THE LETTERS OF WOLFGANG AMADEUS MOZART. (1769-1791.) TRANSLATED, FROM THE COLLECTION OF LUDWIG NOHL, BY LADY WALLACE. WITH A PORTRAIT AND FACSIMILE IN TWO VOLUMES. VOL. I. New York and Philadelphia: 1866.
TABLE OF CONTENTS
PREFACE THE LETTERS OF W.A. MOZART, VOLUME I
FIRST PART: ITALY/VIENNA/MUNICH 1770-1776 SECOND PART: MUNICH/AUGSBURG/MANNHEIM SEPT. 1777-MARCH 1778 THIRD PART: PARIS MARCH 1778-JANUARY 1779 FOURTH PART: MUNICH/IDOMENEO NOVEMBER 1780-JANUARY 1781
CONTENTS OF VOLUME I. [LETTERS LISTED BY DATE]
A full and authentic edition of Mozart's Letters ought to require no special apology; for, though their essential substance has already been made known by quotations from biographies by Nissen, Jahn, and myself, taken from the originals, still in these three works the letters are necessarily not only very imperfectly given, but in some parts so fragmentary, that the peculiar charm of this correspondence—namely, the familiar and confidential mood in which it was written at the time—is entirely destroyed. It was only possible to restore, and to enable others to enjoy this charm—a charm so novel, even to those already conversant with Mozart's life, that the most familiar incidents acquire fresh zest from it—by an ungarbled edition of these letters. This is what I now offer, feeling convinced that it will be welcome not only to the mass of Mozart's admirers, but also to professional musicians; for in them alone is strikingly set forth how Mozart lived and labored, enjoyed and suffered, and this with a degree of vivid and graphic reality which no biography, however complete, could ever succeed in giving. Who does not know the varied riches of Mozart's life? All that agitated the minds of men in that day—nay, all that now moves, and ever will move, the heart of man—vibrated with fresh pulsation, and under the most manifold forms, in his sensitive soul, and mirrored itself in a series of letters, which indeed rather resemble a journal than a correspondence.
This artist, Nature had gifted in all respects with the most clear and vigorous intellect that ever man possessed. Even in a language which he had not so fully mastered as to acquire the facility of giving expression to his ideas, he contrived to relate to others all that he saw and heard, and felt and thought, with surprising clearness and the most charming sprightliness, combined with talent and good feeling. Above all, in his letters to his father when travelling, we meet with the most minute delineations of countries and people, of the progress of the fine arts, especially in the theatres and in music; we also see the impulses of his own heart and a hundred other things which, in fascination, and universal as well as artistic interest, have scarcely a parallel in our literature. The style may fail to a certain degree in polish, that is, in definite purpose in expressing what he wished to say in an attractive or congenial form,—an art, however, which Mozart so thoroughly understood in his music. His mode of writing, especially in the later letters from Vienna, is often very slovenly, evidencing how averse the Maestro was to the task. Still these letters are manifestly the unconstrained, natural, and simple outpourings of his heart, delightfully recalling to our minds all the sweetness and pathos, the spirit and grace, which have a thousand times enchanted us in the music of Mozart. The accounts of his visit to Paris may, indeed, lay claim to a certain aesthetic value, for they are written throughout with visible zest in his own descriptions, and also with wit, and charm, and characteristic energy. As these combined merits can only become apparent by an ungarbled series of the letters, I have resolved, after many long years of zealous research in collecting them, to undertake the work,—that is, to publish the letters entire that have come to my knowledge.
It now only remains for me to give some words of explanation as to the method I have pursued in editing them.
In the first place, this edition, (being transcribed closely from the originals,) if compared with the letters already published, will prove that the latter are open to many corrections, both in trivial and more important respects. I have forborne, however, attracting attention to the deviations from the original text, either in Nissen or Jahn. I have no wish to be punctilious about trifles, where, as in the case of Jahn, the principal points are correct. Further, by this faithful production of the letters, (nothing being omitted but the constant repetition of forms of greeting and subscription,) we find many an additional feature in the Maestro's life, and chiefly various facts with regard to the creation and publication of his works, which may serve to complete and to amend various statements in Dr. Ludwig Ritter von Kochel's "Chronological Thematic Catalogue of the Musical Compositions of W. A. Mozart," (Leipzig, Breitkopf and Hartel). This will be effected not only by the hitherto unpublished letters, though comparatively few in number, but also by passages being given in full, which have been hitherto suppressed as of no consequence. I have referred to Nissen and Jahn only when, in spite of all my inquiries, I could not discover the proprietor of the original, or procure a correct copy.
I must also remark that all letters without a special address are written to his father. I have only adhered to Mozart's defective orthography in his few letters of early date, and in the rest adopted the more modern fashion. I did so for this simple reason, that these defects form a charm in his juvenile letters, from being in accordance with their boyish contents, while, with regard to the others, they only tend to distract the attention from the substance of the letters, instead of imparting additional interest to them. Biographers can, and ought always to render faithfully the original writing, because quotations alternate with the text of the biographer; but in a regular and uninterrupted series of letters this attraction must be very sparingly used, or it will have a pernicious effect.
The explanatory remarks, and also the supplementary Lexicon, in which I have availed myself of Jahn's catalogue, will make the letters more intelligible to the world at large. The Index, too, has been most carefully prepared to facilitate references.
Lastly, I return my best thanks to the keeper of the Archives of the Mozarteum in Salzburg, to Herr Jellinck, and to all the librarians and collectors of autographs who have assisted me in my task, either by furnishing me with copies of their Mozart letters, or by letting me know where I could procure them. I would also earnestly request all who may possess any Mozart letters to send me an exact transcript of them in the interest of Art; for those here given allude to many still unknown, which are no doubt scattered about here and there, waiting to be brought to light.
With respect to myself, the best reward I aspire to in return for the many sacrifices this collection has cost me, is, that my readers may do justice to the purpose which chiefly guided me throughout this publication,—my desire being not merely to benefit science, and to give a graphic description of the amiability and purity of heart which so distinguished this attractive man, (for such was my aim in my "Life of Mozart,") but above all to draw attention afresh to the unremitting zeal with which Mozart did homage to every advance in Art, striving to make music more and more the interpreter of man's innermost being. I also wished to show how much his course was impeded by the sluggishness and stupidity of the multitude, though partly sustained by the sympathy of kindred souls, till the glorious victory was won over routine and imbecility. Amidst all the fatiguing process of copying and collating letters already so familiar to me, these considerations moved me more vividly than ever; and no work on the Maestro can ever bring them with such force before the intelligent reader as this connected succession of letters, containing his own details of his unwearied artistic struggles and productions. May these letters, then, kindle fresh zeal in our artists of the present day, both in youthful genius and in laurel-crowned Maestri!—especially may they have the happiest influence on those who devote themselves to that phase of Art in which Mozart attained the highest renown!—may they impart that energetic courage which is derived from the experience that incessant efforts for the progress of Art and its appliances enlarge the limits of human intellect, and can alone insure an immortal crown!
MUNICH, October 1, 1864.
FIRST PART ITALY, VIENNA, MUNICH. 1770 TO 1776.
Wolfgang Amadeus Mozart was born in Salzburg on the 17th January, 1756. His father, Leopold Mozart, belonged to a respectable tradesman's family in the free city of Augsburg. Conscious of being gifted with no small portion of intellectual endowments, he followed the impulse that led him to aim at a higher position in life, and went to the then celebrated University of Salzburg in order to study jurisprudence. As he did not, however, at once succeed in procuring employment in this profession, he was forced, from his straitened means, to enter the service of Canon Count Thun as valet. Subsequently, however, his talents, and that thorough knowledge of music by which he had already (according to the custom of many students) gained some part of his livelihood, obtained for him a better position. In the year 1743 he was received into the band (Kapelle) of the Salzburg cathedral by Archbishop Sigismund; and as his capabilities and fame as a violinist increased, the same Prince shortly afterwards promoted him to the situation of Hof-Componist (Court Composer) and leader of the orchestra, and in 1762 he was appointed Hof-Kapellmeister (conductor of the Court music).
In 1747 Leopold Mozart married Anna Maria Pertlin, a foster-child of the Convent of St. Gilgen. The fruits of this marriage were seven children, two of whom alone survived,—Maria Anna, (the fourth), called Nannerl, born in 1751; and the youngest, Wolfgang Amadeus Johannes Chrysostomus. The daughter at a very early age displayed a most remarkable talent for music, and when her father began to give her instructions in it, an inborn and passionate love of this art was soon evident in her little brother of three years old, who at once gave tokens of a degree of genius far surpassing all experience, and really bordering on the marvellous. In his fourth year he could play all sorts of little pieces on the piano. He only required half an hour to learn a minuet, and one hour for a longer movement; and in his fifth year he actually composed some pretty short pieces, several of which are still extant.
[Footnote: The Grand Duchess Helene Paulowna, a few weeks ago, made a present to the Mozarteum of the music-book from which Mozart learned music, and in which he wrote down his first compositions.]
The wonderful acquirements of both these children, to which Wolfgang soon added skilful playing on the violin and organ, induced their father to travel with them. In January, 1702, when the boy was just six years old, they went first to Munich, and in the autumn to Vienna, the children everywhere on their journey exciting the greatest sensation, and being handsomely remunerated. Leopold Mozart, therefore, soon afterwards resolved to undertake a longer journey, accompanied by his whole family. This lasted more than three years, extending from the smaller towns in West Germany to Paris and London, while they visited, on their way back, Holland, France, and Switzerland. The careful musical instruction which the father perseveringly bestowed on his son, went hand in hand with the most admirable education, and the boy was soon as universally beloved for his amiable disposition and natural simplicity and candor, as admired for his rare gifts and acquirements.
After nearly a year passed at home in unremitting musical instruction, and practice of various instruments as well as composition, the father once more set off with all his family to Vienna,—on this occasion with a view to Wolfgang paving the way to Italy by the composition of an opera, (Italy, at that time, being the Eldorado of music.) He succeeded in procuring the scrittura of an opera buffa, "La Finta semplice;" but, when finished, although the Emperor himself had intrusted the composition to the boy, the cabals of envious singers effectually prevented its being performed. But a German operetta which the lad of twelve also wrote at that time, "Bastien und Bastienne," was given in private, at the summer residence of the Mesmer family, in the suburb called Landstrasse. The father, too, had some compensation by the Emperor commissioning his son to compose a solemn mass for the consecration of the new Waisenhaus church, which Wolfgang himself directed with the conductor's baton, in presence of the Imperial Family, on the 7th December, 1768.
Immediately on their return home, the young virtuoso was appointed archiepiscopal Concertmeister. He passed almost the whole of the year 1769 in Salzburg, chiefly engaged in the composition of masses. We also see him at that time eagerly occupied in improving his knowledge of Latin, although two years previously he had composed a comedy in that language,—"Apollo et Hyacinthus." From this study proceeds the first letter which is still extant from his hand:—
MY DEAR YOUNG LADY,—
I beg you will pardon the liberty I take in plaguing you with these few lines, but as you said yesterday that there was nothing you could not understand in Latin, and I might write what I chose in that language, I could not resist the bold impulse to write you a few Latin lines. When you have deciphered these, be so good as to send me the answer by one of Hagenauer's servants, for my messenger cannot wait; remember, you must answer this by a letter.
[Footnote: By a messenger of the Hagenauer family, in whose house, opposite the inn of "Den drei Allurten," Mozart was born, and with whom his family were on the most intimate terms.]
"Cuperem scire, de qua causa, a quam plurimis adolescentibus ottium usque adeo oestimetur, ut ipsi se nec verbis, nec verberibus ad hoc sinant abduci."
[Footnote: "I should like to know the reason why indolence is so highly prized by very many young men, that neither by words nor blows will they suffer themselves to be roused from it."]
The father's plan to go to Italy, there to lay the foundation of a European reputation for his son, was realized in the beginning of December, 1769, and during the journey, the boy, who was at that time just entering his fifteenth year, subjoined to his father's reports scraps of his own writing, in which, in true boyish fashion, he had recourse to all kinds of languages and witticisms, but always exhibiting in his opinions on music the closest observation, the gravest thought, and the most acute judgment.
Verona, Jan. 1770.
MY VERY DEAREST SISTER,—
I have at last got a letter a span long after hoping so much for an answer that I lost patience; and I had good cause to do so before receiving yours at last. The German blockhead having said his say, now the Italian one begins. Lei e piu franca nella lingua italiana di quel che mi ho immaginato. Lei mi dica la cagione perche lei non fu nella commedia che hanno giocata i Cavalieri. Adesso sentiamo sempre una opera titolata Il Ruggiero. Oronte, il padre di Bradamante, e un principe (il Signor Afferi) bravo cantante, un baritono, [Footnote: "You are more versed in the Italian language than I believed. Tell me why you were not one of the actors in the comedy performed by the Cavaliers. We are now hearing an opera called 'Il Ruggiero.' Oronte, the father of Bradamante, is a Prince (acted by Afferi, a good singer, a baritone)."] but very affected when he speaks out a falsetto, but not quite so much so as Tibaldi in Vienna. Bradamante innamorata di Ruggiero (ma [Footnote: "Bradamante is enamored of Ruggiero, but"]—she is to marry Leone, but will not) fa una povera Baronessa, che ha avuto una gran disgrazia, ma non so la quale; recita [Footnote: "Pretends to be a poor Baroness who has met with some great misfortune, but what it is I don't know, she performs"] under an assumed name, but the name I forget; ha una voce passabile, e la statura non sarebbe male, ma distuona come il diavolo. Ruggiero, un ricco principe innamorato di Bradamante, e un musico; canta un poco Manzuolisch [Footnote: Manzuoli was a celebrated soprano, from whom Mozart had lessons in singing when in London.] ed ha una bellissima voce forte ed e gia vecchio; ha 55 anni, ed ha una [Footnote: "She has a tolerable voice, and her appearance is in her favor, but she sings out of tune like a devil Ruggiero, a rich Prince enamored of Bradamante, is a musico, and sings rather in Manzuoli's style, and has a fine powerful voice, though quite old; he is fifty-five, and has a"] flexible voice. Leone is to marry Bradamante—richississimo e, [Footnote: "Immensely rich."] but whether he is rich off the stage I can't say. La moglie di Afferi, che ha una bellissima voce, ma e tanto susurro nel teatro che non si sente niente. Irene fa una sorella di Lolli, del gran violinista che habbiamo sentito a Vienna, a una [Footnote: "Afferi's wife has a most beautiful voice, but sings so softly on the stage that you really hear nothing at all. A sister of Lolli, the great violinist whom we heard at Vienna, acts Irene; she has a"] very harsh voce, e canta sempre [Footnote: "Voice, and always sings"] a quaver too tardi o troppo a buon' ora. Granno fa un signore, che non so come si chiame; e la prima volta che lui recita. [Footnote: "Slow or too fast. Ganno is acted by a gentleman whose name I never heard. It is his first appearance on the stage."] There is a ballet between each act. We have a good dancer here called Roessler. He is a German, and dances right well. The very last time we were at the opera (but not, I hope, the very last time we ever shall be there) we got M. Roessler to come up to our palco, (for M. Carlotti gives us his box, of which we have the key,) and conversed with him. Apropos, every one is now in maschera, and one great convenience is, that if you fasten your mask on your hat you have the privilege of not taking off your hat when any one speaks to you; and you never address them by name, but always as "Servitore umilissimo, Signora Maschera." Cospetto di Bacco! that is fun! The most strange of all is that we go to bed at half-past seven! Se lei indovinasse questo, io diro certamente che lei sia la madre di tutti gli indovini. [Footnote: "If you guess this, I shall say that you are the mother of all guessers."] Kiss mamma's hand for me, and to yourself I send a thousand kisses, and assure you that I shall always be your affectionate brother.
Portez-vous bien, et aimez-moi toujours.
Milan, Jan. 26, 1770.
I REJOICE in my heart that you were so well amused at the sledging party you write to me about, and I wish you a thousand opportunities of pleasure, so that you may pass your life merrily. But one thing vexes me, which is, that you allowed Herr von Molk [an admirer of this pretty young girl of eighteen] to sigh and sentimentalize, and that you did not go with him in his sledge, that he might have upset you. What a lot of pocket- handkerchiefs he must have used that day to dry the tears he shed for you! He no doubt, too, swallowed at least three ounces of cream of tartar to drive away the horrid evil humors in his body. I know nothing new except that Herr Gellert, the Leipzig poet, [Footnote: Old Mozart prized Gellert's poems so highly, that on one occasion he wrote to him expressing his admiration.] is dead, and has written no more poetry since his death. Just before beginning this letter I composed an air from the "Demetrio" of Metastasio, which begins thus, "Misero tu non sei."
The opera at Mantua was very good. They gave "Demetrio." The prima donna sings well, but is inanimate, and if you did not see her acting, but only singing, you might suppose she was not singing at all, for she can't open her mouth, and whines out everything; but this is nothing new to us. The seconda donna looks like a grenadier, and has a very powerful voice; she really does not sing badly, considering that this is her first appearance. Il primo uomo, il musico, sings beautifully, but his voice is uneven; his name is Caselli. Il secondo uomo is quite old, and does not at all please me. The tenor's name is Ottini; he does not sing unpleasingly, but with effort, like all Italian tenors. We know him very well. The name of the second I don't know; he is still young, but nothing at all remarkable. Primo ballerino good; prima ballerina good, and people say pretty, but I have not seen her near. There is a grotesco who jumps cleverly, but cannot write as I do—just as pigs grunt. The orchestra is tolerable. In Cremona, the orchestra is good, and Spagnoletta is the name of the first violinist there. Prima donna very passable —rather ancient, I fancy, and as ugly as sin. She does not sing as well as she acts, and is the wife of a violin-player at the opera. Her name is Masci. The opera was the "Clemenza di Tito." Seconda donna not ugly on the stage, young, but nothing superior. Primo uomo, un musico, Cicognani, a fine voice, and a beautiful cantabile. The other two musici young and passable. The tenor's name is non lo so [I don't know what]. He has a pleasing exterior, and resembles Le Roi at Vienna. Ballerino primo good, but an ugly dog. There was a ballerina who danced far from badly, and, what is a capo d'opera, she is anything but plain, either on the stage or off it. The rest were the usual average. I cannot write much about the Milan opera, for we did not go there, but we heard that it was not successful. Primo uomo, Aprile, who sings well, and has a fine even voice; we heard him at a grand church festival. Madame Piccinelli, from Paris, who sang at one of our concerts, acts at the opera. Herr Pick, who danced at Vienna, is now dancing here. The opera is "Didone abbandonata," but it is not to be given much longer. Signor Piccini, who is writing the next opera, is here. I am told that the title is to be "Cesare in Egitto."
WOLFGANG DE MOZART,
Noble of Hohenthal and attached to the Exchequer.
Milan, Feb. 10, 1770.
SPEAK of the wolf, and you see his ears! I am quite well, and impatiently expecting an answer from you. I kiss mamma's hand, and send you a little note and a little kiss; and remain, as before, your——What? Your aforesaid merry-andrew brother, Wolfgang in Germany, Amadeo in Italy.
Milan, Feb. 17, 1770.
Now I am in for it! My Mariandel! I am so glad that you were so tremendously merry. Say to nurse Urserl that I still think I sent back all her songs, but if, engrossed by high and mighty thoughts of Italy, I carried one off with me, I shall not fail, if I find it, to enclose it in one of my letters. Addio, my children, farewell! I kiss mamma's hands a thousand times, and send you a thousand kisses and salutes on your queer monkey face. Per fare il fine, I am yours, &c.
Milan, Carnival, Erchtag.
MANY kisses to mamma and to you. I am fairly crazed with so much business, [Footnote: Concerts and compositions of every kind occupied Mozart. The principal result of his stay in Milan was, that the young maestro got the scrittura of an opera for the ensuing season. As the libretto was to be sent to them, they could first make a journey through Italy with easy minds. The opera was "Mitridate, Re di Ponto."] so I can't possibly write any more.
Milan, March 3, 1770.
CARA SORELLA MIA,—
I am heartily glad that you have had so much amusement. Perhaps you may think that I have not been as merry as you; but, indeed, I cannot sum up all we have done. I think we have been at least six or seven times at the opera and the feste di ballo, which, as in Vienna, begin after the opera, but with this difference, that at Vienna the dancing is more orderly. We also saw the facchinata and chiccherata. The first is a masquerade, an amusing sight, because the men go as facchini, or porters; there was also a barca filled with people, and a great number on foot besides; and five or six sets of trumpets and kettledrums, besides several bands of violins and other instruments. The chiccherata is also a masquerade. What the people of Milan call chicchere, we call petits maitres, or fops. They were all on horseback, which was a pretty sight. I am as happy now to hear that Herr von Aman [Footnote: The father had written in a previous letter, "Herr von Aman's accident, of which you wrote to us, not only distressed us very much, but cost Wolfgang many tears. You know how sensitive he is"] is better, as I was grieved when you mentioned that he had met with an accident. What kind of mask did Madame Rosa wear, and Herr von Molk, and Herr von Schiedenhofen? Pray write this to me, if you know it; your doing so will oblige me very much. Kiss mamma's hands for me a thousand million times, and a thousand to yourself from "Catch him who can!" Why, here he is!
Bologna, March 24, 1770.
Oh, you busy creature!
Having been so long idle, I thought it would do me no harm to set to work again for a short time. On the post-days, when the German letters come, all that I eat and drink tastes better than usual. I beg you will let me know who are to sing in the oratorio, and also its title. Let me hear how you like the Haydn minuets, and whether they are better than the first. From my heart I rejoice to hear that Herr von Aman is now quite recovered; pray say to him that he must take great care of himself and beware of any unusual exertion. Be sure you tell him this. I intend shortly to send you a minuet that Herr Pick danced on the stage, and which every one in Milan was dancing at the feste di ballo, only that you may see by it how slowly people dance. The minuet itself is beautiful. Of course it comes from Vienna, so no doubt it is either Teller's or Starzer's. It has a great many notes. Why? Because it is a theatrical minuet, which is in slow time. The Milan and Italian minuets, however, have a vast number of notes, and are slow and with a quantity of bars; for instance, the first part has sixteen, the second twenty, and even twenty-four.
We made the acquaintance of a singer in Parma, and also heard her to great advantage in her own house—I mean the far-famed Bastardella. She has, first, a fine voice; second, a flexible organ; third, an incredibly high compass. She sang the following notes and passages in my presence.
[Here, Mozart illustrates with about 20 measures of music]
Rome, April 14, 1770.
I AM thankful to say that my stupid pen and I are all right, so we send a thousand kisses to you both. I wish that my sister were in Rome, for this city would assuredly delight her, because St. Peter's is symmetrical, and many other things in Rome are also symmetrical. Papa has just told me that the loveliest flowers are being carried past at this moment. That I am no wiseacre is pretty well known.
Oh! I have one annoyance—there is only a single bed in our lodgings, so mamma may easily imagine that I get no rest beside papa. I rejoice at the thoughts of a new lodging. I have just finished sketching St. Peter with his keys, St. Paul with his sword, and St. Luke with—my sister, &c., &c. I had the honor of kissing St. Peter's foot at San Pietro, and as I have the misfortune to be so short, your good old
was lifted up!
Rome, April 21, 1770.
CARA SORELLA MIA,—
Pray try to find the "Art of Ciphering" which you copied out, but I have lost it, and know nothing about it. So pray do write it out again for me, with some other copies of sums, and send them to me here.
Manzuoli has entered into a contract with the Milanese to sing in my opera [see Nos. 2-6]. For this reason he sang four or five arias to me in Florence, and also some of my own, which I was obliged to compose in Milan (none of my theatrical things having been heard there) to prove that I was capable of writing an opera. Manzuoli asks 1000 ducats. It is not yet quite certain whether Gabrielli will come. Some say Madame de' Amicis will sing in it; we shall see her in Naples. I wish that she and Manzuoli could act together; we should then be sure of two good friends. The libretto is not yet chosen. I recommended one of Metastasio's to Don Ferdinando [Count Firmiani's steward, in Milan] and to Herr von Troyer. I am at this moment at work on the aria "Se ardore e speranza."
Rome, April 25, 1770.
CARA SORELLA MIA,—
Io vi accerto che io aspetto con una incredibile premura tutte le giornate di posta qualche lettere di Salisburgo. Jeri fummo a S. Lorenzo e sentimmo il Vespero, e oggi matina la messa cantata, e la sera poi il secondo vespero, perche era la festa della Madonna del Buonconsiglio. Questi giorni fummi nel Campidoglio e viddemmo varie belle cose. Se io volessi scrivere tutto quel che viddi, non bastarebbe questo foglietto. In due Accademie suonai, e domani suonero anche in una.—Subito dopo pranzo giuochiamo a Potsch [Boccia]. Questo e un giuoco che imparai qui, quando verro a casa, ve l'imparero. Finita questa lettera finiro una sinfonia mia, che comminciai. L'aria e finita, una sinfonia e dal copista (il quale e il mio padre) perche noi non la vogliamo dar via per copiarla; altrimente ella sarebbe rubata.
WOLFGANGO in Germania. AMADEO MOZART in Italia.
Roma caput mundi il 25 Aprile anno 1770 nell' anno venture 1771.
[Footnote: "DEAREST SISTER,—"I assure you that I always expect with intense eagerness my letters from Salzburg on post-days. Yesterday we were at S. Lorenzo and heard vespers, and to-day at the chanted mass, and in the evening at the second vespers, because it was the Feast of the Madonna del Buonconsiglio. A few days ago we were at the Campidoglio, where we saw a great many fine things. If I tried to write you an account of all I saw, this sheet would not suffice. I played at two concerts, and to- morrow I am to play at another. After dinner we played at Potsch [Boccia]. This is a game I have learnt, and when I come home, I will teach it to you. When I have finished this letter, I am going to complete a symphony that I have begun. The aria is finished. The copyist (who is my father) has the symphony, because we do not choose it to be copied by any one else, or it might be stolen.
"WOLFGANGO in Germany.
"AMADEO MOZART in Italy.
"Rome, mistress of the world: April 25, 1770."]
Naples, May 19, 1770.
CARA SORELLA MIA,—
Vi prego di scrivermi presto e tutti i giorni di posta. Io vi ringrazio di avermi mandata questi "Art of Ciphering," [FOOTNOTE: "I beg you will write to me soon, indeed every post-day. I thank you for having sent me the 'Art of Ciphering.'"] e vi prego, se mai volete avere mal di testa, di mandarmi ancora un poco di questi "books." [FOOTNOTE: "And I beg if you ever want to have a headache, that you will send me some more."] Perdonate mi che scrivo si malamente, ma la razione e perche anche io ebbi un poco mal di testa. [FOOTNOTE: "of the same kind. Excuse my writing so badly, but the reason is that I have a bit of a headache myself."]
Haydn's twelfth minuet, which you sent me, pleases me very much; you have composed an inimitable bass for it, and without the slightest fault. I do beg that you will often exercise yourself in such things. Mamma must not forget to see that the guns are both polished up. Tell me how Master Canary is? Does he still sing? and still whistle? Do you know why I am thinking about the canary? Because we have one in our ante-room that chirps out a G sharp just like ours. [Footnote: Mozart was extremely fond of animals, and later in life had always birds in his room.] A propos, Herr Johannes [Hagenauer], no doubt, received the letter of congratulation which we intended to write to him? But if he has not got it, I will tell him myself, when we meet in Salzburg, what ought to have been in it. Yesterday we wore our new clothes; we were as handsome as angels. My kind regards to Nandl; she must not fail to pray diligently for me.
Jomelli's opera is to be given on the 30th. We saw the king and queen at mass in the court chapel at Portici, and we also saw Vesuvius. Naples is beautiful, but as crowded with people as Vienna or Paris. As for London and Naples, I think that in point of insolence on the part of the people Naples almost surpasses London; because here the lazzaroni have their regular head or leader, who receives twenty-five ducati d'argento monthly from the king for keeping the lazzaroni in order.
Madame de' Amicis sings in the opera—we were there. Caffaro is to compose the second opera, Ciccio di Majo the third, but who is to compose the fourth is not yet known. Be sure you go regularly to Mirabell, to hear the Litanies, and listen to the "Regina Coeli" or the "Salve Regina," and sleep sound, and take care to have no evil dreams. My most transcendent regards to Herr von Schiedenhofen—tralaliera! tralaliera! Tell him to learn the repetition minuet on the piano, to be sure to DO so, and DO not let him forget it. He must DO this in order to DO me the favor to let me accompany him some day or other. DO give my best compliments to all my friends, and DO continue to live happily, and DO not die, but DO live on, that you may be able to DO another letter for me, and I DO one for you, and thus we shall go on DOING till we can DO something worth DOING; but I am one of those who will go on DOING till all DOINGS are at an end. In the mean time I DO subscribe myself
Your W. M.
Naples, May 29, 1770.
Jeri l'altro fummo nella prova dell' opera del Sign. Jomelli, la quale e una opera che e ben scritta e che me piace veramente. Il Sign. Jomelli ci ha parlato ed era molto civile. E fummo anche in una chiesa a sentir una Musica la quale fu del Sign. Ciccio di Majo, ed era una bellissima Musica. Anche lui ci parlci ed era molto compito. La Signora de' Amicis canto a meraviglia. Stiamo Dio grazia assai bene di salute, particolarmente io, quando viene una lettera di Salisburgo. Vi prego di scrivermi tutti giorni di posta, e se anche non avete niente da scrivermi, solamente vorrei averlo per aver qualche lettera tutti giorni di posta. Egli non sarebbe mal fatto, se voi mi scriveste qualche volta una letterina italiana.
[FOOTNOTE: "The other day we attended the rehearsal of Signor Jomelli's opera, which is well written and pleases me exceedingly. Signor Jomelli spoke to us and was very civil. We also went to a church to hear a mass by Signor Ciccio di Majo, and it was most beautiful music. Signora de' Amicus sang incomparably. We are, thank God, very well, and I feel particularly so when a letter from Salzburg arrives. I beg you will write to me every post-day, even if you have nothing to write about, for I should like to have a letter by every post. It would not be a bad idea to write me a little letter in Italian."]
Naples, June 5, 1770.
Vesuvius is smoking fiercely! Thunder and lightning and blazes! Haid homa gfresa beim Herr Doll. Das is a deutscha Compositor, und a browa Mo. [Footnote: "Today we dined with Herr Doll, he is a good composer and a worthy man" [Vienna Patois]] Now I begin to describe my course of life.—Alle 9 ore, qualche volta anche alle dieci mi svelgio, e poi andiamo fuor di casa, e poi pranziamo da un trattore, e dopo pranzo scriviamo, e poi sortiamo, e indi ceniamo, ma che cosa? Al giorno di grasso, un mezzo pollo ovvero un piccolo boccone d'arrosto; al giorno di magro un piccolo pesce; e di poi andiamo a dormire. Est-ce que vous avez compris? —Redma dafir Soisburgarisch, don as is gschaida. Wir sand Gottlob gesund da Voda und i. [Footnote: "I rise generally every morning at 9 o'clock, but sometimes not till 10, when we go out. We dine at a restaurateur's, after dinner I write, and then we go out again, and afterwards sup, but on what? on jours gras, half a fowl, or a small slice of roast meat, on jours maigres a little fish, and then we go to sleep. Do you understand? Let us talk Salzburgisch, for that is more sensible. Thank God, my father and I are well" [Patois]] I hope you and mamma are so also. Naples and Rome are two drowsy cities. A scheni Schrift! net wor? [Footnote: "Fine writing, is it not?" [Patois.]] Write to me, and do not be so lazy. Altrimente avrete qualche bastonate di me. Quel plaisir! Je te casserai la tete. [Footnote: "Otherwise I will cudgel you soundly. What a pleasure—to break your head!"] I am delighted with the thoughts of the portraits [of his mother and sister, who had promised to have their likenesses taken], und i bi korios wias da gleich sieht; wons ma gfoin, so los i mi und den Vodan a so macho. Maidli, lass Da saga, wo list dan gwesa he? [Footnote: "And I am anxious to see what they are like, and then I will have my father and myself also taken. Fair maiden, say, where have you been, eh?" [Patois.]] The opera here is Jomelli's; it is fine, but too grave and old-fashioned for this stage. Madame de' Amicis sings incomparably, and so does Aprile, who used to sing at Milan. The dancing is miserably pretentious. The theatre beautiful. The King has been brought up in the rough Neapolitan fashion, and at the opera always stands on a stool, so that he may look a little taller than the Queen, who is beautiful and so gracious, for she bowed to me in the most condescending manner no less than six times on the Molo.
Naples, June 16, 1770.
I AM well and lively and happy as ever, and as glad to travel. I made an excursion on the Mediterranean. I kiss mamma's hand and Nannerl's a thousand times, and am your son, Steffl, and your brother, Hansl.
Rome, July 7, 1770.
CARA SORELLA MIA,—
I am really surprised that you can compose so charmingly. In a word, the song is beautiful. Often try something similar. Send me soon the other six minuets of Haydn. Mademoiselle, j'ai l'honneur d'etre votre tres-humble serviteur et frere,
CHEVALIER DE MOZART.
[He had received from the Pope the cross of the Order of the Golden Spur.]
Bologna, July 21, 1770.
I WISH mamma joy of her name-day, and hope that she may live for many hundred years to come and retain good health, which I always ask of God, and pray to Him for you both every day. I cannot do honor to the occasion except with some Loretto bells, and wax tapers, and caps, and gauze when I return. In the mean time, good-bye, mamma. I kiss your hand a thousand times, and remain, till death, your attached son.
Io vi auguro d'Iddio, vi dia sempre salute, e vi lasci vivere ancora cent' anni e vi faccia morire quando avrete mille anni. Spero che voi impararete meglio conoscermi ni avvenire e che poi ne giudicherete come ch' egli vi piace. Il tempo non mi permette di scriver motto. La penna non vale un corno, ne pure quello che la dirigge. Il titolo dell' opera che ho da comporre a Milano, non si sa ancora.
[Footnote: "My prayer to God is, that He may grant you health, and allow you to live to be a hundred, and not to die till you are a thousand years old. I hope that you will learn to know me better in future, and that you will then judge of me as you please. Time does not permit me to write much. My pen is not worth a pin, nor the hand that guides it. I don't yet know the title of the opera that I am to compose at Milan."]
My landlady at Rome made me a present of the "Thousand and One Nights" in Italian; it is most amusing to read.
Bologna, August 4, 1770.
I GRIEVE from my heart to hear that Jungfrau Marthe is still so ill, and I pray every day that she may recover. Tell her from me that she must beware of much fatigue and eat only what is strongly salted [she was consumptive]. A propos, did you give my letter to Robinsiegerl? [Sigismund Robinig, a friend of his]. You did not mention it when you wrote. I beg that when you see him you will tell him he is not quite to forget me. I can't possibly write better, for my pen is only fit to write music and not a letter. My violin has been newly strung, and I play every day. I only mention this because mamma wished to know whether I still played the violin. I have had the honor to go at least six times by myself into the churches to attend their splendid ceremonies. In the mean time I have composed four Italian symphonies [overtures], besides five or six arias, and also a motett.
Does Herr Deibl often come to see you? Does he still honor you by his amusing conversation? And the noble Herr Carl von Vogt, does he still deign to listen to your tiresome voices? Herr von Schiedenhofen must assist you often in writing minuets, otherwise he shall have no sugar-plums.
If time permitted, it would be my duty to trouble Herr von Molk and Herr von Schiedenhofen with a few lines; but as that most indispensable of all things is wanting, I hope they will forgive my neglect, and consider me henceforth absolved from this honor. I have begun various cassations [a kind of divertimento], so I have thus responded to your desire. I don't think the piece in question can be one of mine, for who would venture to publish as his own composition what is, in reality, written by the son of the Capellmeister, and whose mother and sister are in the same town? Addio—farewell! My sole recreations consist in dancing English hornpipes and cutting capers. Italy is a land of sleep; I am always drowsy here. Addio—good-bye!
Bologna, August 21, 1770.
I AM not only still alive, but in capital spirits. To-day I took a fancy to ride a donkey, for such is the custom in Italy, so I thought that I too must give it a trial. We have the honor to associate with a certain Dominican who is considered a very pious ascetic. I somehow don't quite think so, for he constantly takes a cup of chocolate for breakfast, and immediately afterwards a large glass of strong Spanish wine; and I have myself had the privilege of dining with this holy man, when he drank a lot of wine at dinner and a full glass of very strong wine afterwards, two large slices of melons, some peaches and pears for dessert, five cups of coffee, a whole plateful of nuts, and two dishes of milk and lemons. This he may perhaps do out of bravado, but I don't think so—at all events, it is far too much; and he eats a great deal also at his afternoon collation.
Bologna, Sept. 8, 1770.
NOT to fail in my duty, I must write a few words. I wish you would tell me in your next letter to what brotherhoods I belong, and also let me know the prayers I am bound to offer up for them. I am now reading "Telemachus," and am already in the second volume. Good-bye for the present! Love to mamma.
I HOPE that mamma and you are both well, but I wish you would answer my letters more punctually in time to come; indeed, it is far easier to answer than to originate. I like these six minuets far better than the first twelve; we often played them to the Countess [Pallivicini, at whose country-seat, near Bologna, father and son spent some months]. We only wish we could succeed in introducing a taste for German minuets into Italy, as their minuets last nearly as long as entire symphonies. Forgive my bad writing; I could write better, but I am in such a hurry.
Bologna, Sept. 29, 1770.
IN order to fill up papa's letter, I intend to add a few words. I grieve deeply to hear of Jungfrau Marthe's long-continued illness, which the poor girl bears, too, with such patience. I hope, please God, she may still recover. If not, we must not grieve too much, for the will of God is always best, and God certainly knows better than we do whether it is most for our good to be in this world or in the next. But it will cheer her to enjoy this fine weather once more after all the rain.
Bologna, Oct. 6, 1770.
I AM heartily glad that you have been so gay; I only wish I had been with you. I hope Jungfrau Marthe is better. To-day I played the organ at the Dominicans. Congratulate the .... from me, and say that I sincerely wish they may live to see the fiftieth anniversary of Father Dominikus's saying mass, and that we may all once more have a happy meeting.
[Footnote: Jahn observes that he probably alludes to their intimate friends, the merchant Hagenauer's family, with whom old Mozart had many pecuniary transactions for the purpose of his travels, and whose son entered the church in 1764.]
My best wishes to all Thereserls, and compliments to all my friends in the house and out of the house. I wish I were likely soon to hear the Berchtesgadner symphonies, and perhaps blow a trumpet or play a fife in one myself. I saw and heard the great festival of St. Petronius in Bologna. It was fine, but long. The trumpeters came from Lucca to make the proper flourish of honor, but their trumpeting was detestable.
Milan, Oct. 20, 1770.
MY DEAR MAMMA,—
I cannot write much, for my fingers ache from writing out such a quantity of recitative. I hope you will pray for me that my opera ["Mitridate Re di Ponto"] may go off well, and that we soon may have a joyful meeting. I kiss your hands a thousand times, and have a great deal to say to my sister; but what? That is known only to God and myself. Please God, I hope soon to be able to confide it to her verbally; in the mean time, I send her a thousand kisses. My compliments to all kind friends. We have lost our good Martherl, but we hope that by the mercy of God she is now in a state of blessedness.
Milan, Oct. 27, 1770.
MY VERY DEAREST SISTER,—
You know that I am a great talker, and was so when I left you. At present I replace this very much by signs, for the son of this family is deaf and dumb. I must now set to work at my opera. I regret very much that I cannot send you the minuet you wish to have, but, God willing, perhaps about Easter you may see both it and me. I can write no more.—Farewell! and pray for me.
Milan, Nov. 3, 1770.
MY VERY DEARLY LOVED SISTER,—
I thank you and mamma for your sincere good wishes; my most ardent desire is to see you both soon in Salzburg. In reference to your congratulations, I may say that I believe Herr Martinelli suggested your Italian project. My dear sister, you are always so very clever, and contrived it all so charmingly that, just underneath your congratulations in Italian, followed M. Martini's compliments in the same style of penmanship, so that I could not possibly find you out; nor did I do so, and I immediately said to papa, "Oh! how I do wish I were as clever and witty as she is!" Then papa answered, "Indeed, that is true enough." On which I rejoined, "Oh! I am so sleepy;" so he merely replied, "Then stop writing." Addio! Pray to God that my opera may be successful. I am your brother,
whose fingers are weary from writing.
Milan, Dec. 1, 1770.
As it is so long since I wrote to you, I thought that I might perhaps pacify your just wrath and indignation by these lines. I have now a great deal to work at, and to write for my opera. I trust all will go well, with the help of God. Addio! As ever, your faithful brother,
MY DARLING SISTER,—
It is long since I have written to you, having been so much occupied with my opera. As I have now more time, I shall attend better to my duty. My opera, thank God, is popular, as the theatre is full every evening, which causes great surprise, for many say that during all the time they have lived in Milan they never saw any first opera so crowded as on this occasion. I am thankful to say that both papa and I are quite well, and I hope at Easter to have an opportunity of relating everything to mamma and you. Addio! A propos, the copyist was with us yesterday, and said that he was at that moment engaged in transcribing my opera for the Lisbon court. Good-bye, my dear Madlle. sister,
Always and ever your attached brother.
Venice, Feb 15, 1771
MY VERY DEAR SISTER,—
You have, no doubt, heard from papa that I am well. I have nothing to write about, except my love and kisses to mamma. Give the enclosed—Al sig. Giovanni. La signora perla ricono la riverisce tanto come anche tutte le altre perle, e li assicuro che tutte sono inamorata di lei, e che sperano che lei prendera per moglie tutte, come i Turchi per contenar tutte sei. Questo scrivo in casa di Sign. Wider, il quale e un galant' uomo come lei melo scrisse, ed jeri abbiamo finito il carnavale da lui, cenardo da lui e poi ballammo ed andammo colle perle in compagnie nel ridotto nuovo, che mi piacque assai. Quando sto dal Sign. Wider e guardando fuori della finestra vedo la casa dove lei abito quando lei fu in Venezia. Il nuovo non so niente. Venezia mi piace assai. Il mio complimento al Sign., suo padre e madre, sorelle, fratelli, e a tutti i miei amici ed amiche. Addio!
[Footnote: "To Herr Johannes [Hagenauer] The fair 'pearl' has the same high opinion of you that all the other 'pearls' here have. I assure you that they are all in love with you, and their hope is that you will marry them all (like the Turks), and so please them every one. I write this in the house of Signor Wider, who is an excellent man and exactly what you wrote to me, yesterday we finished the Carnival in his house. We supped there and then danced, and went afterwards, in company with the 'pearls,' to the new masquerade, which amused me immensely. When I look out of the window at Signor Wider's, I see the house that you inhabited in Venice. I have no news. I like Venice very well. My compliments to your father and mother, brothers and sisters, and all my friends. Adieu!"]
Venice, Feb. 20, 1771.
I AM still well, and, thank God, in the land of the living. Madame de' Amicis has been singing at S. Benedetto. Say to Herr Johannes that the Widerischen Berlein family are constantly speaking of him (particularly Madlle. Catherine), so he must soon return to Vienna to encounter the attacca—that is, in order to become a true Venetian, you must allow yourself to be bumped down on the ground. They wished to do this to me also, but though seven women tried it, the whole seven together did not succeed in throwing me down. Addio!
The travellers arrived again at home towards the end of March, 1771. The marriage of the Archduke Ferdinand with the Princess of Modena, which took place in the October of that year, was attended with great festivities, and recalled the father and son to Italy in the course of a few months, Wolfgang having received a command from the Empress Maria Theresa to compose a dramatic serenata in honor of these nuptials.
Verona, August 18, 1771.
I have not slept more than half an hour, for I don't like to sleep after eating. You may hope, believe, think, be of opinion, cherish the expectation, desire, imagine, conceive, and confidently suppose, that we are in good health; but I can tell you so to a certainty. Wish Herr von Heffner a happy journey from me, and ask him if he has seen Annamindl?
[Wolfgang, who was then fifteen, had taken advantage of his leisure during their short stay in Salzburg to fall in love for the first time. We shall find frequent allusions to this subject. See also No. 25.]
Milan, August 23, 1771.
MY VERY DEAR SISTER,—
We suffered much from heat in the course of our journey, and the dust constantly dried us up so impertinently that we should have been choked, or died of thirst, if we had not been too sensible for that. For a whole month past (say the Milanese) there has been no rain here; to-day a slight drizzle began, but the sun has now come out again, and it is once more very warm. What you promised me (you well know my meaning, you kind creature!) don't fail to perform, I entreat. I shall be indeed very grateful to you. I am at this moment actually panting from the heat—I tear open my waistcoat! Addio—good-bye!
Above us we have a violinist, below us is another, next to us a singing-master, who gives lessons, and, in the room opposite, a hautboy-player. This is famous for a composer—it inspires so many fine thoughts.
Milan, August 31, 1771.
MY DEAREST SISTER,—
We are quite well, thank God! I have been eating quantities of fine pears, peaches, and melons in your place. My greatest amusement is to talk by signs to the dumb, which I can do to perfection. Herr Hasse [the celebrated opera composer] arrived here yesterday, and to-day we are going to pay him a visit. We only received the book of the Serenata last Thursday. [Footnote: It was "Ascanio in Alba" that Wolfgang got to compose for Milan; and it was this music which made Hasse exclaim, "This boy will cause us all to be forgotten."] I have very little to write about. Do not, I entreat, forget about THE ONE OTHER, where no other can ever be. You understand me, I know.
Milan, Sept. 13, 1771.
I write only for writing's sake. It is indeed very inconvenient, because I have a severe cold. Say to Fraulein W. von Molk that I rejoice at the thoughts of Salzburg, in the hope that I may again receive the same kind of present for the minuets which was bestowed on me at a similar concert. She knows all about it.
Milan, Sept. 21, 1771.
I AM well, God be praised! I can't write much. 1st, I have nothing to say. 2d, my fingers ache from writing. I often whistle an air, but no one responds. Only two arias of the Serenata are still wanting, and then it will be finished. I have no longer any fancy for Salzburg; I am afraid I might go mad too. [He had heard that several persons there had lost their reason.]
Milan, Oct. 5, 1771.
I AM in good health, but always sleepy. Papa has snatched from my pen all that I had to write about, which is, that he has already written everything. Signora Gabrielli is here, and we are soon going to see her, as we wish to become acquainted with all distinguished singers.
Milan, Oct. 26, 1771.
MY work being now completed, I have more time to write, but have nothing to say, as papa has written you all I could have said. I am well, thank God! but have no news, except that in the lottery the numbers 35, 59, 60, 61, and 62 have turned up prizes, so if we had selected these we should have won; but as we did not put in at all we neither won nor lost, but only laughed at those who did the latter. The two arias encored in the Serenata were those of Manzuoli, and Girelli, the prima donna, I hope you may be well amused in Triebenbach with shooting, and (weather permitting) with walking.
Milan, Nov. 2, 1771.
Papa says that Herr Kerschbaumer travels with profit and observation, and we can testify that he conducts himself very judiciously; at all events he can give a more satisfactory account of his journey than some of his friends, one of whom said that he could not see Paris properly because the houses there were too high. To-day Hasse's opera is to be given; as papa, however, is not going, I can't go either. [FOOTNOTE: Hasse had also a festal opera to compose, but Leopold Mozart writes, "I am sorry to say that Wolfgang's Serenata has totally eclipsed Hasse's opera."] Fortunately I know all the airs thoroughly by heart, so I can see and hear them in my own thoughts at home.
Milan, Nov. 24, 1771.
Herr Manzuoli, the musico, who has always been considered and esteemed as the best of his class, has in his old age given a proof of his folly and arrogance. He was engaged at the opera for the sum of 500 gigliati (ducats), but as no mention was made in the contract of the Serenata, he demanded 500 ducats more for singing in it, making 1000. The court only sent him 700 and a gold box, (and enough too, I think,) but he returned the 700 ducats and the box, and went away without anything. I don't know what the result of this history will be—a bad one, I fear!
Milan, Nov. 30, 1771.
That you may not suppose I am ill, I write you a few lines. I saw four fellows hanged in the Dom Platz. They hang here just as they do in Lyons.
We now find the father and son once more in Salzburg, in the middle of December, 1771. Archbishop Sigismund died, and on the 14th of March, 1772, Archbishop Hieronymus was elected, who was destined to cause much sorrow to Mozart. Soon after, in honor of the procession and homage of the new prince, he composed the allegorical azione teatrale "Il sogno di Scipione." In October he resumed his travels, having undertaken the scrittura for the approaching Carnivals both at Milan and at Venice.
Bologna, Oct. 28, 1772.
We have got to Botzen already. Already? rather not till now. I am hungry, thirsty, sleepy, and lazy, but I am quite well. We saw the monastery in Hall, and I played the organ there. When you see Nadernannerl, tell her I spoke to Herr Brindl (her lover), and he charged me to give her his regards. I hope that you kept your promise and went last Sunday to D——N——[in cipher]. Farewell! write me some news. Botzen—a pig-sty!
Milan, Nov. 7, 1772.
Don't be startled at seeing my writing instead of papa's. These are the reasons: first, we are at Herr von Oste's, and the Herr Baron Christiani is also here, and they have so much to talk about, that papa cannot possibly find time to write; and, secondly, he is too lazy. We arrived here at 4 o'clock this afternoon, and are both well. All our good friends are in the country or at Mantua, except Herr von Taste and his wife, who send you and my sister their compliments. Herr Misliweczeck [a young composer of operas from Paris] is still here. There is not a word of truth either in the Italian war, which is so eagerly discussed in Germany, or in the castles here being fortified. Forgive my bad writing.
Address your letters direct to us, for it is not the custom here, as in Germany, to carry the letters round; we are obliged to go ourselves to fetch them on post-days. There is nothing new here; we expect news from Salzburg.
Not having a word more to say, I must conclude. Our kind regards to all our friends. We kiss mamma 1,000,000,000 times (I have no room for more noughts); and as for my sister, I would rather embrace her in persona than in imagination.
Spero che voi sarete stata dalla Signora, che voi gia sapete. Vi prego, se la videte di farla un Complimento da parte mia. Spero e non dubito punto che voi starete bene di salute. Mi son scordato di darvi nuova, che abbiamo qui trovato quel Sign. Belardo, ballerina, che abbiamo conosciuto in Haye ed in Amsterdam, quello che attaco colla spada il ballerino, il Sign. Neri, perche credeva che lui fosse cagione che non ebbe la permission di ballar in teatro. Addio, non scordarvi di me, io sono sempre il vostro fidele fratello.
[FOOTNOTE: "DEAREST SISTER,—"I hope you have been to see the lady—you know who. I beg that when you see her you will give her my compliments. I hope, and do not doubt, that you are in good health. I forgot to tell you that we found Signor Belardo here, a dancer whom we knew at the Hague and at Amsterdam—the same person who attacked Signor Neri with a sword, because he thought he was the cause of his not obtaining permission to dance in the theatre. Adieu! Do not forget me, always your faithful brother."]
Milan, Nov. 21, 1772.
I thank you exceedingly—you know for what. I cannot possibly write to Herr von Heffner. When you see him, make him read aloud what follows. I hope he will be satisfied with it:—
"I am not to take it amiss that my unworthy friend has not answered my letter; as soon as he has more leisure, he will certainly, beyond all doubt, positively and punctually send me a reply."
Milan, Nov. 28, 1772.
We both send our congratulations to Herr von Aman; tell him from me that, owing to his having all along made a mystery of the affair, I feel much annoyed, for I fear I may have said more than I ought about his bride. I thought he had been more straightforward. One thing more. Say to Herr von Aman that, if he wishes to have a right merry wedding, he must be so kind as to wait till we return, so that what he promised me may come to pass, namely, that I was to dance at his wedding. Tell Herr Leitgeb [a horn-player in the Archbishop's orchestra] that he must come straight to Milan, for he is sure to succeed well here; but he must come soon. Pray let him know this, for I am anxious about it.
Milan, Dec. 5, 1772.
I have now about fourteen pieces to write, and then I shall have finished. [Footnote: He alludes to his Milan opera, "Lucio Silla."] Indeed, the trio and the duet may be considered as four. I cannot possibly write much, for I have no news, and in the next place I scarcely know what I am writing, as all my thoughts are absorbed in my opera, so there is some danger of my writing you a whole aria instead of a letter. I have learned a new game here, called mercanti in fiera. As soon as I come home we can play at it together. I have also learned a new language from Frau von Taste, which is easy to speak, though troublesome to write, but still useful. It is, I own, rather a little childish, but will do capitally for Salzburg. My kind regards to pretty Nandl and to the canary, for these two and yourself are the most innocent creatures in our house. Fischietti [the Archbishop's Capellmeister] will no doubt soon begin to work at his opera buffa (translated into German, his CRAZY opera!). Addio!
The following letter of Wolfgang's shows the sparkling state of his spirits, caused by the completion of his opera. At each line he turns the page, so that one line stands, as it were, on the head of the other. The father, too, in the joy of his heart that the arduous work was drawing to a close, and with it his long journey, writes four lines, one above another, round the edge of the page, so that the whole forms a framework for a sketch of a burning heart and four triangles (symbols of fidelity), and a bird on the wing from whose beak a distich is streaming:—
Oh! fly to seek my child so fair Here, and there, and everywhere!
Milan, Dec. 18, 1772.
I HOPE, dear sister, that you are well, dear sister. When this letter reaches you, dear sister, my opera will be in scena, dear sister. Think of me, dear sister, and try, dear sister, to imagine with all your might that my dear sister sees and hears it also. In truth, it is hard to say, as it is now eleven o'clock at night, but I do believe, and don't at all doubt, that in the daytime it is brighter than at Easter. My dear sister, to-morrow we dine with Herr von Mayer; and do you know why? Guess! Because he invited us. The rehearsal to-morrow is to be in the theatre. The impresario, Signor Cassiglioni, has entreated me not to say a word of this to a soul, as all kinds of people would come crowding in, and that we don't wish. So, my child, I beg, my child, that you won't say one syllable to any one on the subject, or too many people would come crowding in, my child. Approposito, do you know the history that occurred here? Well, I will relate it to you. We were going home straight from Count Firmiani's, and when we came into our street we opened our door, and what do you think happened? We went in. Good-bye, my pet. Your unworthy brother (frater),
On the 26th of December "an incomparable performance" of "Lucio Silla" took place; it was eminently successful, and continued to fill the house night after night in the most surprising way. The father writes home regularly, and Wolfgang subjoins the usual postscripts, which, however, at this time contain nothing worth quoting. We give only part of an Italian letter which he writes for practice:—
.... Vi prego di dire al Sig. Giovanni Hagenauer da parte mia, che non dubiti, che andro a veder sicuramente in quella bottega delle armi, se ci sono quei nomi [?] che lui desidera, e che senza dubbio doppo averlo trovato le portero meco a Salisburgo. Mi dispiace che il Sig. Leitgeb e partito tanto tardi da Salisburgo [see No. 46] che non trovera piu in scena la mia opera e forte non ci trovera nemeno, se non in viaggio.
Hieri sera era la prima prova coi stromenti della seconda opera, ma ho sentito solamente il primo atto, perche a secondo mene andiedi essendo gia tardi. In quest' opera saranno sopra il balco 24 cavalli e . . . mondo di gente, che saro miracolo se non succede qualche disgrazia. La musica mi piace; se piace al replico non so, perche alle prime prove non e lecito l' andarci che alle personne che sono del Teatro. Io spero che domani il mio padre potra uscir di casa. Sta sera fa cativissimo tempo. La Signora Teyber e adesso a Bologna e il carnevale venturo recitera a Turino e l'anno sussiquente poi va a cantare a Napoli.
[Footnote: "Pray say from me to Johannes Hagenauer, that he may entirely rely on my going to the armorer's shop, to see if I can procure what he desires, and after getting it I will not fail to bring it with me to Salzburg. I regret that Herr Leitgeb delayed so long leaving Salzburg [see No. 46], for he will no longer find my opera in scena, nor will he find us either unless we meet on our travels. Yesterday evening was our first rehearsal of the second opera with instruments, but I only heard the first act, for I went away at the second, because it was so very late. In this opera there are to be twenty-four horses and a crowd of people on the stage at the same time, so it will be surprising if no accident happens. The music pleases me; whether it will please others I cannot tell, for no persons but those belonging to the theatre are permitted to attend the first rehearsals. I hope that papa will be able to leave the house to-morrow. The weather is detestable this evening. Madame Teyber is now at Bologna; she is to act at Turin in the ensuing Carnival, and the year following she is to sing at Naples."]
After enjoying some more of the amusements of the Carnival, they arrived again in Salzburg about the middle of March. This place, or rather their position at court there, was in the highest degree repugnant to both; so the father, in the course of his travels, applied to the Grand-Duke of Tuscany for an appointment for his son. As, however, nothing was to be got in that quarter, he directed his views to the Imperial capital itself; and thus, at the end of three months, we find him again with his son in Vienna. From thence Wolfgang often wrote to his loved ones at home.
Vienna, August 14, 1773.
I HOPE that your Majesty [Footnote 1: O. Jahn remarks that this epithet is a reminiscence of a fantastic game that often amused the boy on his journeys. He imagined a kingdom, the inhabitants of which were endowed with every gift that could make them good and happy.] enjoys the best state of health; and yet that now and then—or rather sometimes—or, better still, from time to time— or, still better, qualche volta, as the Italians say—your Majesty will impart to me some of your grave and important thoughts (emanating from that most admirable and solid judgment which, in addition to beauty, your Majesty so eminently possesses; and thus, although in such tender years, my Queen casts into the shade not only the generality of men but even the gray-haired).
P. S. This is a most sensible production.
Vienna, August 21, 1773.
When we contemplate the benefit of time, and yet are not entirely oblivious of the estimation in which we ought to hold the sun, then it is quite certain, Heaven be praised! that I am quite well. My second proposition is of a very different character. Instead of sun, let us put moon, and instead of benefit, science; then any one, gifted with a certain amount of reasoning powers, will at once draw the conclusion that—I am a fool because you are my sister. How is Miss Bimbles? [the dog.] I beg you will convey all sorts of amiable messages from me to her. I also send my kind remembrances to M. Kreibich [conductor of the Imperial chamber-music], whom we knew at Presburg and also at Vienna; and very best regards from Her Majesty the Empress, Frau Fischerin, and Prince Kaunitz. Oidda!
Vienna, Sept. 15, 1773.
WE are quite well, thank God; on this occasion we have contrived to make time to write to you, although we have so much business to do. We hope you also are well. Dr. Niderl's death grieved us very much. I assure you we cried a good deal, and moaned and groaned. Our kind regards to "Alle gute Geister loben Gott den Herrn" [to all good spirits who praise the Lord], and to all our friends. We graciously remain
Given from our capital of Vienna.
The travellers returned home the end of September, for no situation was to be found in Vienna either; indeed, they did not even give a public concert there. Wolfgang remained in his native town during the whole of the ensuing year, writing instrumental and church music. At length he received a commission from the Elector of Bavaria, Maximilian III., to write an opera buffa for the Carnival of 1775,—"La finta Giardiniera."
Munich, Dec. 28, 1774.
My Dearest Sister,
I entreat you not to forget, before your journey, [FOOTNOTE: Nannerl had also the most eager desire to see the new opera, and the father at last succeeded in getting a lodging for her in the large market place, in the house of a widow, "a black-eyed brunette," Frau von Durst.] to perform your promise, that is, to make a certain visit. I have my reasons for this. Pray present my kind regards in that quarter, but in the most impressive and tender manner—the most tender; and, oh!——but I need not be in such anxiety on the subject, for I know my sister and her peculiarly loving nature, and I feel quite convinced that she will do all she can to give me pleasure—and from self-interest, too—rather a spiteful hit that! [Nannerl was considered a little selfish by her family.]
Munich, Dec. 30, 1774.
I BEG my compliments to Roxalana, who is to drink tea this evening with the Sultan, All sorts of pretty speeches to Madlle. Mizerl; she must not doubt my love. I have her constantly before my eyes in her fascinating neglige. I have seen many pretty girls here, but not one whose beauty can be compared with hers. Do not forget to bring the variations on Ekart's menuet d'exaude, and also those on Fischer's minuet. I was at the theatre last night. The play was "Der Mode nach der Haushaltung," which was admirably acted. My kind regards to all my friends. I trust that you will not fail to—Farewell! I hope to see you soon in Munich. Frau von Durst sends you her remembrances. Is it true that Hagenauer is become a professor of sculpture in Vienna? Kiss mamma's hand for me, and now I stop for to-day. Wrap yourself up warmly on your journey, I entreat, or else you may chance to pass the fourteen days of your visit in the house, stifling beside a stove, unable once to move. I see the vivid lightning flash, and fear there soon will be a crash!
To HIS MOTHER.
Munich, Jan. 11, 1775.
WE are all three well, Heaven be praised! I cannot possibly write much, for I must go forthwith to the rehearsal. Tomorrow the grand rehearsal takes place, and on the 13th my opera is to be in scena. I am much vexed that you should cast any slight on Count Seeau [Intendant of the Munich Theatre], for no one can be more kind or courteous, and he has more good breeding than many of his degree in Munich. Herr von Molk was in such a state of wonder and admiration at the opera seria when he heard it, that we felt quite ashamed of him, for it clearly showed every one that he had never in his life seen anything but Salzburg and Innspruck. Addio!
To HIS MOTHER.
Munich, Jan. 14, 1775.
GOD be praised! My opera was given yesterday, the 13th, and proved so successful that I cannot possibly describe all the tumult. In the first place, the whole theatre was so crammed that many people were obliged to go away. After each aria there was invariably a tremendous uproar and clapping of hands, and cries of Viva Maestro! Her Serene Highness the Electress and the Dowager (who were opposite me) also called out Bravo! When the opera was over, during the interval when all is usually quiet till the ballet begins, the applause and shouts of Bravo! were renewed; sometimes there was a lull, but only to recommence afresh, and so forth. I afterwards went with papa to a room through which the Elector and the whole court were to pass. I kissed the hands of the Elector and the Electress and the other royalties, who were all very gracious. At an early hour this morning the Prince Bishop of Chiemsee [who had most probably procured the scrittura for his young friend Wolfgang] sent to congratulate me that the opera had proved such a brilliant success in every respect. As to our return home, it is not likely to be soon, nor should mamma wish it, for she must know well what a good thing it is to have a little breathing time. We shall come quite soon enough to——. One most just and undeniable reason is, that my opera is to be given again on Friday next, and I am very necessary at the performance, or it might be difficult to recognize it again. There are very odd ways here. 1000 kisses to Miss Bimberl [the dog].
The Archbishop of Salzburg, who was very reluctant to admit the merits of his Concertmeister, was an involuntary witness of the universal approbation bestowed on Wolfgang's opera, although he would not go to hear it himself. On the 18th of January, 1775, Wolfgang added the following lines to his father's letter:—
MY DEAR SISTER,
[FOOTNOTE: Nannerl had not yet gone home, but was enjoying the Carnival in various masks.]
How can I help the clock choosing at this moment to strike a quarter after seven o'clock? It is not papa's fault either. Mamma will hear all the rest from you. At present there is no fair sailing for me, as the Archbishop is staying here, though not for long. It is currently reported that he is to remain till he sets off again! I only regret that he is not to see the first masked ball.
Your faithful FRANZ v. NASENBLUT.
Milan, May 5, 1756.
Immediately after Ash Wednesday the trio returned to Salzburg, where Mozart remained uninterruptedly for another year and a half, actively engaged in the duties of his situation. He wrote the following letter on the 4th of September, 1776, to the celebrated Pater Martini in Bologna:—
MOLTO REVDO PADE MAESTRO, PADRONE MIO STIMATISSIMO,-
La venerazione, la stima e il rispetto, che porto verso la di lei degnissima persona mi spinse di incommodarla colle presente e di mandargli un debole pezzo di mia musica, rimmettendola alla di lei maestrale giudicatura. Scrissi l'anno scorso il Carnevale una opera buffa ("La finta Giardiniera") a Monaco in Baviera. Pochi giorni avanti la mia partenza di la desiderava S. A. Elletorale di sentire qualche mia musica in contrapunto: era adunque obligato di scriver questo Motetto in fretta per dar tempo a copiar il spartito per Sua Altezza ed a cavar le parti per poter produrlo la prossima domenica sotto la Messa grande in tempo del Offertorio. Carissimo e stimatissimo Sigr. P. Maestro! Lei e ardentemente pregato di dirmi francamente e senza riserva il di lei parere. Viviamo in questo mondo per imparare sempre industriosamente, e per mezzo dei raggionamenti di illuminarsi l'un l'altro e d'affatigarsi di portar via sempre avanti le scienze e le belle arti. Oh quante e quante volte desidero d'esser piu vicino per poter parlar e raggionar con Vostra Paternita molto Revda. Vivo in una paese dove la musica fa pocchissimo fortuna, benche oltre di quelli che ci hanno abandonati, ne abbiamo ancora bravissimi professori e particolarmente compositori di gran fondo, sapere e gusto. Per il teatro stiamo male per mancanza dei recitanti. Non abbiamo Musici e non gli averemo si facilmente, giache vogliono esser ben pagati: e la generosita, non e il nostro difetto. Io mi diverto intanto a scrivere per la camera e per la chiesa: e ne son quivi altri due bravissimi contrapuntisti, cioe il Sgr. Haydn e Adlgasser. Il mio padre e maestro della chiesa Metropolitana, che mi da l'occasione di scrivere per la chiesa, quanto che ne voglio. Per altro il mio padre gia 36 anni in servizio di questa Corte e sapendo, che questo Arcivescovo non puo e non vuol vedere gente avanzata in eta, non lo se ne prende a core, si e messo alla letteratura per altro gia suo studio favorito. La nostra musica di chiesa e assai differente di quella d'Italia e sempre piu, che una Messa con tutto il Kyrie, Gloria, Credo, la Sonata all' Epistola, l'Offertorio osia Motetto, Sanctus ed Agnus Dei, ed anche la piu solenne, quando dice la Messa il Principe stesso, non ha da durare che al piu longo 3 quarti d'ora. Ci vuole un studio particolare per queste sorte di compositione, e che deve pero essere una Messa con tutti stromenti—Trombe di guerra, Tympani ecc. Ah! che siamo si lontani Carissmo Sgr. P. Maestro, quante cose che avrai a dirgli!—Reverisco devotamente tutti i Sgri. Filarmonici: mi raccommando via sempre nelle grazie di lei e non cesso d'affligermi nel vedermi lontano dalla persona del mondo che maggiormente amo, venero e stimo, e di cui inviolabilmente mi protesto di V. Pta molto Rda
umilissmo e devotssmo servitore,
WOLFGANGO AMADEO MOZART.
Salisburgo, 4 Settembre, 1776.
To Father Martini.
"Salzburg, Sept. 4, 1776.
"MOST REVEREND AND ESTEEMED FATHER AND MAESTRO,—
"The veneration, the esteem, and the respect I feel for your illustrious person, induce me to intrude on you with this letter, and also to send you a small portion of my music, which I venture to submit to your masterly judgment. Last year, at Monaco, in Bavaria, I wrote an opera buffa ("La finta Giardiniera") for the Carnival. A few days previous to my departure from thence, his Electoral Highness wished to hear some of my contrapuntal music; I was therefore obliged to write this motett in haste, to allow time for the score to be copied for his Highness, and to arrange the parts so that it might be produced on the following Sunday at grand mass at the offertory. Most dear and highly esteemed Maestro, I do entreat you to give me unreservedly your candid opinion of the motett. We live in this world in order always to learn industriously, and to enlighten each other by means of discussion, and to strive vigorously to promote the progress of science and the fine arts. Oh, how many and many a time have I desired to be nearer you, that I might converse and discuss with your Reverence! I live in a country where music has very little success, though, exclusive of those who have forsaken us, we have still admirable professors, and more particularly composers of great solidity, knowledge, and taste. We are rather badly off at the theatre from the want of actors. We have no MUSICI, nor shall we find it very easy to get any, because they insist upon being well paid, and generosity is not a failing of ours. I amuse myself in the mean time by writing church and chamber music, and we have two excellent contrapuntists here, Haydn and Adlgasser. My father is maestro at the Metropolitan church, which gives me an opportunity to write for the church as much as I please. Moreover, my father has been thirty-six years in the service of this court, and knowing that our present Archbishop neither can nor will endure the sight of elderly people, he does not take it to heart, but devotes himself to literature, which was always his favorite pursuit Our church music is rather different from that of Italy, and the more so, as a mass including the Kyne, Gloria, Credo, the Sonata all Epistola, the Offertory or Motett, Sanctus, and Agnus Dei, and even a solemn mass, when the Prince himself officiates, must never last more than three-quarters of an hour. A particular course of study is required for this class of composition. And what must such a mass be, scored with all the instruments, war-drums, cymbals, &c, &c! Oh! why are we so far apart, dearest Signor Maestro? for how many things I have to say to you! I devoutly revere all the Signori Filarmonici. I venture to recommend myself to your good opinion, I shall never cease regretting being so distant from the person in the world whom I most love, venerate, and esteem. I beg to subscribe myself, reverend Father, always your most humble and devoted servant,
"WOLFGANG AMADEUS MOZART"
SECOND PART. MUNICH, AUGSBURG, MANNHEIM. SEPTEMBER 1771 TO MARCH 1778.
On the 22d of December, 1777, Mozart's father wrote as follows to Padre Martini in Bologna:—"My son has been now five years in the service of our Prince, at a mere nominal salary, hoping that by degrees his earnest endeavors and any talents he may possess, combined with the utmost industry and most unremitting study, would be rewarded; but in this hope we find ourselves deceived. I forbear all allusion to our Prince's mode of thinking and acting; but he was not ashamed to declare that my son knew nothing, and that he ought to go to the musical training school in Naples to learn music. And why did he say all this? In order to intimate that a young man should not be so absurd as to believe that he deserved a rather higher salary after such a decisive verdict had issued from the lips of a prince. This has induced me to sanction my son giving up his present situation. He therefore left Salzburg on the 23d of September" [with his mother].
Wasserburg, Sept. 23, 1777.
Mon Tres-Cher Pere,—
God be praised! we reached Waging, Stain, Ferbertshaim, and Wasserburg safely. Now for a brief report of our journey. When we arrived at the city gates, we were kept waiting for nearly a quarter of an hour till they could be thrown open for us, as they were under repair. Near Schinn we met a drove of cows, and one of these very remarkable, for each side was a different color, which we never before saw. When at last we got to Schinn, we met a carriage, which stopped, and ecce, our postilion called out we must change. "I don't care," said I. Mamma and I were parleying, when a portly gentleman came up, whose physiognomy I at once recognized; he was a Memmingen merchant. He stared at me for some time, and at last said, "You surely are Herr Mozart?" "At your service," said I; "I know you, too, by sight, but not your name. I saw you, a year ago, at Mirabell's [the palace garden in Salzburg] at a concert." He then told me his name, which, thank God! I have forgotten; but I retained one of probably more importance to me. When I saw this gentleman in Salzburg, he was accompanied by a young man whose brother was now with him, and who lives in Memmingen. His name is Herr Unhold, and he pressed me very much to come to Memmingen if possible. We sent a hundred thousand loves to papa by them, and to my sister, the madcap, which they promised to deliver without fail. This change of carriages was a great bore to me, for I wished to send a letter back from Waging by the postilion. We then (after a slight meal) had the honor of being conveyed as far as Stain, by the aforesaid post-horses, in an hour and a half. At Waging I was alone for a few minutes with the clergyman, who looked quite amazed, knowing nothing of our history. From Stain we were driven by a most tiresome phlegmatic postilion—N. B., in driving I mean; we thought we never were to arrive at the next stage. At last we did arrive, as you may see from my writing this letter. (Mamma is half asleep.) From Ferbertshaim to Wasserburg all went on well. Viviamo come i principi; we want nothing except you, dear papa. Well, this is the will of God; no doubt all will go on right. I hope to hear that papa is as well as I am and as happy. Nothing comes amiss to me; I am quite a second papa, and look after everything.[Footnote: The father had been very uneasy at the idea of allowing the inexperienced youth, whose unsuspicious good- nature exposed him still more to danger, to travel alone; for the mother also was not very expert in travelling.] I settled from the first to pay the postilions, for I can talk to such fellows better than mamma. At the Stern, in Wasserburg, we are capitally served; I am treated here like a prince. About half an hour ago (mamma being engaged at the time) the Boots knocked at the door to take my orders about various things, and I gave them to him with the same grave air that I have in my portrait. Mamma is just going to bed. We both beg that papa will be careful of his health, not go out too early, nor fret, [Footnote: The Father was strongly disposed to hypochondria.] but laugh and be merry and in good spirits. We think the Mufti H. C. [the Archbishop Hieronymus Colloredo] a MUFF, but we know God to be compassionate, merciful, and loving. I kiss papa's hands a thousand times, and embrace my SISTER MADCAP as often as I have to-day taken snuff. I think I have left my diplomas at home? [his appointment at court.] I beg you will send them to me soon. My pen is rude, and I am not refined.