Chapter V: The Italian Tour (2)

style of church music. After 1773, the examination became more severe,[47] and an Italian who stood the test at the beginning of this century, speaks of it as consisting of three separate compositions. First, the given subject was to be arranged for four voices in _falsobordone_, i.e., in plain harmonics, after the fashion of our congregational chorales. The second test consisted of a _disposizione di parte_. One voice retained the Cantus firmus, the others were to be set to it in canonic or imitative mode. The motifs were often taken from the Cantus firmus itself, in a rhythmical, diminished form. Strict imitation was not enjoined; it sufficed that the voices should follow each other with similar passages. The third task was a _fuga reale_, a perfect fugue, according to the rules of the church mode of the Cantus firmus, in which one phrase is carried through as a theme, the other parts serving as intermediate phrases.

Wolfgang did not go through this examination without preparation. An elaboration in his boyish handwriting of the Cantus firmus "Cibavit eos in adipe" (44 K.) is probably an exercise made under Padre Martini's directions. His trial work was a Cantus firmus from the Roman Antiphonary, a freely imitative contrapuntal arrangement of the accompanying parts overlying the Cantus firmus of the bass, which is only to be adhered to in its melodic progressions, and may be modified in its rhythmical divisions. The original from Mozart's hand is in the archives of the Philharmonic Society, where it was found by Gaspari in a volume of various test works chiefly by Martini's pupils.[48] Next to it among the documents was a second elaboration written by Padre Martini, and copied by Wolfgang. Of this a second copy is in the Mozarteum, from Wolfgang's hand, with his father's subscription: _Dal Sigr. Cavaliere Amadeo Wolfgango Mozart di Salisburgo, Scritto nella sala dell' accademia filarmonica in Bologna li 10 d' Ottobre, 1770_. This was published as Wolfgang's own test work (86 K.).[49] Probably Padre Martini went

{MILAN--"MITRIDATE."}

(129)

through the boy's work, which was not free from faults, and was entered in the protocol as "satisfying the conditions," and showed him how the task might have been executed; he took the copy of the corrected exercise to Salzburg when he returned there.

On October 18 they arrived at Milan, and set vigorously to work on the completion of the opera. The subject chosen was "Mitridate, Re di Ponto," opera seria in three acts, versified by Vittorio Amadeo Cigna-Santi of Turin, where it had already been produced in 1767 with the music of the kapellmeister Quirico Gasparini. It was first necessary to finish the recitatives begun in Bologna, and Wolfgang worked so hard at them that he excused himself to his mother for not writing: "His fingers ached so from writing recitatives." Every air in the opera was written after consultation with the singers, male and female, as to what was best suited to their voice and style. By studying the taste of the vocalists and so engaging their zeal, the composer found the best security for the favourable reception of his work. If he were not fortunate enough to please his singers, either the whole must be rewritten to suit them, or he must be prepared to hear his music fall flat before the audience, if indeed something quite different were not substituted by the performer. When the composer possessed true talent and judgment, this co-operation was less detrimental to the work than if it had been left altogether to the discretion of the performers; nevertheless, the danger of undignified subjection to their caprices was considerable.

Wolfgang strove to extricate himself, as best he might, from the difficulties and intrigues which hindered his work. These were the more vexatious, as the singers arrived in Milan so late as to give him little time for composition. His father was careful not to allow him to overtax his strength, and especially insisted on his not working immediately after eating, unless under the pressure of great necessity; they usually went for a walk first. The mental strain of so important a task had a sobering effect on the boy's spirits, and he repeatedly enjoins his mother and sister to pray for the success of the opera, "so that we may all live happily

{THE ITALIAN TOUR.}

(130)

together again." Leopold begs his friends in Salzburg to be charitable enough to write them cheerful, jocular letters, to distract Wolfgang's mind, There was, of course, the usual petty spite of the "Virtuosen canaille" to combat; they were not likely to leave unmolested a kapellmeister at once "a youth and a foreigner"; but the father shrank from no difficulties which could be overcome by "presence of mind and good sense," and declared they would gnaw through them all, "as the Hanswurst did through the Dreckberg."

The prima donna was not Gabrielli, but Antonia Bernasconi, daughter of a valet of the Duke of Wurtemberg, who had been educated as a singer by her stepfather, Andrea Bernasconi (kapellmeister at Munich since 1754).[50] With her was "the first battle to fight," for it was through her that the envious cabal sought to overthrow the young composer. An unknown opponent of Wolfgang tried to persuade her to reject the songs and duets which he had composed for her, and to substitute those of Gasparini. But Bernasconi withstood this infamous proposal. She declared, on the contrary, that she was "beside herself with joy" at the songs which Wolfgang had written "according to her will and desire"; and the experienced old maestro Lampugnani, who rehearsed her part with her, was never tired of praising the compositions. Another cloud in the theatrical heavens appeared in the person of the tenor, the Cavalier Guglielmo d' Ettore, who had performed with great success at Munich and Padua.[51] This storm, too, was happily allayed, but it must have been a threatening one, for L. Mozart reminds his son of it later, to encourage him, in Paris. The last arrival was the primo uomo--not Manzuoli, but Santorini, who had lately been singing at Turin, and had known them in Bologna. He was not at Milan till December 1, and the representation was to take place on the 26th.

The rehearsals began under favourable circumstances; even the copyist had performed his task so well that he

{"MITRIDATE"--HOPES AND FEARS.}

(131)

had made only one mistake in the recitatives, and the singers proved excellent. "As far as I can judge, without fatherly partiality," wrote L. Mozart on December 8, "I believe that Wolfgang has written the opera well and with spirit." On December 17 the first rehearsal with full orchestra[52] took place in the Redoutensaal, and the second two days later in the theatre; the verdict was altogether in favour of the new opera:--

Before the first rehearsal with the small orchestra, there were not wanting people who condemned the music beforehand as youthful and poor; they prophesied, as it were, declaring it impossible that so young a boy, and a German to boot, could write an Italian opera;[53] they acknowledged him to be a great performer, but denied that he could by any means understand the _chiaro ed oscuro_ needed in the drama. But since the first rehearsal these people are all dumbfoundered, and have not another word to say. The copyist is delighted, which is a good sign in Italy, for when the music pleases, the copyist often gains more by distributing and selling the songs than the kapellmeister by composing them;[54] the singers, male and female, are highly satisfied, and the duet between the primo uomo and prima donna is especially praised."

The _professori_ (instrumentalists) in the orchestra were pleased, and declared that the music was clear, distinct, and easy to play. Mozart's friends were as cheerful as his detractors were gloomy, and the most noted musicians, such as Fioroni, Sammartini, Lampugnani, and Piazza Colombo were decidedly in favour of the opera. Under these circumstances (although the first opera of the season was usually

{THE ITALIAN TOUR.}

(132)

the least esteemed) they could look forward with calmness to the representation. This took place on December 26, under Wolfgang's conductorship, and the result surpassed all expectation. Every song, except those of the subordinate personages, was received with deafening applause, and with the cry "Evviva il maestro! evviva il maestrino!" Contrary to all custom at a first representation a song of the prima donna's was encored. At the second performance the applause was still greater, two songs and a duet being encored; but as it was Thursday, and the audience wished to go home to supper before midnight, so as not to encroach on Friday (fast day) the performance was cut short; it lasted, however, including the ballets at the end of each act, six good hours. On January 5, 1771, L. Mozart wrote home to his wife:--

Our son's opera is received with general approbation, and may be considered, as the Italians say, _dalle stelle_. Since the third performance we are alternately in the pit and the boxes, hearing or seeing, and every one is curious to talk with or look closely at the Signor Maestro, for the maestro is only bound to conduct the opera three evenings; Lampugnani accompanied at the second pianoforte, and now that Wolfgang does not play, he takes the first, and Melchior Chiesa the second. If any one had told me fifteen or eighteen years ago, when I heard so much of the opera songs and symphonies of Lampugnani in England, and Melchior Chiesa in Italy, that these two men would perform your son's music, and take his place at the piano to accompany his opera, I should probably have directed such a person to the madhouse as an idiot. We see by this how the power of God works in us men when we do not bury the talents that He has graciously bestowed on us.

The opera was repeated twenty times, and always with growing applause and a full house. The "Milan News," (January 2, 1771) assures its readers, that the youthful composer "studia il bello della natura e ce lo rappressenta adomo delle più rare grazie musicali." Wolfgang received from the public the appellation of the "Cavaliere Filarmonico," which was confirmed by the Accademia Filarmonica at Verona, who elected him as their kapellmeister on January 5, 1771.

Professional cares [55]did not engross all Mozart's time and attention. They became on intimate terms with the young

{VENICE--PADUA--SALZBURG, 1771.}

(133)

difficult concerto at sight. They had a trip to Turin, saw a splendid opera, and were back in Milan on January 31,[56] leaving again shortly for Venice, where they arrived on the Monday in Carnival week. They were hospitably received by a merchant, Wider, a business friend of Hagenauer's.

They enjoyed in all comfort the pleasures of a Venetian carnival, and, having introductions to all the nobility, splendidly appointed gondoliers were always at their service; one invitation followed another, and almost every evening was passed at the opera, or at some other place of amusement. A concert was given by Mozart with brilliant success.

On the return journey, undertaken on March 13, they stayed one day in Padua, visiting the musical celebrities Franc. Ant. Ballotti (1697-1780), one of the first organ-players in Italy, and almost as good a theorist and contrapuntist as Padre Martini himself,[57] and the composer and Munich kapellmeister, Giov. Ferrandini[58]--Tartini had died the year before. Wolfgang played on the excellent organ in Santa Giustina. At Padua, too, he received a commission to write an oratorio to be completed at home as opportunity offered. At Vicenza they remained some days at the request of the Bishop, a Cornero, who had made their acquaintance at Venice; and at Verona they stayed with their old friend Luggiati, who gave a brilliant reception in Wolfgang's honour.

On March 28, 1771, Wolfgang was in Salzburg again, enriched with many experiences and loaded with honours, his talents matured and his tastes improved; but his nature as simple, modest, and childlike as when he had set out. The most direct result of the great success of his opera was a commission from the impresario in Milan for the first opera of the Carnival of 1773, with an increased remuneration of 130 gigliati.

{THE ITALIAN TOUR.}

(134)

At Verona, L. Mozart had already heard rumours of a document on its way from Vienna to Salzburg, which was to bring his son "immortal honour." They had scarcely arrived in Salzburg, when Count Firmian commissioned Wolfgang, in the name of the Empress Maria Theresa, to compose a theatrical serenade or cantata in celebration of the marriage of the Archduke Ferdinand with the Princess Maria Ricciarda Beatrice, daughter of the hereditary Prince Ercole Rainaldo, of Modena. As the marriage was to take place in October of the year 1771, it follows that the stay in Salzburg was not of long duration. During this interval he composed, principally no doubt to satisfy the demands of his official position, a "Litany" (109 K.), and a "Regina Coeli" (108 K.) in May, and a Symphony (110 K.) in July. Leopold Mozart had little hope that even Wolfgang's success in Milan would serve to advance his cause with the Archbishop in case of any more lucrative post becoming vacant. Such considerations did not trouble Wolfgang himself so much as his father; he took advantage of this interval to fall in love for the first time. His letters to his sister are full of hints of a nameless beauty, of unspeakable emotions; and the fact that the young lady married about the same time makes the picture complete of the first love of a boy of sixteen, which had, as might be expected, no lasting effect on his natural good spirits.

On August 13 they left Salzburg, and after a short stay in Verona arrived at Milan on August 21. The marriage was fixed for October 15, but the libretto had not yet been returned from Vienna, where it had been sent on approbation; in those days it was considered that a maestro should be so sure of his art that it should stand him in stead at all times and seasons.[59] Wolfgang was under no apprehension on this score; he was delighted with his gracious reception by the royal bride, and enjoyed the delicious fruit, eating a double share of it, as he says, out of brotherly love to his

{MILAN, 1771--GABRIELLI.}

(135)

sister. When at last the book arrived at the end of August it was detained some days longer by the poet to make the numerous alterations required, and not until the beginning of September was it finally delivered over to Wolfgang. Then he set to work, composing so vigorously that on September 13 the recitatives and choruses were finished, and his father was of opinion that the whole opera with the ballet would be ready in twelve days, which indeed it was; and no wonder that Wolfgang complained that his fingers ached. In the room above that where he wrote was a violinist, in the room below another; a singing master lived next door, and an oboist opposite. "It is capital for composing," says Wolfgang; "it gives one new ideas."

During this visit to Milan they made the acquaintance of the great soprano, Catarina Gabrielli, famed for her intrigues no less than for her musical genius. The impression made by her on Wolfgang may be gathered from a letter to his father written later from Mannheim (February 19, 1778):--

Those who have heard Gabrielli must and will acknowledge that she is a mere executant; her peculiar style of delivery excites admiration, but only for the first three or four times of hearing her. In the long run she is not pleasing; one gets tired of passages, and she has the misfortune of not being able to sing. She cannot sustain a note in tune; she has no _messa di voce_; in a word, she sings with art, but no understanding.

The intercourse of the Mozarts with their fellow-artists, "really good and famous singers, and sensible people," was cordial, and undisturbed either by intrigues or cabals. Wolfgang's assured position with regard to the public, as well as the favour in which he was held at the imperial court, doubtless contributed to preserve harmony. The tenor Tibaldi and Manzuoli, who was really engaged this time, came almost daily at 11 o'clock, and remained sitting at the table till one; Wolfgang composing all the time.

But the most satisfactory connection was that with Hasse, who was composing an opera on Metastasio's "Ruggiero," for the same festive occasion.[60] It was of no small significance

{THE ITALIAN TOUR.}

(136)

that men like Hasse and Metastasio, who had brought Italian opera to its highest point, and a famous poet, such as Gius. Parini, in Milan,[61] should have been content to place themselves on a level with young Mozart. It was momentous in the history of music, this handing over of the sceptre by the man who had ruled the Italian stage throughout his long career to the youth, who was not indeed destined to acquire equal fame living, but to whom posterity was to allot a far more glorious place. Hasse himself is said to have exclaimed: "This boy will throw us all into the shade."[62] It was like him to recognise without envy the artistic greatness of Mozart; all young artists[63] found him ready to appreciate and help forward their efforts,[64] and Mozart himself had been grateful for his support when fighting with the musical cabal in Vienna.[65]

The festivities[66] which had attracted a crowd of strangers to Milan began with the triumphant entry of the Duke, followed by the marriage ceremony in the cathedral; then came a concert and reception at court. On the 16th a public banquet was given to more than four hundred bridal couples, to whom the Empress had given dowries, and in the evening Hasse's opera "Ruggiero" was performed in the newly decorated theatre, with two gorgeous ballets in the _entr'actes_, "La Corona della gloria," by Pick, and "Pico e Canente," by Favier.

On the 17th, after a splendid procession on the Corso, Wolfgang's serenata "Ascanio in Alba" (111 K.), an allegorical pastoral play in two acts, with choruses and dances, (by Favier) was produced. After the first rehearsal, L. Mozart had been able to predict to his wife that the success of the work was assured. "Because, to begin with,

{"ASCANIO IN ALBA."}

(137)

not only are Signor Manzuoli and the other vocalists in the highest degree pleased with their songs, but they are as anxious as ourselves to hear the serenata with the full orchestra; secondly, because I know what he has written, and the effect it will have, and am quite convinced that it is excellent, both for the singers and the orchestra." He had not deceived himself, the applause was extraordinary; the serenata was repeated the next day, and until the close of the festivities was more frequently given than "Ruggiero." "I am sorry," writes L. Mozart, "that Wolfgang's serenata should have so entirely eclipsed Hasse's opera."

He refers his home circle to the judgment of a young Salzburg merchant, Kerschbaumer, "who, on the 24th, was a witness how the Archduke and Archduchess not only applauded two of the songs until they were repeated, but leaning from their box, both during and after the performance, they bowed towards Wolfgang, and testified their approval by cries of

'Bravissimo! maestro,' and clapping of hands, an example followed by all present." This time, too, Wolfgang received more substantial marks of favour; besides the stipulated fee, the Empress presented him with a gold watch set with diamonds, having on its back an admirably executed miniature of herself in enamel.[67]

Among the festivities, which lasted until the end of the month, were a splendidly appointed masked procession of _facchini_, in the costume of the surrounding peasantry, on the 19th; races for horses (barberi) on che 27th, for chariots (calessetti) on the 28th, and the _cuccagna_ on the 24th, when masses of viands were given up to the plunder of the people, and fountains of wine were opened.[68] On this occasion the Mozarts narrowly escaped a great danger. One of the great scaffoldings erected for spectators fell, and more than fifty persons were killed or injured. It was only an accidental delay which had prevented Wolfgang and his father from taking the seats which had been allotted them on this

{THE ITALIAN TOUR.}

(138)

erection, and had caused them to seat themselves in the court gallery.

After the close of the opera, Mozart wrote a symphony (112 K.) and a divertimento (113 K.), probably for a concert, but at all events to order. During this stay in Milan a contract was entered into with the theatre of S. Benedetto in Venice, by which Wolfgang was commissioned to write the second opera of the Carnival of 1773. How this was possible, since the contract stipulates for residence in Venice at the same time as it had been already promised in Milan, it is not easy to see, unless some indulgence on the part of the Venetian impresario was looked for, perhaps even promised.[69] The contract, however, was never fulfilled; Nau-mann became Mozart's substitute, arriving in Vienna just in time to undertake the opera. He produced his "Soliman" with very remarkable success.[70]

The return of the Mozarts to Salzburg was delayed until the middle of December, on the 30th of which month Wolfgang composed a symphony (114 K,), and was soon after seized with severe illness.[71]

Their arrival at home coincided with the death of Archbishop Sigismund, which took place after a lingering illness on December 16,1771. His successor was elected on March 14, 1772, in the person of Hieronymus Joseph Franz v. Paula, Count of Colloredo, Bishop of Gurk; to the universal surprise and grief of the populace, who had little prosperity to hope for under his rule.[72] An opera was required to form

{"IL SOGNO DI SCIPIONE"--SALZBURG, 1772.}

(139)

part of the festivities accompanying his installation, and this Wolfgang was commissioned to compose.[73] The subject chosen was "Il Sogno di Scipione" (126 K.), an allegorical _azione teatrale_, by Metastasio, which had been performed with music by Predieri on the birthday of the Empress Elizabeth, October 1, 1735. It was written with reference to the unfortunate military events in Italy, and stress was laid on the bravery and steadfastness of a great general, even in defeat. How far this subject was applicable to the circumstances of Bishop Hieronymus does not seem to have been inquired; even the words of the Licenza were left unaltered, except that the name of Girolamo was substituted for Carlo. It is amusing to note that Mozart composing from his Metastasio, writes the words under his score: "Ma Scipio esalta il labbro e _Carlo_ il cuore," then effaces the name and writes _Girolamo_.

We do not know how far indifference towards the person of the new Archbishop is responsible for the fact that this opera betrays more of the character of an occasional piece written to order than any other composition by Mozart. It was probably produced in the beginning of May, 1772.[74]

The remaining compositions which fall authentically within this period are a symphony (124 K.), composed on February 21, and a litany, "De Venerabile" a very important work (125 K.), in March. January was lost by illness, and in April, Mozart was busy with his opera; but in May, a "Regina Coeli" (127 K.) and no fewer than three symphonies (128-130 K.) were ready; in June, a great divertimento (131 K); in July and August three more symphonies (132-135 K.); three quartets, or divertimenti (136-138 K.), fall also within the year 1772. These clearly identified compositions can scarcely be all that belong to this period. If the fact surprises us that Mozart, instead of

{THE ITALIAN TOUR.}

(140)

making studies for the new opera which he was to produce in the autumn, employed this interval almost entirely on church and instrumental music, we must look for an explanation of it in his position at Salzburg, from which we cannot doubt that he felt an intense longing to free himself.

A correspondent of Burney who was at Salzburg in the summer of 1772 informs him that he has visited Mozart the father, and heard Wolfgang and his sister play duets together; Wolfgang, he says, is undoubtedly a master of his instrument, but he appears to have reached his climax, and, judging from his orchestral music, he affords another proof that premature fruits are more rare than excellent.[75] It would be unreasonable to take this false prophecy amiss, for it no doubt reflects something of the state of opinion in Salzburg at the time.

On October 24 they set forth once more on the journey to Milan, in order to be there in good time for the new opera. On the way, "to make time pass," Wolfgang composed a pianoforte duet; his fête-day was merrily kept with the brothers Piccini, in Ala (October 31); and after the usual stay with Luggiati in Verona, they arrived at Milan on November 4. L. Mozart, who had lately been very well, appeared to profit by the change and irregularity of a travelling life, but at Milan the old complaint reappeared. Giddiness and numbness in the head, attributable to a bad fall, seized him more especially when he had been composing, and he could not free himself from "Salzburg thoughts," in which he would be unconsciously plunged for some time, and only with an effort banish them from his mind "like the wicked thoughts with which the devil used to tempt him in his youth." They were no doubt the reflection of his almost unendurable relations with the new Archbishop. He foresaw a troubled future, unless he could succeed in extricating Wolfgang from his undefined position in Salzburg, and placing him on a secure footing; and to this end he bent all his endeavours.

The opera which Wolfgang was to compose was "Lucio

{"LUCIO SILLA"--MILAN, 1772.}

(141)

Silla," the words by Giovanni da Camera, a poet of Milan. This time Wolfgang brought part of the recitative with him, but he did not gain by so doing; for the poet had in the meantime submitted his text to Metastasio, who made many alterations, and added a new scene.

He had plenty of time, however, to rewrite the recitatives and to compose the choruses and the overtures, for of the singers only Signora Félicita Suarti (who sang in Parma in 1769, and now took the part of secondo uomo), and the ultimo tenore had appeared. They found Milan very empty, every one still in the country; only the D'Aste family received them into the same intimacy as before.

Next arrived the primo uomo Venanzio Rauzzini (b. 1752), an excellent singer, an accomplished pianist, and a not inconsiderable composer. He had been in Munich since 1776, when Burney made his acquaintance, and learned that he was to sing in Mozart's opera.[76] His first song was soon ready; L. Mozart thought it incomparably beautiful, and that Rauzzini sang it "like an angel."[77] At last the prima donna De Amicis arrived, after a tedious journey from Venice. It was time, for the representation was fixed for the 26th December, and there were still fourteen pieces to be composed, among them the terzet and the duet, "which might be reckoned as four."

"I cannot possibly write you a long letter," wrote Wolfgang on the 5th December, "for I have nothing to say, and do not know what I am writing; my thoughts are always in my opera, and I am in danger of writing you a whole song instead of words."

Maria Anna de Amicis (born about 1740), a pupil of Tesi, had been brought from the opera buffa as prima donna to the opera seria by Chr. Bach in London (1762). She had been married five years to Buonsolazzi, an official in Naples,

{THE ITALIAN TOUR.}

(142)

and she brought her little daughter Sepperl with her to Milan.[78] Although the Mozarts had made her acquaintance during their Parisian tour, she was at first a little inclined to create difficulties; but the most friendly relations were soon established between them.

When she had mastered her three songs she was "in high delight, because Wolfgang had suited her so wonderfully well." He had furnished the principal song with some new and marvellously difficult passages.[79] L. Mozart wrote after the rehearsals, that she both sang and acted like an angel, and all Salzburg would be amazed to hear her.

There was still wanting the tenor Cardoni, and news at length arrived that he was so seriously ill he could not appear. Suitable messengers were at once despatched to Turin and Bologna, to seek for another good tenor, who was to be not only a good singer, "but especially a good actor, and a person of presence, to represent Lucio Silla with proper dignity." But such an one was not to be procured, and there was nothing for it at last but to take a church singer from Lodi, Bassano Morgnoni, who had occasionally sung in the theatre there, but never on a larger stage. He arrived on December 17, when the rehearsals were going on, and the following day Wolfgang wrote two of the four songs allotted to him. On December 21, 22, and 23 there were large parties of the nobility at Count Firmian's, at which vocal and instrumental music was performed from five o'clock in the evening until eleven. Wolfgang played each time, and was favourably noticed by all the great people.

The grand rehearsal passed off well; and the first representation on December 26, in spite of some drawbacks, was a great success. The opera began, according to custom, an hour after Ave Maria, and at half-past five the theatre was

{PERFORMANCE OF "LUCIO SILLA."}

(143)

quite full. Just before Ave Maria the Archduke had risen from table, and retired to despatch five autograph congratulations on the New Year to Vienna; as might be expected, this took some time. The performers, male and female, in all the agitation of a first performance, and the hot impatient public were obliged to wait the arrival of the court until past eight o'clock. Unhappily the Lodi tenor had to express his anger by gestures during the prima donna's first song; in his efforts to surpass himself he gesticulated so wildly, "that he appeared to wish to box her ears, or hit her in the face with his clenched fist." Thereupon a laugh broke out; this confused De Amicis, who did not know for whom it was intended, and she sang ill the whole evening, especially after Rauzzini had been received on his first entry with applause from the Archduchess. Rauzzini had contrived to inform the Archduchess that he should be nervous at singing before her, and so had assured himself of the applause of the court. De Amicis was consoled by an invitation to court the next day, and then the opera went altogether well.

It was given more than twenty times to houses so full "that one could scarcely squeeze in." Each time some of the songs were encored, generally the prima donna's, which had "the upper hand."[80]

Wolfgang wrote a motett, "Exultate," for Rauzzini, (165 K.), which was performed before the actors on January, 1773. It is on the plan of a great dramatic scene, and maintains that style throughout. To a long and elaborate allegro succeeds a short recitative leading to a long, simple slow movement. The finale is an animated "Alleluia," cheerful and brilliant. Later (February 6) his father says he is busy with a quartet.

L. Mozart continually postponed their departure, at first with the expectation of seeing the second opera, which was much later than usual, owing to the many representations of "Lucio Silla," and afterwards under the pretext of an attack

{WORKS IN GERMANY.}

(144)

of rheumatism, which confined him to bed. In point of fact he had, with the powerful support of Count Firmian, proferred a request to the Grand Duke Leopold at Florence that the latter would attach Wolfgang to his court. The Grand Duke at first showed gracious dispositions, and L. Mozart must have wished to continue the negotiations from Milan. Even after their ultimate failure he thought he might count on powerful recommendations from Florence, and his thoughts turned again on a great professional tour. "Only be economical," he wrote, "for we must have money if we are to undertake a tour; I grudge every penny spent in Salzburg."

Towards the close of their stay a colleague from the Salzburg chapel, the horn-player Leutgeb, came to Milan, and was well received there.

At the beginning of March they really set out; for they might not be absent from their places on the anniversary of the Archbishop's election (March 14).

The remarkable success of the opera, and the lively interest excited by Wolfgang's person, leaves scarcely any doubt that further overtures were made to him in Italy; their non-acceptance must have been owing to the Archbishop's refusal of an extended leave of absence.

FOOTNOTES:

[Footnote 1: A. M. Z., 1864, p. 495. "La Finta Semplice," dramma giocoso per musica, da rappresentarsi in corte per ordine di S. A. Rev. Monsigr. Sigismondo Conte di Schrattenbach,Arcivescovo di Salisburgo, &c. Salisb., 1769.]

[Footnote 2: Metastasio speaks of the different ways of delivering these. (Opp. post, I., p. 300.)]

[Footnote 3: Communicated to me by Köchel, from the autograph in the possession of R. v. Pfuesterschmied, at Vienna.]

[Footnote 4: Dominicus Hagenauer became "Prälat des St. Peterstifts," in 1786. [Footnote Koch-Sternfeld.] Die letzten dreiss. Jahre., pp. 78, 299, 326.]

[Footnote 5: Burney, Reise, I., p. 101. Cf. the extracts from Th. Fr. Maier's description of Venice. I., 1787, in the Musik. Realzeitung, 1788, p. 108.]

[Footnote 6: Zelter Briefw. mit Goethe, II., p. 177.]

[Footnote 7: A remarkable exception, and a fortunate one for the development of German music, was Joseph Haydn, although even he was initiated into the Italian school through his lessons from Porpora, and his intercourse with Metastasio. But his numerous Italian operas, which he himself considered as equal to the works of any of his contemporaries, brought him no renown. His fame always rested on his instrumental compositions, which were thoroughly German; and his two great oratorios were composed at a time when Italian music was on the decline.]

[Footnote 8: L. Mozart's letters during the tour, of which Nissen gives extracts, are almost all in the Mozarteum. at Salzburg.]

[Footnote 9: The portrait has been recovered by Sonnleithner's exertions, and in now in his possession.]

[Footnote 10: S. Mayr, Die ehem. Univ. Salzburg, p. 12.]

[Footnote 11: Winckelmann, Briefe, pp. 271,279, 324; II., p. 48.]

[Footnote 12: Schlozer's Life, I., pp. 96, 276, 313. Cf. Duten's Mém., I., p. 327. Teutsch. Mercur, 1789, III., p. 301.]

[Footnote 13: Teutsch. Mercur, 1775, III., p. 247.]

[Footnote 14: Griesinger, Biogr. Not., p. 15. Carpani, Haydine, p. 56.]

[Footnote 15: The song "Misero tu non sei" (Anh. 2 K.), which Wolfgang composed in Milan, is from Metastasio's "Demetrio" (Act i, sc. 4), which he had heard shortly before in Mantua; it has not been preserved.]

[Footnote 16: A gigliato, Florentine goldgulden, was about equal to a ducat.]

[Footnote 17: Cf. Kelly's Remin., I., p. 74.]

[Footnote 18: G. Gaspari, La Musica in Bologna, p. 19.]

[Footnote 19: Esemplare osia saggio fondamentale pratico di contrappunto. Bol., 1774-75.]

[Footnote 20: Burney, Reise, I., p. 144.]

[Footnote 21: This was shown in his conduct to Grétry (Mém., I., p. 91), Naumann (Meissner, Biogr., I., p. 150), and Burney (Reise, I., p. 142).]

[Footnote 22: Chrysander, Handel, II., p. 378.]

[Footnote 23: Burney, Reise, I., p. 150.]

[Footnote 24: Mancini, Rifless. sul Canto Figurato, p. 152.]

[Footnote 25: Dittersdorfs account in his Autobiography of his stay at Bologna in 1762, and his intercourse with P. Martini and Farinelli, will be found interesting (p. 110).]

[Footnote 26: Burney, Reise, I., p. 149.]

[Footnote 27: A short Osanna in four parts, with accompaniment for strings, in complicated canon form (223 K.) shows the same tendency.]

[Footnote 28: Cf. for the mottoes of these, Padre Martini, Esemplare, II., p. xxv.]

[Footnote 29: Cf. Barthold, Die geschichtl. Persdnl., in Casanova's Memoiren, II., p. 177.]

[Footnote 30: Cf. Schubart, Deutsche Chron., 1776, pp. 499, 554, 613.]

[Footnote 31: Barney, Reise, I., p. 185.]

[Footnote 32: Kelly, Remin., I., p. 225.]

[Footnote 33: He was drowned at a water party (Parke, Mus. Mem., I., p. 204). Holmes says that his brother Ozias Linley preserved an Italian letter from Mozart to Thomas Linley.]

[Footnote 34: Rochlitz (Für Freunde d. Tonk., II., p. 284), highly coloured as usual.]

[Footnote 35: On Holy Thursday, the Misereres of Anerio, Naldini, and Scarlatti were performed in turns, until in 1714 Bai's Miserere displaced them. Since 1821 Allegri's Miserere has only been sung once. Baini, Mem. Stor. Crit., II., p. 195. Kandler, G. Pierluigi da Palestrina, p. 96.]

[Footnote 36: Cf. Burney's more critical account (Reise, I., p. 203) and Mendelssohn's (Reise-briefe, pp. 122, 163).]

[Footnote 37: So at least it was said; but Burney says that the Pope had copies made for the Emperor Leopold, the King of Portugal, and Padre Martini, and that the Papal kapellmeister, Santarelli, gave him a copy, which he had printed in London, 1771 (Reise, I., pp. 202, 208): he heard it again in Florence, and was offered a copy. In face of these statements, Baini's assurance (Cäcilia, II., p. 69) that no copy or score of the Miserere had ever been made, must be held to be exaggerated.]

[Footnote 38: Metastasio declares (Lett., I., p. 99) that the Miserere, which had thrown him into ecstasies in Rome, made no impression at all in Vienna, performed by singers who were _secondo il corrente stilo eccellentissimi._]

[Footnote 39: Metastasio, Opp. post., III., p. 258.]

[Footnote 40: Burney, Reise, I., p. 241. Cramer, Magaz. d. Mus., I., p. 341. Kelly, Remin., I., p. 29.]

[Footnote 41: Burney, Reise, I., p. 252. L. Mozart writes (December 22, 1770) from Milan, "Jomelli's opera has so completely fallen to the ground, that it is to be withdrawn. This is the celebrated maestro about whom the Italians make such an astounding fuss. But he was a little foolish to undertake to write two operas in the year for the same theatre, particularly as he might have seen that the first was no great success."]

[Footnote 42: Dittersdorf, Selbstbiographie, p. 84: "The order is bestowed in Rome, and the members bear the title of 'Comités Palatina Romani.' They receive a diploma written on parchment, and authenticated by a great seal. They enjoy all the rights of the nobility in Rome and the Papal States, have free entry into the Papal palace, and hold the same position there as the kammerherren of other reigning courts. Their insignia is a yellow enamelled gold Maltese cross. They wear it round the neck with a purple ribbon, and sometimes a smaller one of plain gold, with a red ribbon on the breast."]

[Footnote 43: Three short movements in counterpoint for four voices, with a figured bass. "Adoramus" (327 K.), "Justum deduxit Dominus," and "0 sancte fac nos captare" (326 K.), are preserved among Wolfgang's sketches in L. Mozart's handwriting. They may be examples, perhaps by Padre Martini, copied for study. Not even a conjecture can be made concerning two four-part movements, "Salus infirmorum," and "Sancta Maria" (324, 325, K.), of which only the commencing bars are preserved by André.]

[Footnote 44: Burney, Reise, I., p. 166: "I must not neglect to inform my musical readers that I recognise in the son of Mozart the musician, that little German, whose precocious and supernatural talent amazed us all in London some years ago, when he was a mere child. He has been much admired, both in Rome and Naples."]

[Footnote 45: Grétry, Mém., I., p. 91. Kandler, G. A. Hasse, p. 21.]

[Footnote 46: Statuti ovyero costituzioni de' Signori Accademici Filarmonici di Bologna. Bologna, 1721.]

[Footnote 47: Gaspari, La Musica in Bologna, p. 27.]

[Footnote 48: Gaspari, p. 28. Fétis, Biogr. Univ., VI., p. 226. Köchel, A.M.Z., 1864, P- 495.]

[Footnote 49: Nissen, p. 226. A. M. Z.. XXII., Beil. I.]

[Footnote 50: Rudhart, Gesch. d. Oper zu München, I., p. 138.]

[Footnote 51: Burney, Reise, I., p. 96.]

[Footnote 52: It consisted, according to L. Mozart, of 14 first and as many second violins, 2 claviers, 2 double-basses, 6 violoncelli, 2 bassoons, 6 viols, 2 oboes, and 2 "flautraversen," "which always play with 4 oboes when there are no flutes," 4 corni di caccia, and 2 clarini, in all, 60 performers.]

[Footnote 53: A Bolognese exclaimed of Dittersdorf's playing, "Come è mai possibile, che una tartaruga tedesca possa arrivare a tale perfezione!" (Selbstbiogr., p. III.)]

[Footnote 54: The score remained in Milan after their departure, for the copyist had orders for five complete copies, besides single songs.]

[Footnote 55: L. Mozart here relates a musical event that seemed to him hardly credible in the Italy of that day: "We heard two beggars, man and wife, singing in the street, and they sang in fifths without missing one note. I never heard the like in Germany. In the distance I thought it was two persons, each singing a song; but as we came nearer we found it was a duet in exact fifths."]

[Footnote 56: L. Mozart here relates a musical event that seemed to him hardly credible in the Italy of that day: "We heard two beggars, man and wife, singing in the street, and they sang in fifths without missing one note. I never heard the like in Germany. In the distance I thought it was two persons, each singing a song; but as we came nearer we found it was a duet in exact fifths."]

[Footnote 57: Burney, Reise, I., p. 94.]

[Footnote 58: Meissner, Biographie Naumanns, I., p. in.]

[Footnote 59: Hasse declared that six months were necessary for a good opera (Man-fredini reg. armon., p. 134), that was plenty of time; Naumann writes, that in Venice an opera had to be written, learnt, and produced within a month.]

[Footnote 60: Metastasio, Opp. post., III., pp. 116, 164.]

[Footnote 61: Orelli, Beitr. z. Gesch. der Ital. Poesie, II., p. 3.]

[Footnote 62: Carpani, Le Haydine, p. 83. Kandler, Cenni int. alia vita del G. A. Hasse, p. 27: "Questo ragazzo ci farà dimenticar tutti"]

[Footnote 63: Marpurg, Krit. Beitr., I., p. 227.]

[Footnote 64: Meissner, Biogr. Naumanns, I., pp. 120, 227, 283.]

[Footnote 65: Cf. Betrachtungen d. Mannh. Tonsch, I., p. 307.]

[Footnote 66: Parini's Descrizione delle feste celebrate in Milano per le nozze delle L.L.A.A.R.R. l'arcid. Ferdinando e l'arcid. Maria Beatrice. Milan, 1825.]

[Footnote 67: Mozart bequeathed this watch to Joseph Strebl, a Vienna merchant, with whom he used to play bowls.]

[Footnote 68: Teutsch. Mercur, 1775, III., p. 240.]

[Footnote 69: L. Mozart writes to Breitkopf (February 7, 1772): "We arrived at home from Milan on the 15th of December, and my son, having gained great credit by the composition of his dramatic serenata, has been commissioned to write the first Carnival Opera for Milan next year, and the second opera for the same Carnival at the Theatre of S. Benedetto, in Venice. We shall, therefore, remain in Salzburg until the end of next September, and then for the third time repair to Italy."]

[Footnote 70: Meissner, Biographie Naumanns, I., p. 279.]

[Footnote 71: This is inferred from a statement made by his sister to Regierungsrath Sonnleithner (Salzburg, July 2, 1819) about a portrait of Mozart, that "it was painted when he returned from the Italian tour, at sixteen years of age; but as he was just recovering from severe illness, the picture is sickly and yellow."]

[Footnote 72: [Koch-Sternfeldj Die letzten dreissig Jahre des Hochstifts und Erzbisthums Salzburg (1816), p. 36.]

[Footnote 73: Leopold Mozart had ordered new oboes and bassoons from Dresden in a great hurry, when the election of an archbishop was imminent.]

[Footnote 74: It would almost appear that it was performed a second time later on, at least the songs of the "Licenza" occur in a second composition, which may be referred to a later period, and is far superior to the first; but it might be that they were used for an altogether different composition.]

[Footnote 75: Burney, Reise, III., p. 263.]

[Footnote 76: Burney, Reise, II., pp. 93, no.]

[Footnote 77: Naumann, also, in whose "Armida" he appeared in Padua, says of him, "he has every good quality, sings like an angel, and is an excellent actor." From the year 1778 he lived in England as a singer, and then as a teacher till 1810. Kelly, Remin., I., p. 10. Parke, Mus. Mem., II., p. 51. Rudhart, Gesch. d. Oper. zu München, I., p. 149.]

[Footnote 78: Afterwards she sang only in private society. Berl. Musik. Wochenblatt, p. 4.]

[Footnote 79: The Abbé Cardanelli, a contemporary of Mozart, relates that de Amicis required Wolfgang to submit the sketches of his songs for her approval, but that he brought her a finished song, which she found excellent; and he then composed the same words again twice over, and placed them at her disposal (Folchino, Elogio Stor. di W. A. Mozart. Cremona, 1817, p. 26). A. M. Z., XX., p. 93. Not very likely!]

[Footnote 80: The result of the opera appears to have been the subject of great anxiety. Naomann notes in his Diary for January 2, 1773: "I went to Colloredo, to hear the news of the Milan opera."]

====

MOZART

By David Widger