54.
Munich, Dec. 30, 1774.
I BEG my compliments to Roxalana, who is to drink tea this evening with the Sultan, All sorts of pretty speeches to Madlle. Mizerl; she must not doubt my love. I have her constantly before my eyes in her fascinating neglige. I have seen many pretty girls here, but not one whose beauty can be compared with hers. Do not forget to bring the variations on Ekart's menuet d'exaude, and also those on Fischer's minuet. I was at the theatre last night. The play was "Der Mode nach der Haushaltung," which was admirably acted. My kind regards to all my friends. I trust that you will not fail to—Farewell! I hope to see you soon in Munich. Frau von Durst sends you her remembrances. Is it true that Hagenauer is become a professor of sculpture in Vienna? Kiss mamma's hand for me, and now I stop for to-day. Wrap yourself up warmly on your journey, I entreat, or else you may chance to pass the fourteen days of your visit in the house, stifling beside a stove, unable once to move. I see the vivid lightning flash, and fear there soon will be a crash!
Your brother.
55.
To HIS MOTHER.
Munich, Jan. 11, 1775.
WE are all three well, Heaven be praised! I cannot possibly write much, for I must go forthwith to the rehearsal. Tomorrow the grand rehearsal takes place, and on the 13th my opera is to be in scena. I am much vexed that you should cast any slight on Count Seeau [Intendant of the Munich Theatre], for no one can be more kind or courteous, and he has more good breeding than many of his degree in Munich. Herr von Molk was in such a state of wonder and admiration at the opera seria when he heard it, that we felt quite ashamed of him, for it clearly showed every one that he had never in his life seen anything but Salzburg and Innspruck. Addio!
56.
To HIS MOTHER.
Munich, Jan. 14, 1775.
GOD be praised! My opera was given yesterday, the 13th, and proved so successful that I cannot possibly describe all the tumult. In the first place, the whole theatre was so crammed that many people were obliged to go away. After each aria there was invariably a tremendous uproar and clapping of hands, and cries of Viva Maestro! Her Serene Highness the Electress and the Dowager (who were opposite me) also called out Bravo! When the opera was over, during the interval when all is usually quiet till the ballet begins, the applause and shouts of Bravo! were renewed; sometimes there was a lull, but only to recommence afresh, and so forth. I afterwards went with papa to a room through which the Elector and the whole court were to pass. I kissed the hands of the Elector and the Electress and the other royalties, who were all very gracious. At an early hour this morning the Prince Bishop of Chiemsee [who had most probably procured the scrittura for his young friend Wolfgang] sent to congratulate me that the opera had proved such a brilliant success in every respect. As to our return home, it is not likely to be soon, nor should mamma wish it, for she must know well what a good thing it is to have a little breathing time. We shall come quite soon enough to–. One most just and undeniable reason is, that my opera is to be given again on Friday next, and I am very necessary at the performance, or it might be difficult to recognize it again. There are very odd ways here. 1000 kisses to Miss Bimberl [the dog].
The Archbishop of Salzburg, who was very reluctant to admit the merits of his Concertmeister, was an involuntary witness of the universal approbation bestowed on Wolfgang's opera, although he would not go to hear it himself. On the 18th of January, 1775, Wolfgang added the following lines to his father's letter:—
57.
MY DEAR SISTER,
[FOOTNOTE: Nannerl had not yet gone home, but was enjoying the Carnival in various masks.]
How can I help the clock choosing at this moment to strike a quarter after seven o'clock? It is not papa's fault either. Mamma will hear all the rest from you. At present there is no fair sailing for me, as the Archbishop is staying here, though not for long. It is currently reported that he is to remain till he sets off again! I only regret that he is not to see the first masked ball.
Your faithful FRANZ v. NASENBLUT.
Milan, May 5, 1756.
Immediately after Ash Wednesday the trio returned to Salzburg, where Mozart remained uninterruptedly for another year and a half, actively engaged in the duties of his situation. He wrote the following letter on the 4th of September, 1776, to the celebrated Pater Martini in Bologna:—
58.
MOLTO REVDO PADE MAESTRO, PADRONE MIO STIMATISSIMO,—La venerazione, la stima e il rispetto, che porto verso la di lei degnissima persona mi spinse di incommodarla colle presente e di mandargli un debole pezzo di mia musica, rimmettendola alla di lei maestrale giudicatura. Scrissi l'anno scorso il Carnevale una opera buffa ("La finta Giardiniera") a Monaco in Baviera. Pochi giorni avanti la mia partenza di la desiderava S. A. Elletorale di sentire qualche mia musica in contrapunto: era adunque obligato di scriver questo Motetto in fretta per dar tempo a copiar il spartito per Sua Altezza ed a cavar le parti per poter produrlo la prossima domenica sotto la Messa grande in tempo del Offertorio. Carissimo e stimatissimo Sigr. P. Maestro! Lei e ardentemente pregato di dirmi francamente e senza riserva il di lei parere. Viviamo in questo mondo per imparare sempre industriosamente, e per mezzo dei raggionamenti di illuminarsi l'un l'altro e d'affatigarsi di portar via sempre avanti le scienze e le belle arti. Oh quante e quante volte desidero d'esser piu vicino per poter parlar e raggionar con Vostra Paternita molto Revda. Vivo in una paese dove la musica fa pocchissimo fortuna, benche oltre di quelli che ci hanno abandonati, ne abbiamo ancora bravissimi professori e particolarmente compositori di gran fondo, sapere e gusto. Per il teatro stiamo male per mancanza dei recitanti. Non abbiamo Musici e non gli averemo si facilmente, giache vogliono esser ben pagati: e la generosita, non e il nostro difetto. Io mi diverto intanto a scrivere per la camera e per la chiesa: e ne son quivi altri due bravissimi contrapuntisti, cioe il Sgr. Haydn e Adlgasser. Il mio padre e maestro della chiesa Metropolitana, che mi da l'occasione di scrivere per la chiesa, quanto che ne voglio. Per altro il mio padre gia 36 anni in servizio di questa Corte e sapendo, che questo Arcivescovo non puo e non vuol vedere gente avanzata in eta, non lo se ne prende a core, si e messo alla letteratura per altro gia suo studio favorito. La nostra musica di chiesa e assai differente di quella d'Italia e sempre piu, che una Messa con tutto il Kyrie, Gloria, Credo, la Sonata all' Epistola, l'Offertorio osia Motetto, Sanctus ed Agnus Dei, ed anche la piu solenne, quando dice la Messa il Principe stesso, non ha da durare che al piu longo 3 quarti d'ora. Ci vuole un studio particolare per queste sorte di compositione, e che deve pero essere una Messa con tutti stromenti—Trombe di guerra, Tympani ecc. Ah! che siamo si lontani Carissmo Sgr. P. Maestro, quante cose che avrai a dirgli!—Reverisco devotamente tutti i Sgri. Filarmonici: mi raccommando via sempre nelle grazie di lei e non cesso d'affligermi nel vedermi lontano dalla persona del mondo che maggiormente amo, venero e stimo, e di cui inviolabilmente mi protesto di V. Pta molto Rda
umilissmo e devotssmo servitore,
WOLFGANGO AMADEO MOZART.
Salisburgo, 4 Settembre, 1776.
[FOOTNOTE:
To Father Martini.
"Salzburg, Sept. 4, 1776.
"MOST REVEREND AND ESTEEMED FATHER AND MAESTRO,—
"The veneration, the esteem, and the respect I feel for your illustrious person, induce me to intrude on you with this letter, and also to send you a small portion of my music, which I venture to submit to your masterly judgment. Last year, at Monaco, in Bavaria, I wrote an opera buffa ("La finta Giardiniera") for the Carnival. A few days previous to my departure from thence, his Electoral Highness wished to hear some of my contrapuntal music; I was therefore obliged to write this motett in haste, to allow time for the score to be copied for his Highness, and to arrange the parts so that it might be produced on the following Sunday at