The Letters of Wolfgang Amadeus Mozart Part 18

I intend (I mention it to you in the strictest secrecy) to write a ma.s.s 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 b.u.t.tons; 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 la.s.s 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 compa.s.s 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 a.s.sure 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 G.o.ds 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 ma.s.ses, 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 rehea.r.s.e 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 a.s.sure 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 Wa.s.serburg 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 ba.s.soon; 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. "Ess.e.x" 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 G.o.d, will continue to do so. I am just going to dress, but must not omit the chief thing of all, and the princ.i.p.al 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 a.s.sure 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 n.o.ble 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 b.a.s.t.a.r.della [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.