Euripedes - "The Iphigenia in Tauris"

John Bunyan - "The Pharisee And The Publican"

John Lothrop Motley - "History of the United Netherlands, 1585"

John Niles Hubbard - "An account of Sa Go Ye Wat Ha"

New Philadelphia Book Publisher Highlights Local Talent
Book and Publishing News from Publishers Newswire(tm)

Looking for Child to be on Cover of a New Book, 'The Model Child'
PHILADELPHIA, Pa. -- The Philadelphia literary world will celebrate the launch of two new players today, April 10th: Kay Square Press, a new publishing company focused on Philadelphia-area artists, their stories, and their art; and Kay Square's first release, 'With the Rich and Mighty: Emlen Etting of Philadelphia' (ISBN: 978-0-9815129-0-7), a critical biography by Kenneth C. Kaleta.

FlatSigned Press Alleges Don Imus Remarks Damage Legacy of President Gerald R. Ford
NEW YORK, N.Y. -- Nathan Yungerberg, an accomplished model scout and professional child photographer is launching a nation-wide casting call to find the cover model for his highly anticipated book release, 'The Model Child: A Parents Guide to the Child Modeling Industry' (ISBN: 978-0-9817018-0-6).

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

W >> Wolfgang Amadeus Mozart >> The Letters of Wolfgang Amadeus Mozart, V.1.




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.

END OF VOL. I.



CONTENTS OF VOLUME I. [LETTERS LISTED BY DATE]



FIRST PART
ITALY VIENNA MUNICH
1770-1776


LETTER

1. Salzburg, 1769
2. Verona, Jan 7, 1770
3. Milan, Jan 26, 1770
4. Milan, Feb. 10, 1770
5. Milan, Feb 17, 1770
6. Milan, Carnival, Erchtag, 1770
7. Milan, Mar 3, 1770
8. Bologna, Mar 24, 1770
9. Rome, April 14, 1770
10. Rome, April 21, 1770
11. Rome, April 25, 1770
12. Naples, May 19, 1770
13. Naples, May 29, 1770
14. Naples, June 5, 1770
15. Naples, June 16, 1770
16. Rome, July 17, 1770
17. Bologna, July 21, 1770
18. Bologna, July, 1770
19. Bologna, August 4, 1770
20. Bologna, August 21, 1770
21. Bologna, Sept 8, 1770
22. Bologna, Sept 22, 1770
23. Bologna, Sept 29, 1770
24. Bologna, Oct 6, 1770
25. Milan, Oct. 20, 1770
26. Milan, Oct. 27, 1770
27. Milan, Nov 3, 1770
28. Milan, Dec 1, 1770
29. Milan, Jan, 1771
30. Venice, Feb 15, 1771
31. Venice, Feb 20, 1771
32. Verona, Aug 18, 1771
33. Milan, Aug 23, 1771
34. Milan, Aug 31, 1771
35. Milan, Sept 13, 1771
36. Milan, Sept 21, 1771
37. Milan, Oct 5, 1771
38. Milan, Oct 26, 1771
39. Milan, Nov 2, 1771
40. Milan, Nov. 24, 1771
41. Milan, Nov 30, 1771
42. Bologna, Oct 28, 1772
43. Milan, Nov 7, 1772
44. Milan, Nov, 1772
45. Milan, Nov 21, 1772
46. Milan, Nov 28, 1772
47. Milan, Dec 5, 1772
48. Milan, Dec 18, 1772
49. Milan, Jan 23, 1773
50. Vienna, Aug 14, 1773
51. Vienna, Aug 21, 1773
52. Vienna, Sept. 15, 1773
53. Munich, Dec. 28, 1774
54. Munich, Dec. 30, 1774
55. Munich, Jan. 11, 1775
56. Munich, Jan. 14, 1775
57. Munich, Jan., 1775
58. Salzburg, Sept. 4, 1776



SECOND PART.
MUNICH AUGSBURG MANNHEIM
SEPTEMBER 1777 to MARCH 1778



59. Wasserburg, Sept. 23, 1777
60. Munich, Sept. 26, 1777
61. Munich, Sept. 29, 1777
62. Munich, Oct. 2, 1777
63. Munich, Oct. 6, 1777
64. Munich, Oct. 11, 1777
65. Augsburg, Oct. 14, 1777
66. Augsburg, Oct. 17, 1777
67. Augsburg, Oct. 17, 1777
68. Augsburg, Oct. 23, 1777
69. Augsburg, Oct. 25, 1777
70. Mannheim, Oct. 30, 1777
71. Mannheim, Nov. 4, 1777
72. Mannheim, Nov. 5 1777
73. Mannheim, Nov. 8, 1777
74. Mannheim, Nov. 13, 1777
75. Mannheim, Nov. 13, 1777
76. Mannheim, Nov. 14-16, 1777
77. Mannheim, Nov. 20, 1777
78. Mannheim, Nov. 22, 1777
79. Mannheim, Nov. 26, 1777
80. Mannheim, Nov. 29, 1777
81. Mannheim, Dec. 3, 1777
82. Mannheim, Dec. 6, 1777
83. Mannheim, Dec. 10, 1777
84. Mannheim, Dec. 14, 1777
85. Mannheim, Dec. 18, 1777
86. Mannheim, Dec. 20, 1777
87. Mannheim, Dec. 27, 1777
88. Mannheim, Jan. 7, 1778
89. Mannheim, Jan. 10, 1778
90. Mannheim, Jan. 17, 1778
91. Mannheim, Feb. 2-4, 1778
92. Mannheim, Feb. 7, 1778
93. Mannheim, Feb. 14, 1778
94. Mannheim, Feb. 19, 1778
95. Mannheim, Feb. 22, 1778
96. Mannheim, Feb. 28, 1778
97. Mannheim, end of Feb, 1778
98. Mannheim, Mar. 7, 1778
99. Mannheim, Mar. 11, 1778



THIRD PART.
PARIS.
MARCH 1778 to JANUARY 1779



100. Paris, Mar. 24, 1778
101. Paris, April 5, 1778
102. Paris, May 1, 1778
103. Paris, May 14, 1778
104. Paris, May 29, 1778
105. Paris, June 12 1778
106. Paris, July 3, 1778
107. Paris, July 3, 1778
108. Paris, July 9, 1778
109. Paris, July 18, 1778
110. Paris, July 31, 1778
111. Paris, Aug 7, 1778
112. St Germains, Aug 27, 1778
113. Paris, Sept 11, 1778
114. Nancy, Oct 3, 1778
115. Strassburg, Oct 15, 1778
116. Strassburg, Oct 26, 1778
117. Mannheim, Nov 12, 1778
118. Mannheim, Nov 24, 1778
119. Mannheim, Dec 3, 1778
120. Kaisersheim, Dec 18, 1778
121. Kaisersheim, Dec 23, 1778
122. Munich, Dec 29, 1778
123. Munich, Dec 31, 1778
124. Munich, Jan 8, 1779
125. Salzburg, May 10, 1779



FOURTH PART
MUNICH IDOMENEO
NOVEMBER 1780 to JANUARY 1781



126. Munich, Nov 8, 1780
127. Munich, Nov 13, 1780
128. Munich, Nov 15, 1780
129. Munich, Nov 22, 1780
130. Munich, Nov 24, 1780
131. Munich, Dec 1, 1780
132. Munich, Dec 5, 1780
133. Munich, Dec 13, 1780
134. Munich, Dec 16, 1780
135. Munich, Dec 19, 1780
136. Munich, Dec 27, 1780
137. Munich, Dec 30, 1780
138. Munich, Jan 3, 1781
139. Munich, Jan 10, 1781
140. Munich, Jan 18, 1781