CONTENTS.
CHAPTER I.CHILDHOOD AND EARLY TRAVELS.Mozart’s Parentage—Early Development of his Genius—Character as a Child—Travels at the Age of Six—Received by Maria Theresa and Marie Antoinette—Mozart and Goethe—Meeting with Madame de Pompadour—The London Bach’s Opinion of Young Mozart—Asked to Write an Opera by Joseph II—Assailed by Envy—Padre Martini—Notes Down the Celebrated Miserere from Ear—The Pope Confers on him the Order of the Golden Spurs—A Member of the Philharmonic Society of Bologna—First Love—Personal Appearance—Troubles with the Archbishop,7-41CHAPTER II.THE GREAT PARISIAN ARTISTIC JOURNEY.Disgusted with Salzburg—In Vienna Again—Salzburg Society—Character of Musicians in the Last Century—Jerome Colloredo, Archbishop of Salzburg—Mozart’s Letter to Him—The Father’s Solicitude for His Son—Paternal Advice—New Compositions—Incidents of his Journey—Meets with Opposition—Secret Enemies—His Ambition to Elevate the Character of the German Opera—Disappointments—His Description of German “Free City” Life—Meeting with Stein—In his Uncle’s Family—“Baesle”—Meeting with the Cannabichs—Attachment for Rosa Cannabich—Influence of this Attachment on his Music—The Weber Family—TheNon so d’Onde Viene—Circumstances of its Composition,42-82CHAPTER III.IDOMENEO.New Disappointments—Opposition of the Abbe Vogler—Mozart and the Poet Wieland—Wieland’s Impressions of Mozart—German Opera and Joseph II—The Weber Family—Aloysia Weber—Mozart’s Plans—His Father Opposes them and his Attachment for Aloysia—Mozart’s Music and Heart-trials—In Paris—Disappointments there—Contrast Between Parisian and German Life—New Intrigues Against Him—Invited Back to Salzburg—“Faithless” Aloysia—Meeting of Father and Son—Reception in Salzburg—“King Thamos”—Character of Mozart’s Music Composed at this time—Invitation to Compose the Idomeneo—Its Success—Effect on the Italian Opera,83-117CHAPTER IV.ELOPEMENT FROM THE SERAGLIO—FIGARO—DON GIOVANNI.Opinions on the Idomeneo—Tired of Salzburg—Goes to Vienna—The Archbishop Again—Mozart Treated by Him with Indignity—Paternal Reproaches—Assailed by Slander—He Leaves Salzburg—Experiences in Vienna—Austrian Society—The German Stage—The Emperor Expresses a Wish that Mozart might Write a New Opera—Mozart’s Love for Constance Weber—Description of Constance—The New Opera—Mozart’s Marriage—The Emperor’s Opinion of Mozart’s Music—Mozart’s Interest In the Figaro—Its Composition—Its Success—Mozart’s Poverty—In Bohemia—His Popularity in Prague—Meaning of the Don Giovanni—Richard Wagner on Mozart,118-180CHAPTER V.THE MAGIC FLUTE—TITUS—THE REQUIEM.Haydn’s Opinion of Mozart—Made Court Composer by Joseph II—Don Giovanni in Vienna—Mozart’s Extreme Poverty—His Cheerfulness under Adverse Circumstances—“The Song of the Swan”—Other Compositions—Mozart’s Opinion of Handel—Acquaintance with Sebastian Bach—Mozart’s Opinion of Church Music—Mozart’s Characteristics—Audience with the Emperor—Petition to His Imperial Majesty—His Religious Feelings—Joins the Free Masons—History of the Magic Flute—The Mysterious Stranger—The Requiem—Success of the Magic Flute—Mozart as Reflected in his Music—His Industry—Last Illness—Strange Fancies—His Last Days—His Death,181-236