Books: The Letters of Wolfgang Amadeus Mozart, V.1.
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Wolfgang Amadeus Mozart >> The Letters of Wolfgang Amadeus Mozart, V.1.
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As for the trifles that are not to be found in the trunk, it is
quite natural that under such circumstances something should be
lost, or even stolen. The little amethyst ring I felt I ought to
give to the nurse who attended my dear mother, whose wedding-ring
was left on her finger. [A large blot.] The ink-bottle is so
full, and I am too hasty in dipping in my pen, as you will
perceive. As for the watch, you have guessed rightly. I sold it,
but only got five louis-d'or for it, and that in consideration of
the works, which were good; for the shape, as you know, was old-
fashioned and quite out of date. Speaking of watches, I must tell
you that I am bringing one with me--a genuine Parisian. You know
what sort of thing my jewelled watch was--how inferior all the
so-called precious stones were, how clumsy and awkward its shape;
but I would not have cared so much about that, had I not been
obliged to spend so much money in repairing and regulating it,
and after all the watch would one day gain a couple of hours, and
next day lose in the same proportion. The one the Elector gave me
did just the same, and, moreover, the works were even worse and
more fragile. I exchanged these two watches and their chains for
a Parisian one which is worth twenty louis-d'or. So now at last I
know what o'clock it is; with my five watches I never got so far
as that before! At present, out of four, I have, at all events,
one on which I can depend.
121.
Kaisersheim, Dec. 23, 1778.
MA TRES-CHERE COUSINE,--
I write to you in the greatest haste, and in the deepest sorrow
and remorse, and with the determined purpose to tell you that it
is my intention to set off to-morrow to Munich. I would, I assure
you, gladly have gone to Augsburg, but the prelate was resolved
to claim me, for which you cannot blame me. It is my loss, so
don't be cross. I may perhaps make an escapade from Munich to
Augsburg, but this is by no means certain. If you will be as glad
to see me, as I shall be to see you, do come to the good town of
Munich. Be sure you come by the new year, that I may see your
face so dear, and escort you far and near. One thing I very much
regret, which is that I cannot give you house-room, because I am
not at an hotel, but am living with--whom do you think? I should
like to know this myself [with the Webers]. But now Spassus
apart. For that very reason, and for my sake, it would be
advisable you should come; perhaps you may have a great part to
play, but at all events come. I can then pay you in my own mighty
person all proper compliments. Now adieu, angel of piety! I await
you with anxiety. Your sincere cousin,
W. A. MOZART.
P.S.--Write to me forthwith to Munich, Poste Restante, a little
note of twenty-four pages, but do not mention where you are to
lodge, that I may not find you out nor you me.
122.
Munich, Dec. 29, 1778.
I WRITE from the house of M. Becke [flute-player; see No. 60]. I
arrived here safely, God be praised! on the 25th, but have been
unable to write to you till now. I reserve everything till our
glad, joyous meeting, when I can once more have the happiness of
conversing with you, for to-day I can only weep. I have far too
sensitive a heart. In the mean time, I must tell you that the day
before I left Kaisersheim I received the sonatas; so I shall be
able to present them myself to the Electress. I only delay
leaving this till the opera [Footnote: Schweitzer's "Alceste."
(See No. 120.)] is given, when I intend immediately to leave
Munich, unless I were to find that it would be very beneficial
and useful to me to remain here for some time longer. In which
case I feel convinced, quite convinced, that you would not only
be satisfied I should do so, but would yourself advise it. I
naturally write very badly, for I never learned to write; still,
in my whole life I never wrote worse than this very day, for I
really am unfit for anything--my heart is too full of tears. I
hope you will soon write to me and comfort me. Address to me,
Poste Restante, and then I can fetch the letter myself. I am
staying with the Webers. I think, after all, it would be better,
far better, to enclose your letter to me to our friend Becke.
I intend (I mention it to you in the strictest secrecy) to write
a mass here; all my best friends advise my doing so. I cannot
tell you what friends Cannabich and Raaff have been to me. Now
farewell, my kindest and most beloved father! Write to me soon.
A happy new-year! More I cannot bring myself to write to-day.
This letter is scrawled hurriedly, quite unlike the others, and
betrays the most violent agitation of mind. During the whole
journey there was nothing to which Mozart looked forward with
such joy as once more seeing his beloved Madlle. Weber in Munich.
He had even destined "a great part" for the Basle (his cousin) in
the affair; but he was now to learn that Aloysia had been
faithless to him. Nissen relates: "Mozart, being in mourning for
his mother, appeared dressed, according to the French custom, in
a red coat with black buttons; but soon discovered that Aloysia's
feelings towards him had undergone a change. She seemed scarcely
to recognize one for whose sake she had once shed so many tears.
On which Mozart quickly seated himself at the piano and sang,
"Ich lass das Madel gern das mich nicht will," ["I gladly give up
the girl who slights me."] His father, moreover, was displeased
in the highest degree by Wolfgang's protracted absence, fearing
that the Archbishop might recall his appointment; so Wolfgang
became very uneasy lest he should not meet with a kind reception
from his father on his return home."
123.
Munich, Dec. 31, 1778.
I HAVE this instant received your latter from my friend Becke. I
wrote to you from his house two days ago, but a letter such as I
never wrote before; for this kind friend said so much to me about
your tender paternal love, your indulgence towards me, your
complaisance and discretion in the promotion of my future
happiness, that my feelings were softened even to tears. But,
from your letter of the 28th, I see only too clearly that Herr
Becke, in his conversation with me, rather exaggerated. Now,
distinctly, and once for all, as soon as the opera ("Alceste") is
given, I intend to leave this, whether the diligence goes the day
after or the same night. If you had spoken to Madame Robinig, I
might have travelled home with her. But be that as it may, the
opera is to be given on the 11th, and on the 12th (if the
diligence goes) I set off. It would be more for my interest to
stay here a little longer, but I am willing to sacrifice this to
you, in the hope that I shall have a twofold reward for it in
Salzburg. I don't think your idea about the sonatas at all good;
even if I do not get them, I ought to leave Munich forthwith.
Then you advise my not being seen at court; to a man so well
known as I am here such a thing is impossible. But do not be
uneasy. I received my sonatas at Kaisersheim; and, as soon as
they are bound, I mean to present them to the Electress. A.
propos, what do you mean by DREAMS OF PLEASURE? I do not wish to
give up dreaming, for what mortal on the whole compass of the
earth does not often dream? above all DREAMS OF PLEASURE--
peaceful dreams, sweet, cheering dreams if you will--dreams
which, if realized, would have rendered my life (now far rather
sad than pleasurable) more endurable.
The 1st.--I have this moment received, through a Salzburg
vetturino, a letter from you, which really at first quite
startled me. For Heaven's sake tell me, do you really think that
I can at once fix a day for my journey; or is it your belief that
I don't mean to come at all? When I am so very near, I do think
you might be at ease on that point. When the fellow had explained
his route to me, I felt a strong inclination to go with him, but
at present I really cannot; to-morrow or next day I intend to
present the sonatas to the Electress, and then (no matter how
strongly I may be urged) I must wait a few days for a present. Of
one thing I give you my word, that to please you I have resolved
not to wait to see the opera, but intend to leave this the day
after I receive the present I expect. At the same time I confess
I feel this to be very hard on me; but if a few days more or less
appear of such importance to you, so let it be. Write to me at
once on this point. The 2d.--I rejoice at the thoughts of
conversing with you, for then you will first comprehend how my
matters stand here. You need have neither mistrust nor misgivings
as to Raaff, for he is the most upright man in the world, though
no lover of letter-writing. The chief cause of his silence,
however, is no doubt that he is unwilling to make premature
promises, and yet is glad to hold out some hope too; besides,
like Cannabich, he has worked for me with might and main.
124.
Munich, Jan. 8, 1779.
[Footnote: The second grand aria that Mozart wrote for Aloysia,
bears the same date.]
I HOPE you received my last letter, which I meant to have given
to the vetturino, but having missed him I sent it by post. I
have, in the mean time, got all your letters safely through Herr
Becke. I gave him my letter to read, and he also showed me his. I
assure you, my very dear father, that I am now full of joy at
returning to you, (but not to Salzburg,) as your last letter
shows that you know me better than formerly. There never was any
other cause for my long delay in going home but this doubt, which
gave rise to a feeling of sadness that I could no longer conceal;
so I at last opened my heart to my friend Becke. What other cause
could I possibly have? I have done nothing to cause me to dread
reproach from you; I am guilty of no fault; (by a fault I mean
that which does not become a Christian, and a man of honor;) in
short, I now rejoice, and already look forward to the most
agreeable and happy days, but only in the society of yourself and
my dear sister. I give you my solemn word of honor that I cannot
endure Salzburg or its inhabitants, (I speak of the natives of
Salzburg.) Their language, their manners, are to me quite
intolerable. You cannot think what I suffered during Madame
Robinig's visit here, for it is long indeed since I met with such
a fool; and, for my still further annoyance, that silly, deadly
dull Mosmayer was also there.
But to proceed. I went yesterday, with my dear friend Cannabich,
to the Electress to present my sonatas. Her apartments are
exactly what I should like mine one day to be, very pretty and
neat, just like those of a private individual, all except the
view, which is miserable. We were there fully an hour and a half,
and she was very gracious. I have managed to let her know that I
must leave this in a few days, which will, I hope, expedite
matters. You have no cause to be uneasy about Count Seeau; I
don't believe the thing will come through his hands, and even if
it does, he will not venture to say a word. Now, once for all,
believe that I have the most eager longing to embrace you and my
beloved sister. If it were only not in Salzburg! But as I have
not hitherto been able to see you without going to Salzburg, I do
so gladly. I must make haste, for the post is just going.
My cousin is here. Why? To please me, her cousin; this is,
indeed, the ostensible cause. But--we can talk about it in
Salzburg; and, on this account, I wished very much that she would
come with me there. You will find a few lines, written by her own
hand, attached to the fourth page of this letter. She is quite
willing to go; so if it would really give you pleasure to see
her, be so kind as to write immediately to her brother, that the
thing may be arranged. When you see her and know her, she is
certain to please you, for she is a favorite with every one.
Wolfgang's pleasantries, in the following; letter to his cousin,
show that his good humor was fully restored. He was received at
home with very great rejoicings, and his cousin soon followed
him.
125.
Salzburg, May 10, 1779.
DEAREST, sweetest, most beauteous, fascinating, and charming of
all cousins, most basely maltreated by an unworthy kinsman! Allow
me to strive to soften and appease your just wrath, which only
heightens your charms and winning beauty, as high as the heel of
your slipper! I hope to soften you, Nature having bestowed on me
a large amount of softness, and to appease you, being fond of
sweet pease. As to the Leipzig affair, I can't tell whether it
may be worth stooping to pick up; were it a bag of ringing coin,
it would be a very different thing, and nothing less do I mean to
accept, so there is an end of it.
Sweetest cousin, such is life! One man has got a purse, but
another has got the money, and he who has neither has nothing;
and nothing is even less than little; while, on the other hand,
much is a great deal more than nothing, and nothing can come of
nothing. Thus has it been from the beginning, is now, and ever
shall be; and as I can make it neither worse nor better, I may as
well conclude my letter. The gods know I am sincere. How does
Probst get on with his wife? and do they live in bliss or in
strife? most silly questions, upon my life! Adieu, angel! My
father sends you his uncle's blessing, and a thousand cousinly
kisses from my sister. Angel, adieu!
A TENDER ODE. [Footnote: A parody of Klopstock's "Dein susses
Bild, Edone"]
TO MY COUSIN.
THY sweet image, cousin mine,
Hovers aye before me; Would the form indeed were thine!
How I would adore thee! I see it at the day's decline; I see it
through the pale moonshine, And linger o'er that form divine
By all the flowers of sweet perfume
I'll gather for my cousin,--By all the wreaths of myrtle-bloom
I'll wreathe her by the dozen,--I call upon that image there To
pity my immense despair, And be indeed my cousin fair
[Footnote: These words are written round the slightly sketched
caricature of a face.]
FORTH PART.
MUNICH.--IDOMENEO.
NOVEMBER 1780 TO JANUARY 1781.
PART IV.
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 fortuiiata, 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.
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