MOZART now remained stationary at Salzburg till the autumn of 1780,
highly dissatisfied at being forced to waste his youthful days in
inactivity, and in such an obscure place, but still as busy as ever. A
succession of grand instrumental compositions were the fruits of this
period: two masses, some vespers, the splendid music for "Konig Thamos,"
and the operetta "Zaide" for Schikaneder. At length, however, to his
very great joy, a proposal was made to him from Munich to write a grand
opera for the Carnival of 1781. It was "Idomeneo, Konig von Greta." At
the beginning of November he once more set off to Munich in order to
"prepare an exact fit," on the spot, of the different songs in the opera
for the singers, and to rehearse and practise everything with them. The
Abbate Varesco in Salzburg was the author of the libretto, in which
many an alteration had yet to be made, and these were all to be effected
through the intervention of the father.
126.
Munich, Nov. 8, 1780.
FORTUNATE and pleasant was my arrival here,--fortunate, because no
mishap occurred during the journey; and pleasant, because we had
scarcely patience to wait for the moment that was to end this short but
disagreeable journey. I do assure you it was impossible for us to sleep
for a moment the whole night. The carriage jolted our very souls out,
and the seats were as hard as stone! From Wasserburg I thought I never
could arrive in Munich with whole bones, and during two stages I held on
by the straps, suspended in the air and not venturing to sit down.
But no matter; it is past now, though it will serve me as a warning in
future rather to go on foot than drive in a diligence.
Now as to Munich. We arrived here at one o'clock in the forenoon, and
the same evening I called on Count Seeau [the Theatre Intendant], but as
he was not at home I left a note for him. Next morning I went there with
Becke. Seeau has been moulded like wax by the Mannheim people. I have a
request to make of the Abbate [Gianbattista Varesco]. The aria of Ilia
in the second act and second scene must be a little altered for what I
require,--"Se il padre perdei, in te lo ritrovo" This verse could not be
better; but now comes what always appeared unnatural to me,--N.B. in an
aria,--I mean, to speak aside. In a dialogue these things are natural
enough, for a few words can be hurriedly said aside, but in an aria,
where the words must be repeated, it has a bad effect; and even were
this not the case, I should prefer an uninterrupted aria. The beginning
may remain if he chooses, for it is charming and quite a natural flowing
strain, where, not being fettered by the words, I can write on quite
easily; for we agreed to bring in an aria andantino here in concert with
four wind instruments, viz. flute, hautboy, horn, and bassoon; and I beg
that you will let me have the air as soon as possible.
Now for a grievance. I have not, indeed, the honor of being acquainted
with the hero Del Prato [the musico who was to sing Idamante], but from
description I should say that Cecarelli is rather the better of the two,
for often in the middle of an air our musico's breath entirely fails;
nota bene, he never was on any stage, and Raaff is like a statue. Now
only for a moment imagine the scene in the first act! But there is
one good thing, which is, that Madame Dorothea Wendling is
arci-contentissima with her scena, and insisted on hearing it played
three times in succession. The Grand Master of the Teutonic Order
arrived yesterday. "Essex" was given at the Court Theatre, and a
magnificent ballet. The theatre was all illuminated. The beginning was
an overture by Cannabich, which, as it is one of his last, I did not
know. I am sure, if you had heard it you would have been as much pleased
and excited as I was, and if you had not previously known the fact, you
certainly could not have believed that it was by Cannabich. Do come soon
to hear it, and to admire the orchestra. I have no more to say. There
is to be a grand concert this evening, where Mara is to sing three airs.
Tell me whether it snows as heavily in Salzburg as here. My kind regards
to Herr Schikaneder [impresario in Salzburg], and beg him to excuse
my not yet sending him the aria, for I have not been able to finish it
entirely.
127.
Munich, Nov. 13, 1780.
I WRITE in the greatest haste, for I am not yet dressed, and must go off
to Count Seeau's. Cannabich, Quaglio, and Le Grand, the ballet-master,
also dine there to consult about what is necessary for the opera.
Cannabich and I dined yesterday with Countess Baumgarten, [Footnote: He
wrote an air for her, the original of which is now in the State Library
at Munich.] nee Lerchenteld. My friend is all in all in that family, and
now I am the same. It is the best and most serviceable house here to me,
for owing to their kindness all has gone well with me, and, please God,
will continue to do so. I am just going to dress, but must not omit the
chief thing of all, and the principal object of my letter,--to wish you,
my very dearest and kindest father, every possible good on this your
name-day. I also entreat the continuance of your fatherly love, and
assure you of my entire obedience to your wishes. Countess la Rose sends
her compliments to you and my sister, so do all the Cannabichs and both
Wendling families, Ramm, Eck father and son, Becke, and Herr del Prato,
who happens to be with me. Yesterday Count Seeau presented me to the
Elector, who was very gracious. If you were to speak to Count Seeau now,
you would scarcely recognize him, so completely have the Mannheimers
transformed him.
I am ex commissione to write a formal answer in his name to the Abbate
Varesco, but I have no time, and was not born to be a secretary. In the
first act (eighth scene) Herr Quaglio made the same objection that we
did originally,--namely, that it is not fitting the king should be
quite alone in the ship. If the Abbe thinks that he can be reasonably
represented in the terrible storm forsaken by every one, WITHOUT A SHIP,
exposed to the greatest peril, all may remain as it is; but, N. B., no
ship--for he cannot be alone in one; so, if the other mode be adopted,
some generals or confidants (mates) must land from the ship with him.
Then the king might address a few words to his trusty companions, and
desire them to leave him alone, which in his melancholy situation would
be quite natural.
The second duet is to be omitted altogether, and indeed with more profit
than loss to the opera; for if you will read the scene it evidently
becomes cold and insipid by the addition of an air or a duet, and very
irksome to the other actors, who must stand, by all the time unoccupied;
besides, the noble contest between Ilia and Idamante would become too
long, and thus lose its whole interest.
Mara has not the good fortune to please me. She does too little to be
compared to a Bastardella [see No. 8], (yet this is her peculiar style,)
and too much to touch the heart like a Weber [Aloysia], or any judicious
singer.
P.S.--A propos, as they translate so badly here, Count Seeau would like
to have the opera translated in Salzburg, and the arias alone to be
in verse. I am to make a contract that the payment of the poet and the
translator should be made in one sum. Give me an answer soon about this.
Adieu! What of the family portraits? Are they good likenesses? Is my
sister's begun yet? The opera is to be given for the first time on the
26th of January. Be so kind as to send me the two scores of the masses
that I have with me, and also the mass in B. Count Seeau is to mention
them soon to the Elector; I should like to be known here in this style
also. I have just heard a mass of Gruan's; it would be easy to compose
half a dozen such in a day. Had I known that this singer, Del Prato, was
so bad, I should certainly have recommended Cecarelli.
128.
Munich, Nov. 15, 1780.
The aria is now admirable, but there is still an alteration to be made
recommended by Raaff; he is, however, right, and even were he not, some
courtesy ought to be shown to his gray hairs. He was with me yesterday,
and I played over his first aria to him, with which he was very much
pleased. The man is old, and can no longer show off in an aria like that
in the second art,--"Fuor del mar ho un mare in seno," &c. As, moreover,
in the third act he has no aria, (the one in the first act not being so
cantabile as he would like, owing to the expression of the words,) he
wishes after his last speech, "O Creta fortuinata, O me felice," to have
a pretty aria to sing instead of the quartet; in this way a superfluous
air would be got rid of, and the third act produce a far better effect.
In the last scene also of the second act, Idomeneo has an aria, or
rather a kind of cavatina, to sing between the choruses. For this it
would be better to substitute a mere recitative, well supported by the
instruments. For in this scene, (owing to the action and grouping which
have been recently settled with Le Grand,) the finest of the whole
opera, there cannot fail to be such a noise and confusion in the
theatre, that an aria, would make a very bad figure in this place, and
moreover there is a thunderstorm which is not likely to subside during
Raaff's aria! The effect, therefore, of a recitative between the
choruses must be infinitely better. Lisel Wendling has also sung through
her two arias half a dozen times, and is much pleased with them. I heard
from a third person that the two Wendlings highly praised their arias,
and as for Raaff he is my best and dearest friend. I must teach the
whole opera myself to Del Prato. He is incapable of singing even the
introduction to any air of importance, and his voice is so uneven! He
is only engaged for a year, and at the end of that time (next September)
Count Seeau will get another. Cecarelli might try his chance then
serieusement.
I nearly forgot the best of all. After mass last Sunday, Count Seeau
presented me, en passant, to H.S.H. the Elector, who was very gracious.
He said, "I am happy to see you here again;" and on my replying that
I would strive to deserve the good opinion of His Serene Highness, he
clapped me on the shoulder, saying, "Oh! I have no doubt whatever that
all will go well--a piano piano si va lontano."
Deuce take it! I cannot write everything I wish. Raaff has just left me;
he sends you his compliments, and so do the Cannabichs, and Wendlings,
and Ramm. My sister must not be idle, but practise steadily, for every
one is looking forward with pleasure to her coming here. My lodging is
in the Burggasse at M. Fiat's [where the marble slab to his memory is
now erected].
129.
Munich, Nov. 22, 1780.
I SEND herewith, at last, the long-promised aria for Herr Schikaneder.
During the first week that I was here I could not entirely complete it,
owing to the business that caused me to come here. Besides, Le Grand,
the ballet-master, a terrible talker and bore, has just been with me,
and by his endless chattering caused me to miss the diligence. I hope
my sister is quite well. I have at this moment a bad cold, which in such
weather is quite the fashion here. I hope and trust, however, that
it will soon take its departure,--indeed, both phlegm and cough are
gradually disappearing. In your last letter you write repeatedly, "Oh!
my poor eyes! I du not wish to write myself blind--half-past eight at
night, and no spectacles!" But why do you write at night, and without
spectacles? I cannot understand it. I have not yet had an opportunity
of speaking to Count Seeau, but hope to do so to-day, and shall give you
any information I can gather by the next post. At present all will, no
doubt, remain as it is. Herr Raaff paid me a visit yesterday morning,
and I gave him your regards, which seemed to please him much. He
is, indeed, a worthy and thoroughly respectable man. The day before
yesterday Del Frato sang in the most disgraceful way at the concert. I
would almost lay a wager that the man never manages to get through the
rehearsals, far less the opera; he has some internal disease.
Come in!--Herr Panzacchi! [who was to sing Arbace]. He has already paid
me three visits, and has just asked me to dine with him on Sunday. I
hope the same thing won't happen to me that happened to us with the
coffee. He meekly asks if, instead of se la sa, he may sing se co la, or
even ut, re, mi, fa, sol, la.
I am so glad when you often write to me, only not at night, and far less
without spectacles. You must, however, forgive me if I do not say much
in return, for every minute is precious; besides, I am obliged chiefly
to write at night, for the mornings are so very dark; then I have to
dress, and the servant at the Weiser sometimes admits a troublesome
visitor. When Del Prato comes I must sing to him, for I have to teach
him his whole part like a child; his method is not worth a farthing.
I will write more fully next time. What of the family portraits? My
sister, if she has nothing better to do, might mark down the names
of the best comedies that have been performed during my absence. Has
Schikaneder still good receipts? My compliments to all my friends, and
to Gilofsky's Katherl. Give a pinch of Spanish snuff from me to Pimperl
[the dog], a good wine-sop, and three kisses. Do you not miss me at all?
A thousand compliments to all--all! Adieu! I embrace you both from my
heart, and hope my sister will soon recover. [Nannerl, partly owing to
her grief in consequence of an unfortunate love-affair, was suffering
from pains in the chest, which threatened to turn to consumption.]
180.
Munich, Nov. 24, 1780.
I beg you will convey to Madlle. Katharine Gilofsky de Urazowa my
respectful homage. Wish her in my name every possible happiness on
her name-day; above all, I wish that this may be the last time I
congratulate her as Mademoiselle. What you write to me about Count
Seinsheim is done long ago; they are all links of one chain. I have
already dined with, him once, and with Baumgarten twice, and once with
Lerchenfeld, father of Madlle. Baumgarten. Not a single day passes
without some of these people being at Cannabich's. Do not be uneasy,
dearest father, about my opera; I do hope that all will go well.
No doubt it will be assailed by a petty cabal, which will in all
probability be defeated with ridicule; for the most respected and
influential families among the nobility are in my favor, and the
first-class musicians are one and all for me. I cannot tell you what a
good friend Cannabich is--so busy and active! In a word, he is always on
the watch to serve a friend. I will tell you the whole story about Mara.
I did not write to you before on the subject, because I thought
that, even if you knew nothing of it, you would be sure to hear the
particulars here; but now it is high time to tell you the whole truth,
for probably additions have been made to the story,--at least, in this
town, it has been told in all sorts of different ways. No one can know
about it better than I do, as I was present, so I heard and witnessed
the whole affair. When the first symphony was over, it was Madame Mara's
turn to sing. I then saw her husband come sneaking in behind her with
his violoncello in his hand; I thought she was going to sing an
aria obligato with violoncello accompaniment. Old Danzi, the first
violoncello, also accompanies well. All at once Toeschi (who is a
director, but has no authority when Cannabich is present) said to
Danzi (N. B., his son-in-law), "Rise, and give Mara your place." When
Cannabich saw and heard this, he called out, "Danzi, stay where you are;
the Elector prefers his own people playing the accompaniments." Then
the air began, Mara standing behind his wife, looking very sheepish,
and still holding his violoncello. The instant they entered the
concert-room, I took a dislike to both, for you could not well see two
more insolent-looking people, and the sequel will convince you of this.
The aria had a second part, but Madame Mara did not think proper
to inform the orchestra of the fact previously, but after the last
ritournelle came down into the room with her usual air of effrontery to
pay her respects to the nobility. In the mean time her husband attacked
Cannabich. I cannot write every detail, for it would be too long; but,
in a word, he insulted both the orchestra and Cannabich's character,
who, being naturally very much irritated, laid hold of his arm, saying,
"This is not the place to answer you." Mara wished to reply, but
Cannabich threatened that if he did not hold his tongue he would have
him removed by force. All were indignant at Mara's impertinence. A
concerto by Ramm was then given, when this amiable couple proceeded to
lay their complaint before Count Seeau; but from him, also, as well as
from every one else, they heard that they were in the wrong. At last
Madame Mara was foolish enough to speak to the Elector himself on the
subject, her husband in the mean time saying in an arrogant tone, "My
wife is at this moment complaining to the Elector--an unlucky business
for Cannabich; I am sorry for him." But people only burst out laughing
in his face. The Elector, in reply to Madame Mara's complaint, said,
"Madame, you sang like an angel, although your husband did not accompany
you;" and when she wished to press her grievance, he said, "That is
Count Seeau's affair, not mine." When they saw that nothing was to be
done, they left the room, although she had still two airs to sing. This
was nothing short of an insult to the Elector, and I know for certain
that, had not the Archduke and other strangers been present, they would
have been very differently treated; but on this account Count Seeau was
annoyed, so he sent after them immediately, and they came back. She sang
her two arias, but was not accompanied by her husband. In the last one
(and I shall always believe that Herr Mara did it on purpose) two bars
were wanting--N. B., only in the copy from which Cannabich was playing.
When this occurred, Mara seized Cannabich's arm, who quickly got right,
but struck his bow on the desk, exclaiming audibly, "This copy is all
wrong." When the aria was at an end, he said, "Herr Mara, I give you one
piece of advice, and I hope you will profit by it: never seize the arm
of the director of an orchestra, or lay your account with getting
at least half a dozen sound boxes on the ear." Mara's tone was now,
however, entirely lowered; he begged to be forgiven, and excused himself
as he best could. The most shameful part of the affair was that Mara (a
miserable violoncellist, all here declare) would never have been heard
at court at all but for Cannabich, who had taken considerable trouble
about it. At the first concert before my arrival he played a concerto,
and accompanied his wife, taking Danzi's place without saying a word
either to Danzi or any one else, which was allowed to pass. The Elector
was by no means satisfied with his mode of accompanying, and said he
preferred his own people. Cannabich, knowing this, mentioned to Count
Seeau, before the concert began, that he had no objection to Mara's
playing, but that Danzi must also play. When Mara came he was told this,
and yet he was guilty of this insolence. If you knew these people, you
would at once see pride, arrogance, and unblushing effrontery written on
their faces.
My sister is now, I hope, quite recovered. Pray do not write me any
more melancholy letters, for I require at this time a cheerful spirit,
a clear head, and inclination to work, and these no one can have who is
sad at heart. I know, and, believe me, deeply feel, how much you deserve
rest and peace, but am I the obstacle to this? I would not willingly be
so, and yet, alas! I fear I am. But if I attain my object, so that I can
live respectably here, you must instantly leave Salzburg. You will say,
that may never come to pass; at all events, industry and exertion shall
not be wanting on my part. Do try to come over soon to see me. We can
all live together. I have a roomy alcove on my first room in which two
beds stand. These would do capitally for you and me. As for my sister,
all we can do is to put a stove into the next room, which will only be
an affair of four or five florins; for in mine we might heat the stove
till it is red-hot, and leave the stove-door open into the bargain, yet
it would not make the room endurable--it is so frightfully cold in it.
Ask the Abbate Varesco if we could not break off at the chorus in the
second act, "Placido e il mare" after Elettra's first verse, when the
chorus is repeated,--at all events after the second, for it is really
far too long. I have been confined to the house two days from my cold,
and, luckily for me, I have very little appetite, for in the long run
it would be inconvenient to pay for my board. I have, however, written
a note to the Count on the subject, and received a message from him
that he would speak to me about it shortly. By heavens! he ought to be
thoroughly ashamed of himself. I won't pay a single kreutzer.
131.
Munich, Dec. 1, 1780.
THE rehearsal went off with extraordinary success; there were only six
violins in all, but the requisite wind-instruments. No one was admitted
but Count Seeau's sister and young Count Seinsheim. This day week we are
to have another rehearsal, with twelve violins for the first act, and
then the second act will be rehearsed (like the first on the previous
occasion). I cannot tell you how delighted and surprised all were; but
I never expected anything else, for I declare I went to this rehearsal
with as quiet a heart as if I had been going to a banquet. Count
Seinsheim said to me, "I do assure you that though I expected a great
deal from you, I can truly say this I did not expect."
The Cannabichs and all who frequent their house are true friends of
mine. After the rehearsal, (for we had a great deal to discuss with the
Count,) when I went home with Cannabich, Madame Cannabich came to
meet me, and hugged me from joy at the rehearsal having passed off
so admirably; then came Ramm and Lang, quite out of their wits with
delight. My true friend the excellent lady, who was alone in the house
with her invalid daughter Rose, had been full of solicitude on my
account. When you know him, you will find Ramm a true German, saying
exactly what he thinks to your face. He said to me, "I must honestly
confess that no music ever made such an impression on me, and I assure
you I thought of your father fifty times at least, and of the joy he
will feel when he hears this opera." But enough of this subject. My cold
is rather worse owing to this rehearsal, for it is impossible not to
feel excited when honor and fame are at stake, however cool you may be
at first. I did everything you prescribed for my cold, but it goes on
very slowly, which is particularly inconvenient to me at present; but
all my writing about it will not put an end to my cough, and yet write I
must. To-day I have begun to take violet syrup and a little almond
oil, and already I feel relieved, and have again stayed two days in the
house. Yesterday morning Herr Raaff came to me again to hear the aria
in the second act. The man is as much enamored of his aria as a young
passionate lover ever was of his fair one. He sings it the last thing
before he goes to sleep, and the first thing in the morning when he
awakes. I knew already, from a sure source, but now from himself, that
he said to Herr von Viereck (Oberststallmeister) and to Herr von Kastel,
"I am accustomed constantly to change my parts, to suit me better, in
recitative as well as in arias, but this I have left just as it was, for
every single note is in accordance with my voice." In short, he is as
happy as a king. He wishes the interpolated aria to be a little altered,
and so do I. The part commencing with the word era he does not like, for
what we want here is a calm tranquil aria; and if consisting of only one
part, so much the better, for a second subject would have to be brought
in about the middle, which leads me out of my way. In "Achill in Sciro"
there is an air of this kind, "or che mio figlio sei." I thank my sister
very much for the list of comedies she sent me. It is singular enough
about the comedy "Rache fur Rache"; it was frequently given here with
much applause, and quite lately too, though I was not there myself. I
beg you will present my devoted homage to Madlle. Therese von Barisani;
if I had a brother, I would request him to kiss her hand in all
humility, but having a sister only is still better, for I beg she will
embrace her in the most affectionate manner in my name. A propos, do
write a letter to Cannabich; he deserves it, and it will please him
exceedingly. What does it matter if he does not answer you? You must
not judge him from his manner; he is the same to every one, and means
nothing. You must first know him well.
132.
Munich, Dec. 5, 1780.
The death of the Empress [Maria Theresa] does not at all affect my
opera, for the theatrical performances are not suspended, and the plays
go on as usual. The entire mourning is not to last more than six weeks,
and my opera will not be given before the 20th of January. I wish you to
get my black suit thoroughly brushed to make it as wearable as possible,
and forward it to me by the first diligence; for next week every one
must be in mourning, and I, though constantly on the move, must cry with
the others.
With regard to Raaff's last aria, I already mentioned that we both wish
to have more touching and pleasing words. The word era is constrained;
the beginning good, but gelida massa is again hard. In short,
far-fetched or pedantic expressions are always inappropriate in a
pleasing aria. I should also like the air to express only peace and
contentment; and one part would be quite as good--in fact, better, in my
opinion. I also wrote about Panzacchi; we must do what we can to oblige
the good old man. He wishes to have his recitative in the third act
lengthened a couple of lines, which, owing to the chiaro oscuro and his
being a good actor, will have a capital effect. For example, after the
strophe, "Sei la citta del pianto, e questa reggia quella del duol,"
comes a slight glimmering of hope, and then, "Madman that I am! whither
does my grief lead me?" "Ah! Creta tutta io vedo." The Abbato Varesco is
not obliged to rewrite the act on account of these things, for they can
easily be interpolated. I have also written that both I and others think
the oracle's subterranean speech too long to make a good effect. Reflect
on this. I must now conclude, having such a mass of writing to do. I
have not seen Baron Lehrbach, and don't know whether he is here or not;
and I have no time to run about. I may easily not know whether he is
here, but he cannot fail to know positively that I am. Had I been a
girl, no doubt he would have come to see me long ago. Now adieu!
I have this moment received your letter of the 4th December. You must
begin to accustom yourself a little to the kissing system. You can
meanwhile practise with Maresquelli, for each time that you come to
Dorothea Wendling's (where everything is rather in the French style) you
will have to embrace both mother and daughter, but--N. B., on the chin,
so that the paint may not be rubbed off. More of this next time. Adieu!
P.S.--Don't forget about my black suit; I must have it, or I shall be
laughed at, which is never agreeable.
133.
Munich, Dec. 13, 1780.
Your last letters seemed to me far too short, so I searched all the
pockets in my black suit to see if I could not find something more. In
Vienna and all the Imperial dominions, the gayeties are to be resumed
six weeks hence,--a very sensible measure, for mourning too long is
not productive of half as much good to the deceased as of injury to the
living. Is Herr Schikaneder to remain in Salzburg? If so, he might still
see and hear my opera. Here people, very properly, cannot comprehend
why the mourning should last for three months, while that for our late
Elector was only six weeks. The theatre, however, goes on as usual. You
do not write to me how Herr Esser accompanied my sonatas--ill, or well?
The comedy, "Wie man sich die Sache deutet," is charming, for I saw
it--no, not saw it, but read it, for it has not yet been performed;
besides, I have been only once in the theatre, having no leisure to go,
the evening being the time I like best to work. If her Grace, the most
sensible gracious Frau von Robinig, does not on this occasion change the
period of her gracious journey to Munich, her Grace will be unable to
hear one note of my opera. My opinion, however, is, that her Grace
in her supreme wisdom, in order to oblige your excellent son, will
graciously condescend to stay a little longer. I suppose your portrait
is now begun, and my sister's also, no doubt. How is it likely to turn
out? Have you any answer yet from our plenipotentiary at Wetzlar? I
forget his name--Fuchs, I think. I mean, about the duets for two pianos.
It is always satisfactory to explain a thing distinctly, and the arias
of Esopus are, I suppose, still lying on the table? Send them to me by
the diligence, that I may give them myself to Herr von Dummhoff, who
will then remit them post-free. To whom? Why, to Heckmann--a charming
man, is he not? and a passionate lover of music. My chief object comes
to-day at the close of my letter, but this is always the case with me.
One day lately, after dining with Lisel Wendling, I drove with Le Grand
to Cannabich's (as it was snowing heavily). Through the window
they thought it was you, and that we had come together. I could not
understand why both Karl and the children ran down the steps to meet
us, and when they saw Le Grand, did not say a word, but looked quite
discomposed, till they explained it when we went up-stairs. I shall
write nothing more, because you write so seldom to me--nothing, except
that Herr Eck, who has just crept into the room to fetch his sword which
he forgot the last time he was here, sends his best wishes to Thresel,
Pimperl, Jungfer Mitzerl, Gilofsky, Katherl, my sister, and, last of
all, to yourself. Kiss Thresel for me; a thousand kisses to Pimperl.
134.
Munich, Dec. 16, 1780.
HERR ESSER came to call on me yesterday for the first time. Did he go
about on foot in Salzburg, or always drive in a carriage, as he does
here? I believe his small portion of Salzburg money will not remain
long in his purse. On Sunday we are to dine together at Cannabich's, and
there he is to let us hear his solos, clever and stupid. He says he will
give no concert here, nor does he care to appear at court; he does not
intend to seek it, but if the Elector wishes to hear him,--"Eh, bien!
here am I; it would be a favor, but I shall not announce myself." But,
after all, he may be a worthy fool--deuce take it! cavalier, I meant to
say. He asked me why I did not wear my Order of the Spur. I said I had
one in my head quite hard enough to carry. He was so obliging as to dust
my coat a little for me, saying, "One cavalier may wait upon another."
In spite of which, the same afternoon--from forgetfulness, I suppose--he
left his spur at home, (I mean the outward and visible one,) or at all
events contrived to hide it so effectually that not a vestige of it was
to be seen. In case I forget it again, I must tell you that Madame and
Madlle. Cannabich both complain that their throats are daily becoming
larger owing to the air and water here, which might at last become
regular goitres. Heaven forbid! They are indeed taking a certain
powder--how do I know what? Not that this is its name; at all events, it
seems to do them no good. For their sakes, therefore, I took the liberty
to recommend what we call goitre pills, pretending (in order to enhance
their value) that my sister had three goitres, each larger than the
other, and yet at last, by means of these admirable pills, had got
entirely rid of them! If they can be made up here, pray send me the
prescription; but if only to be had at Salzburg, I beg you will pay
ready money for them, and send a few cwt. of them by the next diligence.
You know my address.
There is to be another rehearsal this afternoon of the first and second
acts in the Count's apartments; then we shall only have a chamber
rehearsal of the third, and afterwards go straight to the theatre. The
rehearsal has been put off owing to the copyist, which enraged Count
Seinsheim to the uttermost. As for what is called the popular taste, do
not be uneasy, for in my opera there is music for every class, except
for the long-eared. A propos, how goes on the Archbishop? Next Monday
I shall have been six weeks away from Salzburg. You know, dear father,
that I only stay there to oblige you, for, by heavens! if I followed
my own inclinations, before coming here I would have torn up my last
diploma; for I give you my honor that not Salzburg itself, but the
Prince and his proud nobility, become every day more intolerable to
me. I should rejoice were I to be told that my services were no longer
required, for with the great patronage that I have here, both my present
and future circumstances would be secure, death excepted, which no
one can guard against, though no great misfortune to a single man. But
anything in the world to please you. It would be less trying to me if
I could only occasionally escape from time to time, just to draw my
breath. You know how difficult it was to get away on this occasion; and
without some very urgent cause, there would not be the faintest hope of
such a thing. It is enough to make one weep to think of it, so I say
no more. Adieu! Come soon to see me at Munich and to hear my opera,
and then tell me whether I have not a right to feel sad when I think of
Salzburg. Adieu!
135.
Munich, Dec. 19, 1780.
THIS last rehearsal has been as successful as the first, and
satisfactorily proved to the orchestra and all those who heard it, their
mistake in thinking that the second act could not possibly excel the
first in expression and novelty. Next Saturday both acts are again to be
rehearsed, but in a spacious apartment in the palace, which I have long
wished, as the room at Count Seeau's is far too small. The Elector is
to be in an adjoining room (incognito) to hear the music. "It must be a
life-and-death rehearsal," said Cannabich to me. At the last one he was
bathed in perspiration.
Cannabich, whose name-day this is, has just left me, reproaching me for
discontinuing this letter in his presence. As to Madame Duschek, the
thing is impossible at present, but I will do what I can with pleasure
after my opera is given. I beg you will write to her and say, with
my compliments, that next time she comes to Salzburg we can square
accounts. It would delight me if I could get a couple of cavaliers like
old Czernin,--this would be a little yearly help; but certainly not for
less than 100 florins a year, in which case it might be any style of
music they pleased. I trust that you are now quite recovered; indeed,
after the friction performed by a Barisani Theres, you cannot be
otherwise. You have no doubt seen by my letters that I am well and
happy. Who would not feel happy to have completed such a great and
laborious work--and completed it, too, with honor and renown? Three
arias alone are wanting--the last chorus in the third act, and the
overture and ballet; and then--Adieu partie!
One more indispensable remark, and I have done. The scene between father
and son in the first act, and the first scene in the second act between
Idomenco and Arbace, are both too long, and sure to weary the audience,
particularly as in the first the actors are both bad, and in the second
one of them is also very inferior; besides, the whole details are only a
narrative of what the spectators have already seen with their own eyes.
The scenes will be printed just as they are. I only wish the
Abbate would point out to me how not only to curtail them, but very
considerably to curtail them; otherwise I must do it myself, for
the scenes cannot remain as they are--I mean, so far as the music is
concerned. I have just got your letter, which, being begun by my sister,
is without a date. A thousand compliments to Thresel--my future upper
and under nursery-maid to be. I can easily believe that Katherl would
gladly come to Munich, if (independent of the journey) you would allow
her to take my place at meals. Eh! bien. I can contrive it, for she can
occupy the same room with my sister.
136.
Munich, Dec 27, 1780.
I HAVE received the entire opera, Schachtner's letter, your note, and
the pills. As for the two scenes to be curtailed, it was not my own
suggestion, but one to which I consented--my reason being that Raaff and
Del Prato spoil the recitative by singing it quite devoid of all spirit
and fire, and so monotonously. They are the most miserable actors that
ever trod the stage. I had a desperate battle royal with Seeau as to the
inexpediency, unfitness, and almost impossibility of the omissions in
question. However, all is to be printed as it is, which at first he
positively refused to agree to, but at last, on rating him soundly, he
gave way. The last rehearsal was splendid. It took place in a spacious
apartment in the palace. The Elector was also within hearing. On this
occasion it was rehearsed with the whole orchestra, (of course I mean
those who belong to the opera.) After the first act the Elector called
out Bravo! rather too audibly, and when I went into the next room to
kiss his hand he said, "Your opera is quite charming, and cannot fail to
do you honor." As he was not sure whether he could remain for the whole
performance, we played the concerted aria and the thunderstorm at the
beginning of the second act, by his desire, when he again testified
his approbation in the kindest manner, and said, laughing, "Who could
believe that such great things could be hidden in so small a head?"
Next day, too, at his reception, he extolled my opera much. The ensuing
rehearsal will probably take place in the theatre. A propos, Becke
told me, a day or two ago, that he had written to you about the last
rehearsal but one, and among other things had said that Raaff's aria
in the second act is not composed in accordance with the sense of the
words, adding, "So I am told, for I understand Italian too little to be
able to judge." I replied, "If you had only asked me first and
written afterwards! I must tell you that whoever said such a thing can
understand very little Italian. The aria is quite adapted to the words.
You hear the mare, and the mare funesto; and the passages dwell on the
minacciar, and entirely express minacciar (threatening). Moreover, it
is the most superb aria in the opera, and has met with universal
approbation."
Is it true that the Emperor is ill? Is it true that the Archbishop
intends to come to Munich? Raaff is the best and most upright man alive,
but--so addicted to old-fashioned routine that flesh and blood cannot
stand it; so that it is very difficult to write for him, but very easy
if you choose to compose commonplace arias, as for instance the first
one, "Vedromi intorno." When you hear it, you will say that it is good
and pretty, but had I written it for Zonca it would have suited the
words better. Raaff likes everything according to rule, and does
not regard expression. I have had a piece of work with him about the
quartet. The more I think of the quartet as it will be on the stage,
the more effective I consider it, and it has pleased all those who
have heard it on the piano. Raaff alone maintains that it will not be
successful. He said to me confidentially, "There is no opportunity to
expand the voice; it is too confined." As if in a quartet the words
should not far rather be spoken, as it were, than sung! He does not at
all understand such things. I only replied, "My dear friend, if I were
aware of one single note in this quartet which ought to be altered, I
would change it at once; but there is no single thing in my opera with
which I am so pleased as with this quartet, and when you have once
heard it sung in concert you will speak very differently. I took every
possible pains to conform to your taste in your two arias, and intend to
do the same with the third, so I hope to be successful; but with
regard to trios and quartets, they should be left to the composer's own
discretion." On which he said that he was quite satisfied. The other
day he was much annoyed by some words in his last aria--rinvigorir and
ringiovenir, and especially vienmi a rinvigorir--five i's! It is true,
this is very disagreeable at the close of an air.
137.
Munich, Dec. 30. 1780.
A HAPPY New-Year! Excuse my writing much, for I am over head and ears
in my work. I have not quite finished the third act; and as there is
no extra ballet, but only an appropriate divertissement in the opera,
I have the honor to write that music also, but I am glad of it, for now
the music will be all by the same master. The third act will prove at
least as good as the two others,--in fact, I believe, infinitely better,
and that it might fairly be said, finis coronat opus. The Elector was so
pleased at the rehearsal that, as I already wrote to you, he praised
it immensely next morning at his reception, and also in the evening at
court. I likewise know from good authority that, on the same evening
after the final rehearsal, he spoke of my music to every one he
conversed with, saying, "I was quite surprised; no music ever had such
an effect on me; it is magnificent music." The day before yesterday we
had a recitative rehearsal at Wendling's, and tried over the quartet
all together. We repeated it six times, and now it goes well. The
stumbling-block was Del Prato; the wretch can literally do nothing. His
voice is not so bad, if he did not sing from the back of the throat;
besides, he has no intonation, no method, no feeling. He is only one of
the best of the youths who sing in the hope of getting a place in the
choir of the chapel. Raaff was glad to find himself mistaken about the
quartet, and no longer doubts its effect. Now I am in a difficulty with
regard to Raaff's last air, and you must help me out of it. He cannot
digest the rinvigorir and ringiovenir, and these two words make the
whole air hateful to him. It is true that mostrami and vienmi are also
not good, but the worst of all are the two final words; to avoid the
shake on the i in the first word rinvigorir, I was forced to transfer
it to the o. Raaff has now found, in the "Natal di Giove," which is in
truth very little known, an aria quite appropriate to this situation.
I think it is the ad libitum aria, "Bell' alme al ciel diletto" and he
wishes me to write music for these words. He says, "No one knows it, and
we need say nothing." He is quite aware that he cannot expect the
Abbate to alter this aria a third time, and he will not sing it as it
is written. I beg you will send me an immediate reply. I shall conclude,
for I must now write with all speed; the composing is finished, but not
the writing out.
My compliments to dear Thresel: the maid who waits on me here is also
named Thresel, but, heavens! how inferior to the Linz Thresel in beauty,
virtue, charms--and a thousand other merits! You probably know that the
worthy musico Marquesi, the Marquessius di Milano, has been poisoned
in Naples, but how? He was enamored of a Duchess, whose rightful lover
became jealous, and sent three or four fellows to give him his choice
between drinking poison out of a cup and being assassinated. He chose
the former, but being an Italian poltroon he died ALONE, and allowed
his murderers to live on in peace and quiet. I would at least (in my
own room) have taken a couple with me into the next world, if absolutely
obliged to die myself. Such an admirable singer is a great loss. Adieu!
138.
Munich, Jan. 3, 1780.
MY head and my hands are so fully occupied with my third act, that it
would not be wonderful if I turned into a third act myself, for it alone
has cost me more trouble than the entire opera; there is scarcely
a scene in it which is not interesting to the greatest degree.
The accompaniment of the underground music consists merely of five
instruments, namely, three trombones and two French horns, which are
placed on the spot whence the voice proceeds. The whole orchestra is
silent at this part.
The grand rehearsal positively takes place on the 20th, and the first
performance on the 22d. All you will both require is to bring one
black dress, and another for every-day wear, when you are only visiting
intimate friends where there is no ceremony, and thus save your black
dress a little; and if my sister likes, one pretty dress also, that she
may go to the ball and the Academie Masquee.
Herr von Robinig is already here, and sends his regards to you. I hear
that the two Barisanis are also coming to Munich; is this true? Heaven
be praised that the cut on the finger of the Archbishop was of no
consequence! Good heavens! how dreadfully I was alarmed at first!
Cannabich thanks you for your charming letter, and all his family beg
their remembrances. He told me you had written very humorously. You must
have been in a happy mood.
No doubt we shall have a good many corrections to make in the third act
when on the stage; as for instance scene sixth, after Arbace's aria, the
personages are marked, "Idomeneo, Arbace, &c., &c." How can the latter
so instantly reappear on the spot? Fortunately he might stay away
altogether. In order to make the matter practicable, I have written a
somewhat longer introduction to the High Priest's recitative. After
the mourning chorus the King and his people all go away, and in the
following scene the directions are, "Idomeneo kneels down in the
Temple." This is impossible; he must come accompanied by his whole
suite. A march must necessarily be introduced here, so I have composed
a very simple one for two violins, tenor, bass, and two hautboys, to
be played a mezza voce, and during this time the King appears, and the
Priests prepare the offerings for the sacrifice. The King then kneels
down and begins the prayer.
In Elettra's recitative, after the underground voice has spoken, there
ought to be marked exeunt. I forgot to look at the copy written for the
press to see whether it is there, and whereabouts it comes. It seems
to me very silly that they should hurry away so quickly merely to allow
Madlle. Elettra to be alone.
I have this moment received your few lines of January 1st. When I opened
the letter I chanced to hold it in such a manner that nothing but a
blank sheet met my eyes. At last I found the writing. I am heartily glad
that I have got an aria for Raaff, as he was quite resolved to introduce
the air he had discovered, and I could not possibly (N. B., with a
Raaff) have arranged in any other way than by having Varesco's air
printed, but Raaff's sung. I must stop, or I shall waste too much time.
Thank my sister very much for her New-Year's wishes, which I
heartily return. I hope we shall soon be right merry together. Adieu!
Remembrances to friends, not forgetting Ruscherle. Young Eck sends her a
kiss, a sugar one of course.
139.
Munich, Jan. 10, 1780.
My greatest piece of news is that the opera is put off for a week.
The grand rehearsal is not to take place till the 27th--N. B., my
birthday--and the opera itself on the 29th. Why? Probably to save Count
Seeau two hundred gulden. I, indeed, am very glad, because we can now
rehearse frequently and more carefully. You should have seen the faces
of the Robinigs when I told them this news. Louisa and Sigmund are
delighted to stay; but Lise, that SNEAKING MISERY, has such a spiteful
Salzburg tongue that it really drives me distracted. Perhaps they may
still remain, and I hope so on Louisa's account. In addition to
many other little altercations with Count Seeau, I have had a sharp
contention with him about the trombones. I call it so, because I was
obliged to be downright rude, or I never should have carried my point.
Next Saturday the three acts are to be rehearsed in private. I got your
letter of the 8th, and read it with great pleasure; the burlesque, too,
I like very much. Excuse my writing more at this time; for, in the first
place, as you see, my pen and ink are bad, and, in the second, I have
still a couple of airs to write for the last ballet. I hope you will
send no more such letters as the last, of only three or four lines.
140.
Munich, Jan. 18, 1780.
PRAY forgive a short letter, for I must go this very moment, ten
o'clock (in the forenoon of course), to the rehearsal. There is to be a
recitative rehearsal for the first time to-day in the theatre. I
could not write before, having been so incessantly occupied with those
confounded dances. Laus Deo, I have got rid of them at last, but only
of what was most pressing. The rehearsal of the third act went off
admirably. It was considered very superior to the second act. The poetry
is, however, thought far too long, and of course the music likewise,
(which I always said it was.) On this account the aria of Idamante, "No
la morte io non pavento" is to be omitted, which was, indeed, always
out of place there; those who have heard it with the music deplore
this. Raaff's last air, too, is still more regretted, but we must make a
virtue of necessity. The prediction of the oracle is still far too long,
so I have shortened it; but Varesco need know nothing of this, because
it will all be printed just as he wrote it. Madame von Robinig will
bring with her the payment both for him and Schachtner. Herr Geschwender
declined taking any money with him. In the meantime say to Varesco in
my name, that he will not get a farthing from Count Seeau beyond the
contract, for all the alterations were made FOR ME and not for the
Count, and he ought to be obliged to me into the bargain, as they were
indispensable for his own reputation. There is a good deal that might
still be altered; and I can tell him that he would not have come off
so well with any other composer as with me. I have spared no trouble in
defending him.
The stove is out of the question, for it costs too much. I will have
another bed put up in the room that adjoins the alcove, and we must
manage the best way we can. Do not forget to bring my little watch with
you. We shall probably make an excursion to Augsburg, where we could
have the little silly thing regulated. I wish you also to bring
Schachtner's operetta. There are people who frequent Cannabich's
house, who might as well hear a thing of the kind. I must be off to the
rehearsal. Adieu!
The father and sister arrived on the 25th of January, and the first
performance of the opera took place a few days afterwards; then the
family amused themselves for some little time with the gayeties of the
Carnival. The Archbishop had gone to Vienna; and, desiring to appear
in the Imperial city in the full splendor of a spiritual prince, he had
taken with him, in addition to fine furniture and a large household,
some of his most distinguished musicians. On this account, therefore,
Mozart, in the middle of March, also received the command to go to
Vienna. He set off immediately.