Chapter II: Part 2

52. "The Andante is going to give us the most trouble, for it is full of expression and must be played with taste and accurately as written in the matter of forte and piano. She is very clever and learns quickly. The right hand is very good but the left utterly ruined. I can say that I often pity her when I see that she is obliged to labor till she gasps, not because she is unapt, but because she can't help it,--she is used to playing so, nobody ever taught her differently. I said to her mother and her that if I were her regular teacher, I would lock up all her music, cover the keyboard with a handkerchief, and make her practice both hands at first slowly on nothing but passages, trills, mordents, etc., until the difficulty with the left hand was remedied; after that I am sure I could make a real clavier player out of her. It is a pity; she has so much genius, reads respectably, has a great deal of natural fluency and plays with a great deal of feeling."

(Mannheim, November 16, 1777, to his father. The pupil was Rose Cannabich, to whom the sonata referred to is dedicated. Her father, whom Mozart admired greatly as an able conductor, was Chapelmaster of the excellently trained orchestra at Mannheim. He lived from 1731 to 1798. [The Andante from which trouble was expected was that which Mozart wrote with the purpose that it should reflect the character of Rose Cannabich, a lovely and amiable girl, according to all accounts. H.E.K.])

53. "This E is very forced. One can see that it was written only to go from one consonance to another in parallel motion,--just as bad poets write nonsense for the sake of a rhyme."

(From the exercise book of the cousin of Abbe Stadler who took lessons in thorough-bass from Mozart in 1784. It is preserved in the Court Library in Vienna.)

54. "My good lad, you ask my advice and I will give it you candidly; had you studied composition when you were at Naples, and when your mind was not devoted to other pursuits, you would, perhaps, have done wisely; but now that your profession of the stage must, and ought to, occupy all your attention, it would be an unwise measure to enter into a dry study. You may take my word for it, Nature has made you a melodist, and you would only disturb and perplex yourself. Reflect, 'a little knowledge is a dangerous thing;'--should there be errors in what you write, you will find hundreds of musicians in all parts of the world capable of correcting them, therefore do not disturb your natural gift."

(To Michael Kelly, the Irish tenor, to whom Mozart assigned the parts of Basilio and Don Curzio at the first performance of "Le Nozze di Figaro" in 1786. Kelly had asked Mozart whether or not he should study counterpoint. [See No. 8. Three years later Kelly returned to England, began his career as composer of musical pieces for the stage. He was fairly prolific, but failed to impress the public with the originality of his creative talent. He went into the wine business, which fact led Sheridan to make the witty suggestion that he inscribe over his shop: "Michael Kelly, Composer of Wines and Importer of Music." He was born in 1764 and died in 1826. H.E.K.])

55. "This is generally the case with all who did not taste the rod or feel the teacher's tongue when boys, and later think that they can compel things to their wishes by mere talent and inclination. Many succeed fairly well, but with other people's ideas, having none of their own; others who have ideas of their own, do not know what to do with them. That is your case."

(In a letter written in 1789 to a noble friend criticizing a symphony.)

56. "Do not wonder at me; it was not a caprice. I noticed that most of the musicians were old men. There would have been no end of dragging if I had not first driven them into the fire and made them angry. Out of pure rage they did their best."

(Reported by Rochlitz. Mozart was rehearsing the Allegro of one of his symphonies in Leipsic. He worked up such a fit of anger that he stamped his foot and broke one of his shoe-laces. His anger fled and he broke into a merry laugh.)

57. "Right! That's the way to shriek."

(At a rehearsal of "Don Giovanni" the representative of Zerlina did not act realistically enough to suit Mozart. Thereupon he went unnoticed on the stage and at the repetition of the scene grabbed the singer so rudely and unexpectedly that she involuntarily uttered the shriek which the scene called for. [The singer was Teresa Bondini, the place Prague, and the time before the first performance of the opera which took place on October 29, 1787. H.E.K.])

TOUCHING MUSICAL PERFORMANCES

58. "Herr Stein sees and hears that I am more of a player than Beecke,--that without making grimaces of any kind I play so expressively that, according to his own confession, no one shows off his pianoforte as well as I. That I always remain strictly in time surprises every one; they can not understand that the left hand should not in the least be concerned in a tempo rubato. When they play the left hand always follows."

(Augsburg, October 23, 1777, to his father. [We have here a suggestion of the tempo rubato as played by Chopin according to the testimony of Mikuli, who said that no matter how free Chopin was either in melody or arabesque with his right hand, the left always adhered strictly to the time. Mozart learned the principle from his father who in his method for the violin condemned the accompanists who spoiled the tempo rubato of an artist by waiting to follow him. H.E.K.])

59. "Whoever can see and hear her (the daughter of Stein) play without laughing must be a stone (Stein) like her father. She sits opposite the treble instead of in the middle of the instrument, so that there may be greater opportunities for swaying about and making grimaces. Then she rolls up her eyes and smirks. If a passage occurs twice it is played slower the second time; if three times, still slower. When a passage comes up goes the arm, and if there is to be an emphasis it must come from the arm, heavily and clumsily, not from the fingers. But the best of all is that when there comes a passage (which ought to flow like oil) in which there necessarily occurs a change of fingers, there is no need of taking care; when the time comes you stop, lift the hand and nonchalantly begin again. This helps one the better to catch a false note, and the effect is frequently curious."

(Augsburg, October 23, 1777. The letter is to his father and the young woman whose playing is criticized is the little miss of eight years, Nanette Stein.)

60. "When I told Herr Stein that I would like to play on his organ and that I was passionately fond of the instrument, he marveled greatly and said: 'What, a man like you, so great a clavier player, want to play on an instrument which has no douceur, no expression, neither piano nor forte, but goes on always the same?' 'But all that signifies nothing; to me the organ is nevertheless the king of instruments.' "

(Augsburg, October 17, 1777, to his father.)

61. "I had the pleasure to hear Herr Franzl (whose wife is a sister of Madame Cannabich) play a concerto on the violin. He pleases me greatly. You know that I am no great lover of difficulties. He plays difficult things, but one does not recognize that they are difficult, but imagines that one could do the same thing at once; that is true art. He also has a beautiful, round tone,--not a note is missing, one hears everything; everything is well marked. He has a fine staccato bow, up as well as down; and I have never heard so good a double shake as his. In a word, though he is no wizard he is a solid violinist."

(Mannheim, November 22, 1777, to his father.)

62. "Wherein consists the art of playing prima vista? In this: To play in the proper tempo; give expression to every note, appoggiatura, etc., tastefully and as they are written, so as to create the impression that the player had composed the piece."

(Mannheim, January 17, 1778, to his father. Mozart had just been sharply criticizing the playing of Abbe Vogler. [See No. 66.])

63. "I am at Herr von Aurnhammer's after dinner nearly every day. The young woman is a fright, but she plays ravishingly, though she lacks the true singing style in the cantabile; she is too jerky."

(Vienna, June 27, 1781, to his father. Beethoven found the same fault with Mozart's playing that Mozart here condemns.)

64. "Herr Richter plays much and well so far as execution is concerned, but--as you will hear--crudely, laboriously and without taste or feeling; he is one of the best fellows in the world, and without a particle of vanity. Whenever I played for him he looked immovably at my fingers, and one day he said 'My God! how I am obliged to torment myself and sweat, and yet without obtaining applause; and for you, my friend, it is mere play!' 'Yes,' said I, 'I had to labor once in order not to show labor now.' "

(Vienna, April 28, 1784, to his father in Salzburg, whither the pianist Richter, whom he recommends to his father, is going on a concert trip.)

65. "Meissner, as you know, has the bad habit of purposely making his voice tremble, marking thus entire quarter and eighth notes; I never could endure it in him. It is indeed despicable and contrary to all naturalness in song. True the human voice trembles of itself, but only in a degree that remains beautiful; it is in the nature of the voice. We imitate it not only on wind instruments but also on the viols and even on the clavier. But as soon as you overstep the limit it is no longer beautiful because it is contrary to nature."

(Paris, June 12, 1778, to his father. [The statement that the tremolo effect could be imitated on the clavier seems to require an explanation. Mozart obviously had in view, not the pianoforte which was just coming into use in his day, but the clavichord. This instrument was sounded by striking the strings with bits of brass placed in the farther end of the keys which were simple and direct levers. The tangents, as they were called, had to be held against the strings as long as it was desired that the tone should sound, and by gently repeating the pressure on the key a tremulousness was imparted to the tone which made the clavichord a more expressive instrument than the harpsichord or the early pianoforte. The effect was called Bebung in German, and Balancement in French. H.E.K.])

66. "Before dinner Herr Vogler dashed through my sonata prima vista. He played the first movement prestissimo, the andante allegro and the rondo prestissimo with a vengeance. As a rule, he played a different bass than the one I had written, and occasionally he changed the harmony as well as the melody. That was inevitable, for at such speed the eyes can not follow, nor the hands grasp, the music. Such playing at sight and...are all one to me. The hearers (I mean those worthy of the name) can say nothing more than they have seen music and clavier playing. You can imagine that it was all the more unendurable because I did not dare to say to him: 'Much too quick!' Moreover it is much easier to play rapidly than slowly; you can drop a few notes in passages without any one noticing it. But is it beautiful? At such speed you can use the hands indiscriminately; but is that beautiful?"

(Mannheim, January 17, 1778, to his father.)

67. "They hurry the tempo, trill or pile on the adornments because they can neither study nor sustain a tone."

(Recorded by Rochlitz as a criticism by Mozart of Italian singers in 1789.)

68. "It is thus, they think, that they can infuse warmth and ardor into their singing. Ah, if there is no fire in the composition you will surely never get it in by hurrying it."

(According to Rochlitz Mozart used these words while complaining of the manner in which his compositions were ruined by exaggerated speed in the tempi.)

EXPRESSIONS CRITICAL

69. "We wish that it were in our power to introduce the German taste in minuets in Italy; minuets here last almost as long as whole symphonies."

(Bologna, September 22, 1770, to his mother and sister. Mozart as a lad was making a tour through Italy with his father. [There might be a valuable hint here touching the proper tempo for the minuets in Mozart's symphonies. Of late years the conductors, of the Wagnerian school more particularly, have acted on the belief that the symphonic minuets of Mozart and Haydn must be played with the stately slowness of the old dance. Mozart himself was plainly of another opinion. H.E.K.])

70. "Beecke told me (and it is true) that music is now played in the cabinet of the Emperor (Joseph II) bad enough to set the dogs a-running. I remarked that unless I quickly escape such music I get a headache. 'It doesn't hurt me in the least; bad music leaves my nerves unaffected, but I sometimes get a headache from good music.' Then I thought to myself: Yes, such a shallow-pate as you feels a pain as soon as he hears something which he can not understand."

(Mannheim, November 13, 1777, to his father. Beecke was a conceited pianist.)

71. "Nothing gives me so much pleasure in the anticipation as the Concert spirituel in Paris, for I fancy I shall be called on to compose something. The orchestra is said to be large and good, and my principal favorites can be well performed there, that is to say choruses, and I am right glad that the Frenchmen are fond of them....Heretofore Paris has been used to the choruses of Gluck. Depend on me; I shall labor with all my powers to do honor to the name of Mozart."

(Mannheim. February 28, 1778, to his father. On March 7 he writes: "I have centered all my hopes on Paris, for the German princes are all niggards.")

72. "I do not know whether or not my symphony pleases, and, to tell you the truth, I don't much care. Whom should it please? I warrant it will please the few sensible Frenchmen who are here, and there will be no great misfortune if it fails to please the stupids. Still I have some hope that the asses too will find something in it to their liking."

(Paris, June 12, 1778, to his father. The symphony is that known as the "Parisian" (Kochel, No. 297). It is characterized by brevity and wealth of melody.)

73. "The most of the symphonies are not to the local taste. If I find time I shall revise a few violin concertos,--shorten them,-- for our taste in Germany is for long things; as a matter of fact, short and good is better."

(Paris, September 11, 1778, to his father, in Salzburg. In the same letter he says: "I assure you the journey was not unprofitable to me--that is to say in the matter of composition.")

74. "If only this damned French language were not so ill adapted to music! It is abominable; German is divine in comparison. And then the singers!--men and women--they are unmentionable. They do not sing; they shriek, they howl with all their might, through throat, nose and gullet."

(Paris, July 9, 1778, to his father. Mozart was thinking of writing a French opera.)

75. "Ah, if we too had clarinets! You can't conceive what a wonderful effect a symphony with flutes, oboes and clarinets makes. At the first audience with the Archbishop I shall have much to tell him, and, probably, a few suggestions to make. Alas! our music might be much better and more beautiful if only the Archbishop were willing."

(Mannheim, December 3, 1778, to his father. Mozart was on his return to Salzburg where he had received an appointment in the Archiepiscopal chapel. It seems that wood-wind instruments were still absent from the symphony orchestra in Salzburg.)

76. "Others know as well as you and I that tastes are continually changing, and that the changes extend even into church music; this should not be, but it accounts for the fact that true church music is now found only in the attic and almost eaten up by the worms."

(Vienna, April 12, 1783, to his father, who was active as Court Chapelmaster in Salzburg, and who had been asked by his son in the same letter, when it grew a little warmer, "to look in the attic and send some of your (his) church music.")

77. "The themes pleased me most in the symphony; yet it will be the least effective, for there is too much in it, and a fragmentary performance of it sounds like an ant hill looks,-- that is as if the devil had been turned loose in it."

(In a letter written in 1789 to a nobleman who was a composer and had submitted a symphony to Mozart for criticism.)

78. "So far as melody is concerned, yes; for dramatic effect, no. Moreover the scores which you may see here, outside those of Gretry, are by Gluck, Piccini and Salieri, and there is nothing French about them except the words."

(A remark made to Joseph Frank, whom Mozart frequently found occupied with French scores, and who had asked whether the study of Italian scores were not preferable.)

79. "The ode is elevated, beautiful, everything you wish, but too exaggerated and bombastic for my ears. But what would you? The golden mean, the truth, is no longer recognized or valued. To win applause one must write stuff so simple that a coachman might sing it after you, or so incomprehensible that it pleases simply because no sensible man can comprehend it. But it is not this that I wanted to discuss with you, but another matter. I have a strong desire to write a book, a little work on musical criticism with illustrative examples. N.B., not under my name."

(Vienna, December 28, 1782, to his father. "I was working on a very difficult task--a Bardic song by Denis on Gibraltar. It is a secret, for a Hungarian lady wants thus to honor Denis." When Gibraltar was gallantly defended against the Spaniards, Mozart's father wrote to him calling his attention to the victory. Mozart replied: "Yes, I have heard of England's triumph, and, indeed, with great joy (for you know well that I am an arch-Englishman)." The little book of criticism never appeared.)

80. "The orchestra in Berlin contains the greatest aggregation of virtuosi in the world; I never heard such quartet playing as here; but when all the gentlemen are together they might do better."

(To King Frederick William II, in 1789, when asked for an opinion on the orchestra in Berlin. The king asked Mozart to transfer his services to the Court at Berlin; Mozart replied: "Shall I forsake my good Emperor?")

OPINIONS CONCERNING OTHERS

81. "Holzbauer's music is very beautiful; the poetry is not worthy of it. What amazes me most is that so old a man as Holzbauer should have so much spirit,--it is incredible, the amount of fire in his music."

(Mannheim, November 14, 1777, to his father. Ignaz Holzbauer was born in Vienna, in 1711, and died as chapelmaster in Mannheim, on April 7, 1793. During the last years of his life he was totally deaf. The music referred to was the setting of the first great German Singspiel, "Gunther von Schwarzburg.")

82. "There is much that is pretty in many of Martini's things, but in ten years nobody will notice them."

(Reported by Nissen. Martini lived in Bologna from 1706 to 1784; there Mozart learned to know and admire him. In 1776 he wrote a letter to him in which he said that of all people in the world he "loved, honored and valued" him most.)

83. "For those who seek only light entertainment in music nobody better can be recommended than Paisiello."

(Reported by Nissen. Paisiello was born in Taranto in 1741, composed over a hundred operas which, like his church music, won much applause. He died in Naples in 1816. Mozart considered his music "transparent.")

84. "Jomelli has his genre in which he shines, and we must abandon the thought of supplanting him in that field in the judgment of the knowing. But he ought not to have abandoned his field to compose church music in the old style, for instance."

(Reported by Nissen. Jomelli was born in 1714 near Naples, where he died in 1774. He was greatly admired as a composer of operas and church music. He was Court Chapelmaster in Stuttgart from 1753 to 1769.)

85. "Wait till you know how many of his works we have in Vienna! When I get back home I shall diligently study his church music, and I hope to learn a great deal from it."

(A remark made in Leipsic when somebody spoke slightingly of the music of Gassmann, an Imperial Court Chapelmaster in Vienna, and much respected by Maria Theresa and Joseph.)

86. "The fact that Gatti, the ass, begged the Archbishop for permission to compose a serenade shows his worthiness to wear the title, which I make no doubt he deserves also for his musical learning."

(Vienna, October 12, 1782, to his father. Gatti was Cathedral Chapelmaster in Salzburg.)

87. "What we should like to have, dear father, is some of your best church pieces; for we love to entertain ourselves with all manner of masters, ancient and modern. Therefore I beg of you send us something of yours as soon as possible."

(Vienna, March 29, 1783, to his father, Leopold Mozart in Salzburg, himself a capable composer.)

88. "In a sense Vogler is nothing but a wizard. As soon as he attempts to play something majestic he becomes dry, and you are glad that he, too, feels bored and makes a quick ending. But what follows?--unintelligible slip-slop. I listened to him from a distance. Afterward he began a fugue with six notes on the same tone, and Presto! Then I went up to him. As a matter of fact I would rather watch him than hear him."

(Mannheim, December 18, 1777, to his father. Abbe Vogler was trying the new organ in the Lutheran church at Mannheim. Vogler lived from 1749 to 1814, and was the teacher of Karl Maria von Weber (who esteemed him highly) and Meyerbeer. Mozart's criticism seems unduly severe.)

89. "I was at mass, a brand new composition by Vogler. I had already been at the rehearsal day before yesterday afternoon, but went away after the Kyrie. In all my life I have heard nothing like this. Frequently everything is out of tune. He goes from key to key as if he wanted to drag one along by the hair of the head, not in an interesting manner which might be worth while, but bluntly and rudely. As to the manner in which he develops his ideas I shall say nothing; but this I will say that it is impossible for a mass by Vogler to please any composer worthy of the name. Briefly, I hear a theme which is not bad; does it long remain not bad think you? will it not soon become beautiful? Heaven forefend! It grows worse and worse in a two-fold or three-fold manner; for instance scarcely is it begun before something else enters and spoils it; or he makes so unnatural a close that it can not remain good; or it is misplaced; or, finally, it is ruined by the orchestration. That's Vogler's music."

(Mannheim, November 20, 1777, to his father.)

90. "Clementi plays well so far as execution with the right hand is concerned; his forte is passages in thirds. Aside from this he hasn't a pennyworth of feeling or taste; in a word he is a mere mechanician."

(Vienna, January 12, 1782, to his father. Four days later Mozart expressed the same opinion of Muzio Clementi, who is still in good repute, after having met him in competition before the emperor. "Clementi preluded and played a sonata; then the Emperor said to me, 'Allons, go ahead.' I preluded and played some variations.")

91. "Now I must say a few words to my sister about the Clementi sonatas. Every one who plays or hears them will feel for himself that as compositions they do not signify. There are in them no remarkable or striking passages, with the exception of those in sixths and octaves, and I beg my sister not to devote too much time to these lest she spoil her quiet and steady hand and make it lose its natural lightness, suppleness and fluent rapidity. What, after all, is the use? She is expected to play the sixths and octaves with the greatest velocity (which no man will accomplish, not even Clementi), and if she tries she will produce a frightful zig-zag, and nothing more. Clementi is a Ciarlatano like all Italians. He writes upon a sonata Presto, or even Prestissimo and alla breve, and plays it Allegro in 4-4 time. I know it because I have heard him! What he does well is his passages in thirds; but he perspired over these day and night in London. Aside from this he has nothing,--absolutely nothing; not excellence in reading, nor taste, nor sentiment."

(Vienna, June 7, 1783, to his father and sister.)

92. "Handel knows better than any of us what will make an effect; when he chooses he strikes like a thunderbolt; even if he is often prosy, after the manner of his time, there is always something in his music."

(Mozart valued Handel most highly. He knew his masterpieces by heart--not only the choruses but also many arias. [Reported by Rochlitz. H.E.K.])

93. "Apropos, I intended, while asking you to send back the rondo, to send me also the six fugues by Handel and the toccatas and fugues by Eberlin. I go every Sunday to Baron von Swieten's, and there nothing is played except Handel and Bach. I am making a collection of the fugues,--those of Sebastian as well as of Emanuel and Friedemann Bach; also of Handel's, and here the six are lacking. Besides I want to let the baron hear those of Eberlin. In all likelihood you know that the English Bach is dead; a pity for the world of music."

(Vienna, April 10, 1782, to his father. Johann Ernst Eberlin (Eberle), born in 1702, died in 1762 as archiepiscopal chapelmaster in Salzburg. Many of his unpublished works are preserved in Berlin. The "English" Bach was Johann Christian, son of the great Johann Sebastian. As a child Mozart made his acquaintance in London.)

94. "I shall be glad if papa has not yet had the works of Eberlin copied, for I have gotten them meanwhile, and discovered,--for I could not remember,--that they are too trivial and surely do not deserve a place among those of Bach and Handel. All respect to his four-part writing, but his clavier fugues are nothing but long-drawn-out versetti."

(Vienna, April 29, 1782, to his sister Nannerl.)

95. "Johann Christian Bach has been here (Paris) for a fortnight. He is to write a French opera, and is come only to hear the singers, whereupon he will go to London, write the opera, and come back to put it on the stage. You can easily imagine his delight and mine when we met again. Perhaps his delight was not altogether sincere, but one must admit that he is an honorable man and does justice to all. I love him, as you know, with all my heart, and respect him; as for him, one thing is certain, that to my face and to others, he really praised me, not extravagantly, like some, but seriously and in earnest."

(St. Germain, August 27, 1778, to his father. Johann Christian Bach was the second son of Johann Sebastian, and born in 1735. He lived in London where little Wolfgang learned to know him in 1764. Bach took the precocious boy on his knee and the two played on the harpsichord. [Bach was Music Master to the Queen. "He liked to play with the boy," says Jahn; "took him upon his knee and went through a sonata with him, each in turn playing a measure with such precision that no one would have suspected two performers. He began a fugue, which Wolfgang took up and completed when Bach broke off." H.E.K.])

96. "Bach is the father, we are the youngsters. Those of us who can do a decent thing learned how from him; and whoever will not admit it is a..."

(A remark made at a gathering in Leipsic. The Bach referred to is Phillip Emanuel Bach, who died in 1788.)

97. "Here, at last, is something from which one can learn!"

(Mozart's ejaculation when he heard Bach's motet for double chorus, "Singet dem Herrn ein neues Lied," at Leipsic in 1789. Rochlitz relates: "Scarcely had the choir sung a couple of measures when Mozart started. After a few more measures he cried out: 'What is that?' and now his whole soul seemed to be in his ears.")

98. "Melt us two together, and we will fall far short of making a Haydn."

(Said to the pianist Leopold Kozeluch who had triumphantly pointed out a few slips due to carelessness in Haydn's compositions.)

99. "It was a duty that I owed to Haydn to dedicate my quartets to him; for it was from him that I learned how to write quartets."

(Reported by Nissen. Joseph Haydn once said, when the worth of "Don Giovanni" was under discussion: "This I do know, that Mozart is the greatest composer in the world today.")

100. "Nobody can do everything,--jest and terrify, cause laughter or move profoundly,--like Joseph Haydn."

(Reported by Nissen [the biographer who married Mozart's widow. H.E.K.].)

101. "Keep your eyes on him; he'll make the world talk of himself some day!"

(A remark made by Mozart in reference to Beethoven in the spring of 1787. It was the only meeting between the two composers. [The prophetic observation was called out by Beethoven's improvisation on a theme from "Le Nozze di Figaro." H.E.K.])

102. "Attwood is a young man for whom I have a sincere affection and esteem; he conducts himself with great propriety, and I feel much pleasure in telling you that he partakes more of my style than any scholar I ever had, and I predict that he will prove a sound musician."

(Remarked in 1786 to Michael Kelly, who was a friend of Attwood and a pupil of Mozart at the time. [Thomas Attwood was an English musician, born in 1765. He was chorister of the Chapel Royal at the age of nine, and at sixteen attracted the attention of the Prince of Wales, afterward George IV., who sent him to Italy to study. He studied two years in Naples and one year in Vienna with Mozart. Returned to London he first composed for the theatre and afterward largely for the church. He and Mendelssohn were devoted friends. H.E.K.])

103. "If the oboist Fischer did not play better when we heard him in Holland (1766) than he plays now, he certainly does not deserve the reputation which he has. Yet, between ourselves, I was too young at the time to pronounce a judgment; I remember that he pleased me exceedingly, and the whole world. It is explained easily enough if one but realizes that tastes have changed mightily since then. You would think that he plays according to the old school; but no! he plays like a wretched pupil....And then his concertos, his compositions! Every ritornello lasts a quarter of an hour; then the hero appears, lifts one leaden foot after the other and plumps them down alternately. His tone is all nasal, and his tenuto sounds like an organ tremulant."

(Vienna, April 4, 1787, to his father. Johann Christian Fischer--1733-1800--was a famous oboist and composer for his instrument. [Fischer was probably the original of the many artists of whom the story is told that, having been invited by a nobleman to dinner, he was asked if he had brought his instrument with him, replied that he had not, for that his instrument never ate. Kelly tells the story in his "Reminiscences" and makes Fischer the hero. H.E.K.])

104. "I know nothing new except that Gellert has died in Leipsic and since then has written no more poetry."

(Milan, January 26, 1770. Wolfgang was on a concert tour with his father who admired Gellert's writings and had once exchanged letters with him. The lad seems to have felt ironical.)

105. "Now I am also acquainted with Herr Wieland; but he doesn't know me as well as I know him, for he has not heard anything of mine. I never imagined him to be as he is. He seems to me to be a little affected in speech, has a rather childish voice, a fixed stare, a certain learned rudeness, yet, at times, a stupid condescension. I am not surprised that he behaves as he does here (and as he would not dare do in Weimar or elsewhere), for the people look at him as if he had fallen direct from heaven. All stand in awe, no one talks, everyone is silent, every word is listened to when he speaks. It is a pity that he keeps people in suspense so long, for he has a defect of speech which compels him to speak very slowly and pause after every six words. Otherwise his is, as we all know, an admirable brain. His face is very ugly, pockmarked, and his nose rather long. He is a little taller than papa."

(Mannheim, December 27, 1777, to his father. On November 22, Mozart had reported: "In the coming carnival 'Rosamunde' will be performed--new poetry by Herr Wieland, new music by Herr Schweitzer." On January 10, 1778, he writes: "'Rosamunde' was rehearsed in the theatre today; it is--good, but nothing more. If it were bad you could not perform it at all; just as you can't sleep without going to bed!")

106. "Now that Herr Wieland has seen me twice he is entirely enchanted. The last time we met, after lauding me as highly as possible, he said, 'It is truly a piece of good fortune for me to have met you here,' and pressed my hand."

(Mannheim, January 10, 1778.)

107. "Now I give you a piece of news which perhaps you know already; that godless fellow and arch-rascal, Voltaire, is dead--died like a dog, like a beast. That is his reward!"

(Paris, July 3, 1778, to his father, who, like the son, was a man of sincere piety and abhorred Voltaire's atheism.)

108. "When God gives a man an office he also gives him sense; that's the case with the Archduke. Before he was a priest he was much wittier and intelligent; spoke less but more sensibly. You ought to see him now! Stupidity looks out of his eyes, he talks and chatters eternally and always in falsetto. His neck is swollen,--in short he has been completely transformed."

(Vienna, November 17, 1781, to his father. The person spoken of was Archduke Maximilian, who afterward became Archbishop of Cologne, and was the patron of Beethoven. [The ambiguity of the opening statement is probably due to carelessness in writing, or Mozart's habit of using double negatives. H.E.K.])

WOLFGANG, THE GERMAN

Mozart's Germanism is a matter of pride to the German people. To him "German" was no empty concept, as it was to the majority of his contemporaries. He is therefore honored as a champion of German character and German art, worthy as such to stand beside Richard Wagner. Properly to appreciate his patriotism it is necessary to hear in mind that in Mozart's day Germany was a figment of the imagination, the French language, French manners and Italian music being everywhere dominant. Wagner, on the contrary, was privileged to see the promise of the fulfillment of his strivings in the light of the German victories of 1870-1871. When the genius of Germany soared aloft she carried Wagner with her; Wagner's days of glory in August, 1876, were conditioned by the great war with France. How insignificant must the patronage of Joseph II, scantily enough bestowed on Mozart in comparison with that showered on Salieri, appear, when we recall the Maecenas Ludwig II.

109. "Frequently I fall into a mood of complete listlessness and indifference; nothing gives me great pleasure. The most stimulating and encouraging thought is that you, dearest father, and my dear sister, are well, that I am an honest German, and that if I am not always permitted to talk I can think what I please; but that is all."

(Paris, May 29, 1778, to his father.)

110. "The Duke de Guines was utterly without a sense of honor and thought that here was a young fellow, and a stupid German to boot,--as all Frenchmen think of the Germans,--he'll be glad to take it. But the stupid German was not glad and refused to take the money. For two lessons he wanted to pay me the fee of one."

(Paris, July 31, 1778, to his father. Mozart had given lessons in composition to the Duke's daughter. See No. 51.)

111. "An Italian ape, such as he is, who has lived in German countries and eaten German bread for years, ought to speak German, or mangle it, as well or ill as his French mouth will permit."

(Said of the violoncellist Duport, the favorite of King William I, of Prussia, in 1789, when Mozart was in Berlin and Duport asked him to speak French.)

112. "I pray God every day to give me grace to remain steadfast here, that I may do honor to myself and the entire German nation, to His greater honor and glory, and that He permit me to make my fortune so that I may help you out of your sorry condition, and bring it to pass that we soon meet again and live together in happiness and joy. But His will be done on earth as in heaven."

(Paris, May 1, 1778, to his father who had plunged himself in debt and was giving lessons in order to promote the career of his son. His sister also helped nobly.)

113. "If this were a place where the people had ears, hearts to feel, and a modicum of musical understanding and taste, I should laugh heartily at all these things; as it is I am among nothing but cattle and brutes (so far as music is concerned). How should it be otherwise since they are the same in all their acts and passions? There is no place like Paris. You must not think that I exaggerate when I talk thus of music. Turn to whom you please,--except to a born Frenchman,--you shall hear the same thing, provided you can find some one to turn to. Now that I am here I must endure out of regard for you. I shall thank God Almighty if I get out of here with a sound taste."

(Paris, May 1, 1778.)

114. "How popular I would be if I were to lift the national German stage to recognition in music! And this would surely happen for I was already full of desire to write when I heard the German Singspiel."

(Munich, October 2, 1777. [A Singspiel is a German opera with spoken dialogue. H.E.K.])

115. "If there were but a single patriot on the boards with me, a different face would be put on the matter. Then, mayhap, the budding National Theatre would blossom, and that would be an eternal disgrace to Germany,--if we Germans should once begin to think German, act German, speak German, and--even sing German!!!"

(Vienna, March 21, 1785, to the playwright Anton Klein of Mannheim. It was purposed to open the Singspiel theatre in October.)

116. "The German Opera is to be opened in October. For my part I am not promising it much luck. From the doings so far it looks as if an effort were making thoroughly to destroy the German opera which had suspended, perhaps only for a while, rather than to help it up again and preserve it. Only my sister-in-law Lange has been engaged for the German Singspiel. Cavalieri, Adamberger, Teyber, all Germans, of whom Germany can be proud, must remain with the Italian opera, must make war against their countrymen!"

(Vienna, March 21, 1785, to Anton Klein. Madame Lange was Aloysia Weber, with whom he was in love before he married her sister Constanze.)

117. "The gentlemen of Vienna (including most particularly the Emperor) must not be permitted to believe that I live only for the sake of Vienna. There is no monarch on the face of the earth whom I would rather serve than the Emperor, but I shall not beg service. I believe that I am capable of doing honor to any court. If Germany, my beloved fatherland, of whom you know I am proud, will not accept me, then must I, in the name of God, again make France or England richer by one capable German;--and to the shame of the German nation. You know full well that in nearly all the arts those who excelled have nearly always been Germans. But where did they find fortune, where fame? Certainly not in Germany. Even Gluck;--did Germany make him a great man? Alas, no!"

(Vienna, August 17, 1782, to his father. Mozart's answer in 1789, when King Frederick William II of Prussia said to him: "Stay with me; I offer you a salary of 3,000 thalers," was touching in the extreme: "Shall I leave my good Emperor?" Thereupon the king said: "Think it over. I'll keep my word even if you should come after a year and a day!" In spite of his financial difficulties, Mozart never gave serious consideration to the offer. When his father advised him against some of his foreign plans he answered: "So far as France and England are concerned you are wholly right; this opening will never be closed to me; it will be better if I wait a while longer. Meanwhile it is possible that conditions may change in those countries." In a preceding letter he had written: "For some time I have been practicing myself daily in the French language, and I have also taken three lessons in English. In three months I hope to be able to read and understand English books fairly well.")

118. "The two of us played a sonata that I had composed for the occasion, and which had a success. This sonata I shall send you by Herr von Daubrawaick, who said that he would feel proud to have it in his trunk; his son, who is a Salzburger, told me this. When the father went he said, quite loud, 'I am proud to be your countryman. You are doing great honor to Salzburg; I hope that times will so change that we can have you amongst us, and then do not forget me.' I answered: 'My fatherland has always the first claim on me.' "

(Vienna, November 24, 1781, to his father. Mozart is speaking of a concert which he had given. The sonata is the small one in D major (Kochel, No. 381). Mozart often made merry over the Salzburgians; he called them stupid and envious.)

119. "Thoroughly convinced that I was talking to a German, I gave free rein to my tongue,--a thing which one is so seldom permitted to do that after such an outpouring of the heart it would be allowable to get a bit fuddled without risk of hurting one's health."

(Vienna, March 21, 1785, to Anton Klein.)

SELF-RESPECT AND HONOR

Beethoven is said to have been the first musician who compelled respect for his craft,--he who, prouder than Goethe, associated with royalties, and said of himself, "I, too, am a king!" Mozart rose from a dependent position which brought him most grievous humiliations; he was looked upon as a servant of the Archbishop of Salzburg, and treated accordingly. At the time composers and musicians had no higher standing. Mozart feels the intolerableness of his position and protests against it on every opportunity; he is conscious of his worth and intellectual superiority. When he endures the grossest indignities from his tormentor, Archbishop Hieronymus, it is for the sake of his father whom he would save from annoyance. In all things else he follows the example of his father, but in the matter of self-respect he admonishes and encourages his parent. Although Beethoven rudely rejected the condescending good will of the great which would have made Mozart happy, and demanded respect as an equal, it must be confessed that the generally manly conduct of Mozart was an excellent preparation of the Viennese soil.

120. "I only wish that the Elector were here; he might hear something to his advantage. He knows nothing about me, knows nothing about my ability. What a pity that these grand gentlemen take everybody's word and are unwilling to investigate for themselves! It's always the way. I am willing to make a test; let him summon all the composers in Munich, and even invite a few from Italy, Germany, England and Spain; I will trust myself in a competition with them all."

(Munich, October 2, 1777, to his father. Mozart had hoped to secure an appointment in Munich, but was disappointed.)

121. "I could scarcely refrain from laughing when I was introduced to the people. A few, who knew me par renommee, were very polite and respectful; others who know nothing about me stared at me as if they were a bit amused. They think that because I am small and young that there can be nothing great and old in me. But they shall soon find out."

(Mannheim, October 31, 1777, to his father.)

122. "We poor, common folk must not only take wives whom we love and who love us, but we may, can and want to take such because we are neither noble, well-born nor rich, but lowly, mean and poor. Hence we do not need rich wives because our wealth dies with us, being in our heads. Of this wealth no man can rob us unless he cuts off our heads, in which case we should have need of nothing more."

(Mannheim, February 7, 1778, to his father. Mozart had fallen in love with Aloysia, daughter of the poor musician Weber.)

123. "I will gladly give lessons to oblige, particularly if I see that a person has talent and a joyous desire to learn. But to go to a house at a fixed hour, or wait at home for the arrival of some one, that I can not do, no matter how much it might yield me; I leave that to others who can do nothing else than play the clavier,--for me it is impossible. I am a composer and was born to be a chapelmaster. I dare not thus bury the talent for composition which a kind God gave me in such generous measure (I may say this without pride for I feel it now more than ever before), and that is what I should do had I many pupils. Teaching is a restless occupation and I would rather neglect clavier playing than composition; the clavier is a side issue, though, thank God, a strong one."

(Mannheim, February 7, 1778, to his father, who must have read the words with sorrow, since he and his daughter Nannerl were laboriously giving lessons and practicing economy to make Mozart's journey possible and had to advance money to him.)

124. "I know of a certainty that the Emperor intends to establish a German opera in Vienna, and is earnestly seeking a young conductor who understands the German language, has genius and is capable of giving the world something new. Benda of Gotha is seeking the place and Schweitzer is also an applicant. I believe this would be a good thing for me,--but with good pay, as a matter of course. If the Emperor will give me a thousand florins, I will write a German opera for him, and if then he does not wish to retain me, all right. I beg of you, write to all the good friends in Vienna whom you can think of that I would do honor to the Emperor. If there is no other way let him try me with an opera."

(Mannheim, January 10, 1778, to his father.)

125. "The greatest favor that Herr Grimm showed me was to lend me 15 Louis d'Or in driblets at the (life and) death of my blessed mother. Is he fearful that the loan will not be returned? If so he truly deserves a kick--for he shows distrust of my honesty (the only thing that can throw me into a rage), and also of my talent....In a word he belongs to the Italian party, is deceitful and is seeking to oppress me."

(Paris, September 11, 1778, to his father, who was on a friendly footing with the French encyclopaedist Grimm since the first artistic tour made with little Wolfgang in 1763, when he owed many favors to Grimm. Apparently Mozart here does an injustice to his patron, who, it is true, thought highly of the Italian Piccini.)

126. "On my honor, I can't help it; it's the kind of man I am. Lately when he spoke to me rudely, foolishly and stupidly, I did not dare to say to him that he need not worry about the 15 Louis d'Or for fear that I might offend him. I did nothing but endure and ask if he were ready; and then--your obedient servant."

(Paris, September 11, 1778, to his father, at whose request Baron Grimm had received the young artist in Paris, but at the same time had exercised a sort of artistic guardianship over him. Wolfgang had written to his father as early as August 27: "If you write to him do not be too humble in your thanks;--there are reasons." On another occasion: "Grimm is able to assist children, but not adults. Do not imagine that he is the man he was.")

127. "You know that I want nothing more than good employment,-- good in character and good in recompense, let it be where it will if the place be but Catholic...; but if the Salzburgians want me they must satisfy my desires or they will certainly not get me."

(Paris, July 3, 1778, to his father, who wished to see his son in the service of the archiepiscopal court at Salzburg.)

128. "The Prince must have confidence either in you or me, and give us complete control of everything relating to music; otherwise all will be in vain. For in Salzburg everybody or nobody has to do with music. If I were to undertake it I should demand free hands. In matters musical the Head Court Chamberlain should have nothing to say; a cavalier can not be a conductor, but a conductor can well be a cavalier."

(Paris, July 9, 1778.)

129. "If the Archbishop were to entrust it to me I would soon make his music famous, that's sure....But I have one request to make at Salzburg, and that is that I shall not be placed among the violins where I used to be; I'll never make a fiddler. I will conduct at the clavier and accompany the arias. It would have been a good thing if I had secured a written assurance of the conductorship."

(Paris, September 11, 1778, to his father who had urged him to return to Salzburg to receive an appointment to the conductorship. Mozart seems to have a premonition of the treatment which he received later from the Archbishop.)

130. "I must admit that I should reach Salzburg with a lighter heart if I were not aware that I have taken service there; it is only this thought that is intolerable. Put yourself in my place and think it over. At Salzburg I do not know who or what I am; I am everything and at times nothing. I do not demand too much or too little;--only something, if I am something."

(Strassburg, October 15, 1778, to his father, while returning from Paris filled with repugnance to the Archbishop. "For aside from obeying a praiseworthy and beautiful motive" (he means filial affection), "I am really committing the greatest folly in the world," he writes in the same letter.)

131. "The Archbishop can not recompense me for the slavery in Salzburg! As I have said I experience great pleasure when I think of visiting you again, but nothing but vexation and fear at the thought of seeing myself at that beggarly court again. The Archbishop must not attempt to put on grand airs with me as he used to; it is not impossible, it is even likely that I would put my fingers to my nose,--and I know full well that you would enjoy it as much as I."

(Mannheim, November 12, 1778, to his father.)