The Letters of Wolfgang Amadeus Mozart Part 20

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 s.p.a.cious apartment in the palace. The Elector was also within hearing. On this occasion it was rehea.r.s.ed 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 pa.s.sages 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 divertiss.e.m.e.nt 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 d.u.c.h.ess, 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 a.s.sa.s.sinated. 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, ba.s.s, 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 rehea.r.s.e 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 Sat.u.r.day the three acts are to be rehea.r.s.ed 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.