Читать книгу The Life of Mozart - Otto Jahn - Страница 11

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AT Salzburg during May, 1773, Wolfgang composed a symphony (181 K.), a concertone for two violins (190 K.), and a mass (167 K.) in June.

In the summer of this year the Archbishop repaired to Vienna, and Leopold Mozart seized the opportunity of following him thither with Wolfgang. He looked forward only to a short absence, but when they presented themselves before the Archbishop in Vienna he gave them permission to extend their stay, as he intended himself to go into the mountains and to Gmünd.

Of the precise object of this tour we know nothing, only that L. Mozart hints mysteriously that he cannot tell his plans to every one, and that he must avoid anything that would excite attention either at Vienna or Salzburg, and cause obstacles to be thrown in their way. When the good people of Salzburg connected the illness of the kapellmeister Gassmann with his journey, he answered indignantly: "Herr Gassmann was ill, but is now better. I do not know what connection this may have with our journey to Vienna; but fools will be fools, all the world over."1 There can be no doubt, however, that he was anxious that Wolfgang should be permanently attached to the court, either at Vienna or elsewhere. The Empress, of whom they immediately sought an audience, was very gracious, but that was all. The Emperor only returned from Poland towards the end of their stay, and they do not appear to have spoken to him at all.

They arrived on the 18th of July, and went straight to their old lodgings, where they surprised old Frau Fischer at supper; she was delighted to see them, and to provide them once more with comfortable apartments. Many old friendships were renewed: L'Augier, Martinez, Novarre, honest old Bono, Stephanie and his lovely wife, Dr. Auerbrugger and his two daughters, Franziska and Mariane, "who played charmingly and were thorough musicians,"2 all welcomed the Mozarts eagerly; Wolfgang had grown so as never to be recognised unless his father were with him.

But their warmest welcome was from the Messmers, who only regretted that they had come without Frau Mozart and Marianne. Since the Mozarts' last visit, they had decorated their garden with statues, &c., and had built a theatre, an aviary, a dovecot, a summer-house looking over the Prater, and they were now turning their house into a comfortable winter residence. The whole family were together, including Fräulein Franzl, who was seriously ill, and Fräulein Sepperl, an inveterate match-maker, interesting herself in the love affairs even of the cook and the footman. Here they met their old friends Heufeld, Greiner, Steigentesch, Grill, Bono, &c.; and music was the invariable theme of conversation. Messmer had learned to play the harmonica from Miss Davis, and had an instrument made at a cost of 50 ducats, which was finer than that used by Miss Davis. He played it very well, and so did his little son, who showed considerable talent; Wolfgang tried the harmonica, and "wished he had one too." The Messmers soon after went farther into the country to Rothmühl, which interrupted this pleasant intercourse.

The great public event of the day during their stay in Vienna was the suppression of the order of Jesuits. L. Mozart, who followed their expulsion with great interest, thought that many good Christians would consider the Pope had only jurisdiction in matters of faith, and that the Jesuits would probably have been left unmolested if they had been as poor as the Capucines. In Rome the property of the Jesuits had been seized ad pias causas, which was easily done, since all that the Pope appropriated was ad pias causas; the Emperor thought differently, and had reserved to himself the right of dispensing the property of the Jesuits. Mozart thinks, too, that the millions taken from the Jesuits will awaken the appetite for more of such confiscations.3

Wolfgang had taken some work with him. A grand serenata for some fête in the family of their friend Andretter was sent from Vienna and performed at Salzburg in the beginning of August under Meissner's conductorship (145 K.). Then he set to work to write six quartets (168–173 K.), whether by order or not is uncertain; nothing more important, however, came to hand. The Jesuits performed the P. Dominicus Mass (66 K.) at court during the Octave of S. Ignatius' day; L. Mozart conducted, and the applause was great. The Theatin monks invited them to their service and banquet on the feast of S. Cajetan, and, the organ not being available, Wolfgang had the boldness to execute a concerto on a violin borrowed from his young friend Teyber. This made such an impression that in 1782 a lay brother, to whom Wolfgang remarked that he had eight years before played a violin concerto in the choir, at once addressed him by his name. Of money receipts during this visit to Vienna we hear little or nothing; on the contrary, L. Mozart writes to his wife that his body grows fat in proportion as his purse grows thin; and he consoles her for the fact that he has had to borrow money by declaring that it only proves his having need of money, but not of a doctor. Notwithstanding, he considered he had good reasons for remaining in Vienna. "Things must and will mend; take courage, God will help us!"

With the end of September they were again in Salzburg, and in December Wolfgang wrote a quintet for stringed instruments (174 K.) and a pianoforte Concerto in D major (175 K.), the first of the long list after his early attempts. Almost the whole of the year 1774 was passed quietly at home; Wolfgang wrote some important church music, two Masses in F and D major (192,194, K.), a great litany (195 K.), two psalms for a Vesper (193 K.), various symphonies (199–202 K.), two complete serenatas (203, 204, K.), and an interesting divertimento (205 K.). Then came a commission from Munich to write a comic opera for the Carnival of 1775. It is probable that the influence of the Prince Bishop of Chiemsee, Count Ferdinand von Zeil, an enthusiastic patron of Mozart, had been exerted on his behalf. The Elector Maximilian III. had also shown great interest in Mozart in former years, and on this account it was impossible for the Archbishop of Salzburg to refuse Wolfgang leave of absence. The Elector had a decided talent for music, which he had cultivated by study; he composed church music, and played the bass-viol, as Naumaun wrote to a friend, "divinely"; Burney declared he had heard no such bass-viol-player since the celebrated Abel. The Elector's sister also, the widowed Electress of Saxony Maria Antonia Walburga, known as a poetess, was then on a visit to Munich; she both composed and sang operas for which she had written the verses.4 It followed, therefore, that much was done in Munich for orchestra and singers both in the opera and the churches, although the performances fell short of those in Mannheim.5

On December 6 Wolfgang set out with his father for Munich, where they found a small but comfortable lodging with a Chanoine et grand custos de Notre Dame; this good man showed them honour and hospitality above their deserts, as they considered, and often sacrificed his own convenience to theirs from sheer friendliness. The intense cold of the journey had, in spite of precautions, brought on Wolfgang's habitual malady, severe toothache, and he was confined to his room with a swelled face for several days. As soon as possible they made the acquaintance of those with whom they were to be associated, and were well received everywhere.

The opera "La Finta Giardiniera" is very rich in airs, and Mozart, finding a wealth of resources in Munich ready to hand, went to work more seriously, both with the voices and the orchestra, than was customary with an opera buffa. It is impossible to ascertain how much of the opera he brought with him, or how much was altered or composed in Munich. The first rehearsal did not take place till near the end of December, and the performance was consequently postponed to January 5, 1775, so that the singers might be more sure of their parts than could have been the case had they played, as intended, on December 29.

"You must know," writes L. Mozart, "that the maestro Tozi, who is this year writing the opera seria ('Orfeo ed Euridice'), wrote last year at this time an opera buffa, and exerted himself to the utmost in order that it might surpass the opera seria of Sales (of Trier): he succeeded in quite eclipsing Maestro Sales' opera.6 Now it so turns out that Wolfgang's opera is ready just before Tozi's, and all those who heard the first rehearsal are saying that Tozi is paid back in his own coin, since Wolfgang's opera will throw his quite into the shade.7 I do not like this sort of thing, and have tried all I can to put an end to the gossip; but the whole orchestra, and all who heard the rehearsal, declare that they never heard more beautiful music; all the songs are beautiful." The performance on January 13,1775, was a brilliant success; the court and the public overwhelmed the composer with applause and honours, as he himself informs his mother.

The Secretary of Legation, Unger, notes in his journal (January 15, 1775): "Vendredi L.A.R.E., assistèrent à la première représentation de Vopera buffa, 'La Finta Giardiniera'; la musique fut applaudie généralement; elle est du jeune Mozart de Saltzbourg qui se trouve actuellement ici. C'est le même qui à l'äge de huit ans a été en Angleterre et ailleurs pour se faire entendre sur le clavecin, qu'il touche supérieurement bien."8 And Schubart writes in the "Teutsche Chronik" (1775, p. 267): "I also heard an opera buffa by the wonderful genius Mozart; it is called "La Finta Giardiniera." Sparks of genius flash out here and there, but it is not yet the calm flame from the altar, rising to heaven in clouds of incense—a perfume meet for the gods. If Mozart does not turn out to be a hothouse-reared plant, he will undoubtedly be one of the greatest composers that has ever lived."

It was said of the performers that Rossi and Rosa Manservisi were specially suited for opera buffa. Rossi was as good as his brother in Stuttgart in merry, waggish parts; Manservisi was above the average of singers in voice, execution, and personal appearance.9

This time Wolfgang's sister enjoyed the pleasure of witnessing his triumph. During her visit to Munich she was placed under the care of a certain Frau v. Durst, a sensible well-educated widow, who provided Marianne with a room to herself and a piano, on which her father took care she should practise diligently. Other Salzburg friends arrived for the Carnival, Eberlin Waberl, Fräulein v. Schiedenhofen, And-retter, and young Molk, who went into such raptures over the opera seria, it was plain that he had heard nothing outside Salzburg and Inspruck.

Another involuntary witness of Mozart's triumph was the Archbishop of Salzburg. He had occasion to pay a visit to the Elector of Bavaria in January, 1775,10 and though he arrived in Munich after the representation of the opera, and had left before its repetition, he was forced, as L. Mozart remarks with satisfaction, to listen to the eulogies pronounced by the electoral suite and all the nobility, and to receive the congratulations which were poured on him. He was so taken aback that he could only answer by shaking his head and shrugging his shoulders. It was little likely that such a scene should have raised Mozart in the favour of a man like Hieronymus.

The repetition of the opera, which could only be given on Fridays, brought difficulties, inasmuch as the seconda donna, who was wretched even at her best, fell seriously ill, and the opera had to be considerably curtailed, in order to dispense with her. It took place on Wolfgang's birthday, and he thought it indispensable that he should be present at the performance, as otherwise his opera might not be recognised. The orchestra was in great confusion, since it was shamefully neglected by the director Tozi, who was at that time enacting the romance in real life with the Countess Törring-Seefeld, of which L. Mozart writes to his wife:—

Signor Tozi has gone. He had an old-standing love intrigue with the Countess v. Seefeld, in which her brother, Count Sedlizky, was implicated, as well as a certain tenor, Signor Guerrieri. The Countess left Munich six weeks ago on pretence of visiting her estates, but she has quite deserted her husband and children, and carried off money and jewels. The complicity of her brother and the two Italians was discovered by a letter; Count Sedlizky was placed under arrest, Guerrieri thrown into prison, and Tozi took refuge with the Theatin monks. The Elector sent him an assurance that he should not be imprisoned if he would submit to an examination. He issued from his hiding-place, but immediately took flight to Italy. Count Sedlizky confessed everything; Guerrieri denied everything, but to little avail, since the jewels were found in Guerrieri's lodgings, sewed up in an old cushion. It is suspected that the Countess is in Holland; there she sits forlorn, since her projected escort has not joined her.

L. Mozart writes to his wife to tell this story, "just to show people that Italians are rascals all the world over."11

The opera did not put a stop to Wolfgang's church music. His Grand Litany (125 K.) in B major was performed at the court chapel on New Year's day, as well as one of his father's; and later on two small Masses, no doubt those in F and D major (192, 194 K.). A few days before their departure, as Wolfgang writes to Padre Martini, the Elector expressed a wish to hear an offertory, contrapuntally worked out, which was to be composed, copied, and practised before the following Sunday. It was the "Misericordias Domini," to which Padre Martini accorded great praise.12 As a matter of course, Wolfgang made his mark also as a clavier-player; with this object he had taken his concerto with him, and his sister was to bring some of his sonatas and variations. Schubart writes in his "Teutsche Chronik" (1776, p. 267): "Only think, my friends, what a treat! Last winter, in Munich, I heard two of the greatest clavier-players, Herr Mozart and Herr v. Beecke. My host, Herr Albert, who is enthusiastic for all that is great and beautiful, has an excellent pianoforte in his house. So these two giants strove together. Mozart can play any difficulties, and whatever is laid before him at sight. But nevertheless, Beecke far surpasses him—winged speed, grace, melting sweetness, and a marvellous amount of taste, are weapons which none can wrest from the grasp of this Hercules."

The great and universal applause bestowed on Wolfgang inspired his father with the hope that he would be intrusted with the opera seria for the next year; why this was not the case we are not aware. The rumour current in Salzburg that Wolfgang was about to enter the Elector's service, L. Mozart ascribes to his enemies, and to those whose consciences told them what good cause he had for taking such a step; he was used to such childish folly, and did not allow it to trouble him in the least. Nevertheless, there is no doubt that nothing would have pleased him more; but, as a prudent man, he did not wish to cut himself adrift from Salzburg before having secured a safe anchorage at Munich.

After enjoying to their close the pleasures of the Carnival, which lasted too long for the father, they returned to Salzburg on March 7,1775. In April the Archbishop of Salzburg was honoured by a visit from the Archduke Maximilian, youngest son of Maria Theresa (b. 1749), afterwards Archbishop of Cologne; he had been spending the Carnival in Paris, where his want of tact had placed the Queen in considerable embarrassment,13 and had also paid a short visit to Munich. Court festivities were arranged, chiefly consisting of musical performances, for which the singer Consuoli and Becke, the flautist, were summoned from Munich. A serenata by Fischietti was performed on April 22, and on the following day Mozart's "Re Pastore," which had been very hurriedly composed. On April 24, according to the report of one of the Archduke's suite, "Music was the entertainment provided, as on the preceding days; at the conclusion of the performance, young Mozart placed himself at the piano and played various pieces from his head, with equal skill and grace." Whether he appeared as a violinist we do not know; he had, at any rate, composed his first violin concerto on April 14 (207 K.), and the fact that this was followed by four others in the same year (211, 216, 218, 219, K.) is a proof that he was applying himself energetically to the violin; possibly because it would be easier to find a good situation if he were an accomplished violin-player.

The next two years passed quietly and busily at Salzburg. Extracts from a diary kept by young Schiedenhofen show how limited their circle of friendly intercourse was, and Wolfgang's authentically dated compositions afford proofs of his activity and progress.

The year 1776 was especially rich in church music; four masses (257, 258, 259,261, K.) fall in this year, three of them in its last quarter, while in March a Grand Litany in E flat major (243 K.) was written, besides an Offertory, "Venite populi," for two choirs (260 K.). To 1777 belong a Mass (275 K.), and a Graduale, "Sancta Maria" (273 K.). A series of organ sonatas were furnished for the services of the church, and for the court a number of divertimenti for wind instruments, probably as table music. In other respects, doubtless in consequence of the ill-will of the Archbishop, Wolfgang appears to have held aloof from the court concerts; no symphonies belong to this time. The serenatas were written for other occasions. On wedding-days, fête-days, or the like, these nocturnal pieces were usually performed in the street, not excepting the solos;14 they were introduced by a march, in which any of the company who could handle a bow might take part; the rest listened from the windows above. Such music was either ordered and paid for, or offered as a tribute of esteem.

On the wedding-day of the Salzburg citizen F. X. Spath with Elise Haffher, daughter of the worthy merchant and Bürgermeister Sigmund Haffner15 (July 22,1776), a serenata by Mozart was performed, afterwards known as the "Haffner-musik" (249, 250, K.). Another opportunity offered in the fête-day of the Countess Antonia Lodron, for whom in 1776 and 1777 Wolfgang wrote several specified nocturnes;16 Schiedenhofen was present at the rehearsal of one of them, and he tells us also that on July 25, 1777, there was a rehearsal of a serenata at the house of the grocer Gusetti, composed by Wolfgang for his sister's fête-day; it consisted of a symphony, a violin concerto played by himself, and a flute concerto played by Cosel. Probably the divertimento composed in July, 1776 (251 K.) was also intended for his sister's fête-day. A Finalmusik (185, 215, K.) produced on August 23, 1775, and a "Serenata Nottuma" (239 K.) in January, 1776, are both for unknown occasions.

The clavier compositions were also mainly written for pupils or amateurs; for example, the Concerto in C major (246 K.) for the Countess Litzow or Lützow, wife of the Commandant of Hohen-Salzburg; that in E flat major (271 K.) for a Madame Jenomy (January, 1777), whom Wolfgang had met in Paris; the Concerto for three pianofortes for the Countesses Antonie, Luise, and Josepha Lodron (242 K.), February, 1776. While the Mozarts were at Munich, in 1775, a landed proprietor, Buron Dümitz, had ordered some pianoforte sonatas, which were duly forwarded (279–284 K.); but he altogether forgot to send the promised payment in return. Two four-hand sonatas, mentioned by his father (December 8, 1777), were probably intended for Wolfgang and his sister; Schiedenhofen heard them play a duet on August 15, 1777.

Having taken this biograpical survey, it is now time to bestow a closer inspection on Wolfgang's compositions.