Mozart (February 16, 1778).]
33 (return)[ He was so docile, even in trifles, that he never received corporal punishment. He loved his father with unusual tenderness. The latter reminds him (February 12, 1778) how, every evening at bedtime, he used to make him sit on a stool by his side and sing with him a melody of his own finding with nonsensical words, Oragnia figa taxa, &c., after which he kissed his father on the tip of his nose, promised to put him in a glass case when he grew old, and give him all honour, and went contentedly to bed.]
34 (return)[ Upon a separate scrap of paper.]
=
1 (return)[ We have a somewhat more detailed account of this journey from letters of L. Mozart to the merchant, Lorenz Hagenauer, in whose house he was living when Wolfgang was born (opposite the tavern "Zu den Allürten"). Hagenauer proved himself a true friend; always ready with support and counsel in business matters, even to the extent of making considerable loans, so that it was natural that Mozart should keep him informed as to the pecuniary results of his journey. Many characteristic traits are given by Schlichtegroll, probably derived from Wolfgang's sister, and confirmed after examination by Niemetschek (p. 8).]
2 (return)[ Cf. L. v. Köchel's Die Pflege der Musik am österr. Hofe vom Schlusse des 15, bis zur Mitte des 18. Jahrh. Wien, 1866.]
3 (return)[ Apostolo Zeno, Lettere III., p. 447. Oehler's Gesch. des Theaterwesens zu Wien, II., p. 4.]
4 (return)[ In the year 1735 the Archduchess again appeared in an opera on the Empress's birthday. Metastasio, who wrote it, and rehearsed it with her, is enthusiastic in his praises of her grace and cleverness (Opp. post., I., p. 175).]
5 (return)[ Burney, Reise, II., p. 186.]
6 (return)[ Metastasio's Opp. post., I., p. 401.]
7 (return)[ Burney, Reise; II., p. 187.]
8 (return)[ Metastasio's Opp. post., II., p. 31. Bumey, Reise, II., p. 241. Marpurg's criticism is not favourable (Krit. Briefe, II., p. 141).]
9 (return)[ So Nissen relates the anecdote. Niemetschek, doubtless from respect to the Royal Family, says nothing about the marrying.]
10 (return)[ A. M. Z., I., p. 856.]
11 (return)[ Chief sources of information are L. Mozart's letters to Hagenauer (of which only a few are preserved) and some family reminiscences given by Nissen. L. Mozart's memoranda made on the journey are interesting, as containing addresses of people whom they met, remarks on the inns and on the various sights they visited. They display a habit of close observation. There are some few similar notes made by Marianne still in existence.]
12 (return)[ P. Alfieri's Not. biogr. di Nic. Jomelli, p. 15.]
13 (return)[ Schubart's Aesthetik, p. 150. Selbstbiographie, I., 12, p. 122.]
14 (return)[ Metastasio, Lettere (Nizza, 1787), IV., p. 185. Cf. Opp. post, I., pp. 35g, 386; II., pp. 129, 320. Burney, Reise, I., p. 137.]
15 (return)[ Schubart's Aesthetik, p. 78. Selbstbiogr., I., 12, p. 126. Betracht. d. Mannh. Tonsch., I., p. 153.]
16 (return)[ Schubart's Aesthetik; p. 156. Selbstbiogr., I., 12, p. 127.]
17 (return)[ Belli-Gontard Leben in Frankfurt, V., p. 25.]
18 (return)[ To this is added: "Each person pays half-a-dollar. Tickets may be had at the Golden Lion."]
19 (return)[ Eckermann's Gespräche mit Goethe, II., p. 180.]
20 (return)[ Danzel's Gottsched, p. 343.]
21 (return)[ He was particularly proud of the Empress's notice. When they were encouraging him to play at a small German court, where there were to be some persons of high rank, he answered that he had played before the Empress, and was not at all afraid.]
22 (return)[ L. Mozart made a list "a page long" of the persons of rank and distinction with whom they had come in contact.]
23 (return)[ Hiller's Wöchentl. Nachr., I., p. 135. Schubart's Aesthetik, p. 230, Junker's Zwanzig Componisten, p. 89. He died from eating poisonous mushrooms in 1767 (Goethe's Briefe an Leipziger Freunde, p. 242).]
24 (return)[ Suard gives the following notice (Mél. de Litt., II., p. 337): Il avait 6 à 7 ans. Je l'ai entendu jouer du clavecin au Concert Spirituel et dans des maisons particulières. Il étonnait tous les amateurs par sa facilité et la précision avec laquelle il exécutait les pièces les plus difficiles. Il accompagnait sur la partition à la première vue. Il préludait sur son instrument et dans des capricci improvisés, il laissait échapper les traits du chant les plus heureux et montrait déjà un sentiment profond de l'harmonie.]
25 (return)[ Mme. du Deffand, Lettres, I., p. 207.]
26 (return)[ Compare with this what Burney (Reise, I., pp. 12,16) says on the same side in 1770 upon French contemporary music in relation to Italian.]
27 (return)[ Cf. Schubart's Aesthetik, p. 270.]
28 (return)[ The most authentic account is given by F. Pohl, Mozart und Haydn in London. Vienna, 1867.]
29 (return)[ Griesinger's Biogr. Notizen über Haydn, p. 57.]
30 (return)[ Parke's Mus. Mem., I., p. 347. Reichardt's Mus. Aim., 1796.]
31 (return)[ A. M. Z., II., p. 301.]
32 (return)[ The sonatas were advertised as for sale on March 20, 1765.]
33 (return)[ Metastasio's Opp. post., II., p., 272.]
34 (return)[ Burney's History of Music, IV., p. 485. Kelly's Reminiscences, I., p. 7.]
35 (return)[ Europ. Zeitg., 1765, No. 63, Aug. 6.]
36 (return)[ Burney, Reise, II., p. 104.]
37 (return)[ Philosophical Transactions, 1770, Volf XL.; repeated in Barrington's Miscellanies on Various Subjects (London, 1781), p. 279.]
38 (return)[ F. Pohl (A. M. Z., 1863, p. 853).]
39 (return)[ The letter of thanks runs as follow: July 19, 1765. Sir,—I am ordered by the standing committee of the trustees of the British Museum to signify to you, that they have received the present of the musical performances of your very ingenious son, which you were pleased to make them, and to return you their thanks for the same.—M. Maty, Secretary.]
40 (return)[ Hoffmann von Fallersleben, Horæ belgico, II., p. 96.]
41 (return)[ Grenzboten, 1864, III., p. 128.]
42 (return)[ Mattheson, Mithridat, p. 12, published in Weimar. Jahrb., IV., p. 162.]
43 (return)[ The identical compositions are said to have been lately discovered in Paris.]
44 (return)[ Mozart Grondig Onderwys in het behandelen der Violin met 4 Konst-plaaten en een Tafel. Harlem, 1766, 4.]
45 (return)[ So says Nissen, p. 114.]
46 (return)[ Winckelmann's Briefe, III., pp. 95,98,104. Cf. Goethe, Briefe an Fr.v. Stein, III., p. 96.]
47 (return)[ Burney, Reise, III., p. 258.]
48 (return)[ "Christmann Musik. Corresp.", 1790, p. 164.]
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