Books: The Letters of Wolfgang Amadeus Mozart, V.1.

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The 4th.--Now comes something urgent, about which I request an
answer. Mamma and I have discussed the matter, and we agree that
we do not like the sort of life the Wendlings lead. Wendling is a
very honorable and kind man, but unhappily devoid of all
religion, and the whole family are the same. I say enough when I
tell you that his daughter was a most disreputable character.
Ramm is a good fellow, but a libertine. I know myself, and I have
such a sense of religion that I shall never do anything which I
would not do before the whole world; but I am alarmed even at the
very thoughts of being in the society of people, during my
journey, whose mode of thinking is so entirely different from
mine (and from that of all good people). But of course they must
do as they please. I have no heart to travel with them, nor could
I enjoy one pleasant hour, nor know what to talk about; for, in
short, I have no great confidence in them. Friends who have no
religion cannot he long our friends. I have already given them a
hint of this by saying that during my absence three letters had
arrived, of which I could for the present divulge nothing further
than that it was unlikely I should be able to go with them to
Paris, but that perhaps I might come later, or possibly go
elsewhere; so they must not depend on me. I shall be able to
finish my music now quite at my ease for De Jean, who is to give
me 200 florins for it. I can remain here as long as I please, and
neither board nor lodging cost me anything. In the meantime Herr
Weber will endeavor to make various engagements for concerts with
me, and then we shall travel together. If I am with him, it is
just as if I were with you. This is the reason that I like him so
much; except in personal appearance, he resembles you in all
respects, and has exactly your character and mode of thinking. If
my mother were not, as you know, too COMFORTABLY LAZY to write,
she would say precisely what I do. I must confess that I much
enjoyed my excursion with them. We were pleased and merry; I
heard a man converse just like you; I had no occasion to trouble
myself about anything; what was torn I found repaired. In short,
I was treated like a prince. I am so attached to this oppressed
family that my greatest wish is to make them happy, and perhaps I
may be able to do so. My advice is that they should go to Italy,
so I am all anxiety for you to write to our good friend Lugiati
[impresario], and the sooner the better, to inquire what are the
highest terms given to a prima donna in Verona--the more the
better, for it is always easy to accept lower terms. Perhaps it
would be possible to obtain the Ascensa in Venice. I will be
answerable with my life for her singing, and her doing credit to
my recommendation. She has, even during this short period,
derived much profit from me, and how much further progress she
will have made by that time! I have no fears either with regard
to her acting. If this plan be realized, M. Weber, his two
daughters, and I, will have the happiness of visiting my dear
papa and dear sister for a fortnight, on our way through
Salzburg. My sister will find a friend and companion in Madlle.
Weber, for, like my sister in Salzburg, she enjoys the best
reputation here, owing to the careful way in which she has been
brought up; the father resembles you, and the whole family that
of Mozart. They have indeed detractors, as with us, but when it
comes to the point they must confess the truth; and truth lasts
longest. I should be glad to go with them to Salzburg, that you
might hear her. My air that De' Amicis used to sing, and the
bravura aria "Parto m' affretto," and "Dalla sponda tenebrosa,"
she sings splendidly. Pray do all you can to insure our going to
Italy together. You know my greatest desire is--to write operas.

I will gladly write an opera for Verona for thirty zecchini,
solely that Madlle. Weber may acquire fame by it; for, if I do
not, I fear she may be sacrificed. Before then I hope to make so
much money by visiting different places that I shall be no loser.
I think we shall go to Switzerland, perhaps also to Holland; pray
write to me soon about this. Should we stay long anywhere, the
eldest daughter [Josepha, afterwards Madaine Hofer, for whom the
part of the Queen of the Night in the "Flauto magico" was
written] would be of the greatest use to us; for we could have
our own menage, as she understands cooking.

Send me an answer soon, I beg. Don't forget my wish to write an
opera; I envy every person who writes one; I could almost weep
from vexation when I hear or see an aria. But Italian, not
German--seria, not buffa! I have now written you all that is in
my heart; my mother is satisfied with my plan.

The mother, however, adds the following postscript:--

"No doubt you perceive by the accompanying letter that when
Wolfgang makes new friends he would give his life for them. It is
true that she does sing incomparably; still, we ought not to lose
sight of our own interests. I never liked his being in the
society of Wendling and Ramm, but I did not venture to object to
it, nor would he have listened to me; but no sooner did he know
these Webers than he instantly changed his mind. In short, he
prefers other people to me, for I remonstrate with him sometimes,
and that he does not like. I write this quite secretly while he
is at dinner, for I don't wish him to know it."

A few days later Wolfgang urges his father still more strongly.

92.

Mannheim, Feb. 7, 1778.

HERR SCHIEDENHOFEN might have let me know long ago through you
that his wedding was soon to take place [see Nos. 7, 10, 19], and
I would have composed a new minuet for the occasion. I cordially
wish him joy; but his is, after all, only one of those money
matches, and nothing else! I hope never to marry in this way; I
wish to make my wife happy, but not to become rich by her means;
so I will let things alone, and enjoy my golden freedom till I am
so well off that I can support both wife and children. Herr
Schiedenhofen was forced to choose a rich wife; his title imposed
this on him. The nobility must not marry for love or from
inclination, but from interest, and all kinds of other
considerations. It would not at all suit a grandee to love his
wife after she had done her duty, and brought into the world an
heir to the property. But we poor humble people are privileged
not only to choose a wife who loves us, and whom we love, but we
may, can, and do take such a one, because we are neither noble,
nor highborn, nor rich, but, on the contrary, lowly, humble, and
poor; we therefore need no wealthy wife, for our riches being in
our heads, die with us, and these no man can deprive us of unless
he cut them off, in which case we need nothing more.

I lately wrote to you my chief reason for not going to Paris with
these people, but another is that I have reflected well on what I
have to do in Paris. I could not get on passably without pupils,
which is a kind of work that does not suit me--of this I have a
strong example here. I might have had two pupils: I went three
times to each, but finding one of them not at home, I never went
back. I am willing to give lessons out of complaisance,
especially when I see genius, and inclination and anxiety to
learn; but to be obliged to go to a house at a certain hour, or
else to wait at home, is what I cannot submit to, if I were to
gain twice what I do. I find it impossible, so must leave it to
those who can do nothing but play the piano. I am a composer, and
born to become a Kapellmeister, and I neither can nor ought thus
to bury the talent for composition with which God has so richly
endowed me (I may say this without arrogance, for I feel it now
more than ever); and this I should do were I to take many pupils,
for it is a most unsettled metier; and I would rather, SO TO
SPEAK, neglect the piano than composition, for I look on the
piano to be only a secondary consideration, though, thank God! a
very strong one too. My third reason is, that I am by no means
sure our friend Grimm is in Paris. If he is, I can go there at
any time with the post-carriage, for a capital one travels from
here to Paris by Strassburg. We intended at all events to have
gone by it. They travel also in this way. Herr Wendling is
inconsolable at my not going with them, but I believe this
proceeds more from self-interest than from friendship. Besides
the reason I gave him (about the three letters that had come
during my absence), I also told him about the pupils, and begged
him to procure something certain for me, in which case I would be
only too glad to follow him to Paris, (for I can easily do so,)--
above all, if I am to write an opera, which is always in my
thoughts; but French rather than German, and Italian rather than
French or German. The Wendlings, one and all, are of opinion that
my compositions would please much in Paris. I have no fears on
the subject, for, as you know, I can pretty well adapt or conform
myself to any style of composition. Shortly after my arrival I
composed a French song for Madlle. Gustel (the daughter), who
gave me the words, and she sings it inimitably. I have the
pleasure to enclose it for you. It is sung every day at
Wendling's, for they are quite infatuated with it.

93.

Mannheim, Feb. 14, 1778.

I PERCEIVE by your letter of the 9th of February that you have
not yet received my last two letters. Wendling and Kamm leave
this early to-morrow morning. If I thought that you would be
really displeased with me for not going to Paris with them, I
should repent having stayed here; but I hope it is not so. The
road to Paris is still open to me. Wendling has promised to
inquire immediately about Herr Grimm, and to send me information
at once. With such a friend in Paris, I certainly shall go there,
for no doubt he will bring something to bear for me. The main
cause of my not going with them is, that we have not been able to
arrange about mamma returning to Augsburg. The journey will not
cost much, for there are vetturini here who can be engaged at a
cheap rate. By that time, however, I hope to have made enough to
pay mamma's journey home. Just now I don't really see that it is
possible. Herr de Jean sets off to-morrow for Paris, and as I
have only finished two concertos and three quartets for him, he
sent me 96 florins (having made a mistake of four florins,
thinking this sum the half of the 200); he must, however, pay me
in full, for such was the agreement I made with Wendling, and I
can send him the other pieces. It is not surprising that I have
been unable to finish them, for I never have a single quiet hour
here. I can only write at night, so I cannot rise early; besides,
one is not always disposed to work. I could, to be sure, scrawl
away all day, but a thing of this kind goes forth to the world,
and I am resolved not to have cause to be ashamed of my name on
the title-page. Moreover, you know that I become quite obtuse
when obliged to write perpetually for an instrument that I cannot
bear; so from time to time I do something else, such as duets for
the piano and violin, and I also worked at the mass. Now I have
begun the pianoforte duets in good earnest, in order to publish
them. If the Elector were only here, I would very quickly finish
the mass; but what must be must be!

I am very grateful to you, dear papa, for your fatherly letter; I
will preserve it as a treasure, and always refer to it. Pray do
not forget about my mother's journey from Augsburg to Salzburg,
and let me know the precise day; and I beg you will also remember
the arias I mentioned in my last letter. If I recollect rightly,
there are also some cadenzas which I once jotted down, and at all
events an aria cantabile with coloraturas? I wish to have these
first, for they will serve as exercises for Madlle. Weber. I have
just taught her an andantino cantabile of Bach's. Yesterday there
was a concert at Cannabich's, where from first to last all the
music was of my composition, except the first symphony, which was
Cannabich's. Madlle. Rose played my concerto in B, then Herr Ramm
(by way of a change) played for the fifth time the hautboy
concerto dedicated to Ferlendi, which makes a great sensation
here. It is now quite Ramm's cheval de bataille. Madlle. Weber
sang De' Amicis's aria di bravura quite charmingly. Then I played
my old concerto in D, because it is such a favorite here, and
likewise extemporized for half an hour, after which Madlle. Weber
sang De' Amicis's air, "Parto m' affretto;" and, as a finale, my
symphony "Il Re Pastore" was given. I do entreat you urgently to
interest yourself in Madlle. Weber; it would make me so happy if
good-fortune were to attend her. Husband and wife, five children,
and a salary of 450 florins! Don't forget about Italy, and my
desire to go there; you know my strong wish and passion. I hope
all may go right. I place my trust in God, who will never forsake
us. Now farewell, and don't forget all my requests and
recommendations.

These letters alarmed the father exceedingly, so he wrote a long
and very earnest letter to his son as follows:--"The object of
your journey was to assist your parents, and to contribute to
your dear sister's welfare, but, above all, that you might
acquire honor and fame in the world, which you in some degree did
in your boyhood; and now it rests entirely with you to raise
yourself by degrees to one of the highest positions ever attained
by any musician. This is a duty you owe to a kind Providence in
return for the remarkable talents with which He has gifted you;
and it depends wholly on your own good sense and good conduct,
whether you become a commonplace artist whom the world will
forget, or a celebrated Capellmeister, of whom posterity will
read hereafter in books,--whether, infatuated with some pretty
face, you one day breathe your last on a straw sack, your wife
and children in a state of starvation, or, after a well-spent
Christian life, die peacefully in honor and independence, and
your family well provided for." He goes on to represent to him
how little he has hitherto fulfilled the object of his journey,
and, above all, the folly of wishing to place so young a girl on
the Italian stage as a prima donna, both time and great training
being previously required. Moreover, it would be quite unworthy
of him to wander about the world with strangers, and to compose
at random merely for money. "Get off to Paris without delay. Take
your place by the side of really great people. Aut Caesar aut
nihil. The very idea of Paris should have guarded you from all
passing fancies."

To this Wolfgang replies:--

94.

Mannheim, Feb. 19, 1778.

I ALWAYS thought that you would disapprove of my journey with the
Webers, but I never had any such intention--I mean, UNDER PRESENT
CIRCUMSTANCES. I gave them my word of honor to write to you to
that effect. Herr Weber does not know how we stand, and I
certainly shall tell it to no one. I wish my position had been
such that I had no cause to consider any one else, and that we
were all independent; but in the intoxication of the moment I
forgot the present impossibility of the affair, and also to tell
you what I had done. The reasons of my not being now in Paris
must be evident to you from my last two letters. If my mother had
not first begun on the subject, I certainly would have gone with
my friends; but when I saw that she did not like it, I began to
dislike it also. When people lose confidence in me, I am apt to
lose confidence in myself. The days when, standing on a stool, I
sang Oragna fiaguta fa, [Footnote: Words sounding like Italian,
but devoid of meaning, for which he had invented a melody. Nissen
gives it in his Life of Mozart, p. 35.] and at the end kissed the
tip of your nose, are indeed gone by; but still, have my
reverence, love, and obedience towards yourself ever failed on
that account? I say no more. As for your reproach about the
little singer in Munich [see No. 62], I must confess that I was
an ass to write such a complete falsehood. She does not as yet
know even what singing means. It was true that, for a person who
had only learned music for three months, she sang surprisingly;
and, besides, she has a pleasing pure voice. The reason why I
praised her so much was probably my hearing people say, from
morning to night, "There is no better singer in all Europe; those
who have not heard her have heard nothing." I did not venture to
disagree with them, partly because I wished to acquire friends,
and partly because I had come direct from Salzburg, where we are
not in the habit of contradicting any one; but as soon as I was
alone I never could help laughing. Why, then, did I not laugh at
her in my letter to you? I really cannot tell.

The bitter way in which you write about my merry and innocent
intercourse with your brother's daughter, makes me justly
indignant; but as it is not as you think, I require to give you
no answer on the subject. I don't know what to say about
Wallerstein; I was very grave and reserved with Becke, and at the
officers' table also I had a very serious demeanor, not saying
one word to anybody. But let this all pass; you only wrote it in
a moment of irritation [see No. 74]. Your remarks about Madlle.
Weber are just; but at the time I wrote to you I knew quite as
well as you that she is still too young, and must be first taught
how to act, and must rehearse frequently on the stage. But with
some people one must proceed step by step. These good people are
as tired of being here as--you know WHO and WHERE, [meaning the
Mozarts, father and son, in Salzburg,] and they think everything
feasible. I promised them to write everything to my father; but
when the letter was sent off to Salzburg, I constantly told her
that she must have a little patience, for she was still rather
too young, &c. They take in all I say in good part, for they have
a high opinion of me. By my advice, Herr Weber has engaged
Madlle. Toscani (an actress) to give his daughter lessons in
acting. All you write of Madlle. Weber is true, except, that she
sings like a Gabrielli, [see Nos. 10, 37,] for I should not at
all like her to sing in that style. Those who have heard
Gabrielli say, and must say, that she was only an adept in runs
and roulades; but as she adopted so uncommon a reading, she
gained admiration, which, however, did not last longer than
hearing her four times. She could not please in the long run, for
roulades soon become very tiresome, and she had the misfortune of
not being able to sing. She was not capable of sustaining a breve
properly, and having no messa di voce, she could not dwell on her
notes; in short, she sang with skill, but devoid of intelligence.
Madlle. Weber's singing, on the contrary, goes to the heart, and
she prefers a cantabile. I have lately made her practise the
passages in the Grand Aria, because, if she goes to Italy, it is
necessary that she should sing bravuras. The cantabile she
certainly will never forget, being her natural bent. Raaff (who
is no flatterer), when asked to give his sincere opinion, said,
"She does not sing like a scholar, but like a professor."

So now you know everything. I do still recommend her to you with
my whole heart, and I beg you will not forget about the arias,
cadenzas, &c. I can scarcely write from actual hunger. My mother
will display the contents of our large money-box. I embrace my
sister lovingly. She is not to lament about every trifle, or I
will never come back to her.

95.

Mannheim, Feb. 22, 1778.

I HAVE been now two days confined to the house, and taking
antispasmodics, black powders, and elderflower tea as a
sudorific, because I have had a catarrh, a cold in my head, sore
throat, headache, pains in my eyes, and earache; but, thank God,
I am now better, and hope to be able to go out tomorrow, being
Sunday. I got your letter of the 16th and the two unsealed
letters of introduction for Paris. I rejoice that my French song
pleases you [see No. 92]. You must forgive my not writing much
this time, but I really cannot--I am so afraid of bringing back
my headache, and, besides, I feel no inclination to write to-day.
It is impossible to write all we think--at least, I find it to be
so. I would rather say it than write it. My last letter told you
the whole thing just as it stands. Believe what you please of me,
only nothing bad. There are people who think no one can love a
poor girl without evil designs. But I am no Brunetti [a violinist
in Salzburg], no Misliweczeck. I am a Mozart; and, though young,
still a high-principled Mozart. Pardon me if, in my eagerness, I
become somewhat excited--which is, I suppose, the term, though I
might rather say, if I write as I feel. I might have said a great
deal on this subject, but I cannot--I feel it to be impossible.
Among my many faults I have also that of believing that those
friends who know me, do so thoroughly. Then many words are not
necessary; and if they do not know me, oh! how could I find words
sufficient? It is painful enough to employ words and letters for
such a purpose. This, however, is not at all meant to apply to
you, dearest papa. No! You understand me too well, and you are
too kind to try to deprive any one of his good name. I only meant
it for--you can guess to whom I allude--to people who can believe
such a thing.

I have resolved to stay in the house to-day, although Sunday, as
it is snowing heavily. To-morrow I must go out, for our "house-
nymph," Madlle. Pierron, my highly esteemed pupil, who has
usually a French concert every Monday, intends to scramble
through my hochgrafliche Litzau concerto. I also mean, for my
sins, to let them give me something to hack away at, and show
that I can do something too prima fista; for I am a regular
greenhorn, and all I can do is to strum a little on the piano! I
must now conclude, being more disposed to-day to write music than
letters. Don't forget the cadenzas and the cantabile. Many thanks
for having had the arias written out so quickly, for it shows
that you place confidence in me when I beg a favor of you.

96.

Mannheim, Feb. 28, 1778.

I HOPE to receive the arias next Friday or Saturday, although in
your last letter you made no further mention of them, so I don't
know whether you sent them off on the 22d by the post-carriage. I
hope so, for I should like to play and sing them to Madlle.
Weber. I was yesterday at Raafl's to take him an aria that I
lately wrote for him [Kochel, No. 295]. The words are--"Se al
labbro mio non credi, nemica mia." I don't think they are by
Metastasio. The aria pleased him beyond all measure. It is
necessary to be very particular with a man of this kind. I chose
these words expressly, because he had already composed an aria
for them, so of course he can sing it with greater facility, and
more agreeably to himself. I told him to say honestly if it did
not suit his voice or please him, for I would alter it if he
wished, or write another. "Heaven forbid!" said he; "it must
remain just as it is, for nothing can be more beautiful. I only
wish you to curtail it a little, for I am no longer able to
sustain my voice through so long a piece." "Most gladly," I
answered, "as much as ever you please; I made it purposely rather
long, for it is always easy to shorten, but not so easy to
lengthen." After he had sung the second part, he took off his
spectacles, and, looking at me deliberately, said, "Beautiful!
beautiful! This second part is quite charming;" and he sang it
three times. When I went away he cordially thanked me, while I
assured him that I would so arrange the aria that he would
certainly like to sing it. I think an aria should fit a singer as
accurately as a well-made coat. I have also, for practice,
arranged the air "Non so d' onde viene" which has been so
charmingly composed by Bach. Just because I know that of Bach so
well, and it pleases me and haunts my ear, I wished to try if, in
spite of all this, I could succeed in writing an aria totally
unlike the other. And, indeed, it does not in the very least
resemble it. I at first intended this aria for Raaff; but the
beginning seemed to me too high for Raaff's voice, but it pleased
me so much that I would not alter it; and from the orchestral
accompaniment, too, I thought it better suited to a soprano. I
therefore resolved to write it for Madlle. Weber. I laid it
aside, and took the words "Se al labbro" for Raaff. But all in
vain, for I could write nothing else, as the first air always
came back into my head; so I returned to it, with the intention
of making it exactly in accordance with Madlle. Weber's voice. It
is andante sostenuto, (preceded by a short recitative,) then
follows the other part, Nel seno destarmi, and after this the
sostenuto again. When it was finished, I said to Madlle. Weber,
"Learn the air by yourself, sing it according to your own taste,
then let me hear it, and I will afterwards tell you candidly what
pleases and what displeases me."

In the course of a couple of days I went to see her, when she
sang it for me and accompanied herself, and I was obliged to
confess that she had sung it precisely as I could have wished,
and as I would have taught it to her myself. This is now the best
aria that she has, and will insure her success whereever she
goes. [Footnote: This wonderfully beautiful aria is appended to
my Life of Mozart.--Stuttgart, Bruckmaun, 1863.] Yesterday at
Wendling's I sketched the aria I promised his wife [Madame
Wendling was a fine singer], with a short recitative. The words
were chosen by himself from "Didone": "Ah non lasciarmi no." She
and her daughter quite rave about this air. I promised the
daughter also some French ariettes, one of which I began to-day.
I think with delight of the Concert Spirituel in Paris, for
probably I shall be desired to compose something for it. The
orchestra is said to be good and numerous, so my favorite style
of composition can be well given there--I mean choruses, and I am
very glad to hear that the French place so much value on this
class of music. The only fault found with Piccini's [Gluck's
well-known rival] new opera "Roland" is that the choruses are too
meagre and weak, and the music also a little monotonous;
otherwise it was universally liked. In Paris they are accustomed
to hear nothing but Gluck's choruses. Only place confidence in
me; I shall strive with all my might to do honor to the name of
Mozart. I have no fears at all on the subject.

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