Chapter I: HOPE you received my last letter, which I meant to have given to the

vetturino, but having missed him I sent it by post. I have, in the mean time, got all your letters safely through Herr Becke. I gave him my letter to read, and he also showed me his. I assure you, my very dear father, that I am now full of joy at returning to you, (but not to Salzburg,) as your last letter shows that you know me better than formerly. There never was any other cause for my long delay in going home but this doubt, which gave rise to a feeling of sadness that I could no longer conceal; so I at last opened my heart to my friend Becke. What other cause could I possibly have? I have done nothing to cause me to dread reproach from you; I am guilty of no fault; (by a fault I mean that which does not become a Christian, and a man of honor;) in short, I now rejoice, and already look forward to the most agreeable and happy days, but only in the society of yourself and my dear sister. I give you my solemn word of honor that I cannot endure Salzburg or its inhabitants, (I speak of the natives of Salzburg.) Their language, their manners, are to me quite intolerable. You cannot think what I suffered during Madame Robinig's visit here, for it is long indeed since I met with such a fool; and, for my still further annoyance, that silly, deadly dull Mosmayer was also there.

But to proceed. I went yesterday, with my dear friend Cannabich, to the Electress to present my sonatas. Her apartments are exactly what I should like mine one day to be, very pretty and neat, just like those of a private individual, all except the view, which is miserable. We were there fully an hour and a half, and she was very gracious. I have managed to let her know that I must leave this in a few days, which will, I hope, expedite matters. You have no cause to be uneasy about Count Seeau; I don't believe the thing will come through his hands, and even if it does, he will not venture to say a word. Now, once for all, believe that I have the most eager longing to embrace you and my beloved sister. If it were only not in Salzburg! But as I have not hitherto been able to see you without going to Salzburg, I do so gladly. I must make haste, for the post is just going.

My cousin is here. Why? To please me, her cousin; this is, indeed, the ostensible cause. But--we can talk about it in Salzburg; and, on this account, I wished very much that she would come with me there. You will find a few lines, written by her own hand, attached to the fourth page of this letter. She is quite willing to go; so if it would really give you pleasure to see her, be so kind as to write immediately to her brother, that the thing may be arranged. When you see her and know her, she is certain to please you, for she is a favorite with every one.

Wolfgang's pleasantries, in the following; letter to his cousin, show that his good humor was fully restored. He was received at home with very great rejoicings, and his cousin soon followed him.

125.

Salzburg, May 10, 1779.

DEAREST, sweetest, most beauteous, fascinating, and charming of all cousins, most basely maltreated by an unworthy kinsman! Allow me to strive to soften and appease your just wrath, which only heightens your charms and winning beauty, as high as the heel of your slipper! I hope to soften you, Nature having bestowed on me a large amount of softness, and to appease you, being fond of sweet pease. As to the Leipzig affair, I can't tell whether it may be worth stooping to pick up; were it a bag of ringing coin, it would be a very different thing, and nothing less do I mean to accept, so there is an end of it.

Sweetest cousin, such is life! One man has got a purse, but another has got the money, and he who has neither has nothing; and nothing is even less than little; while, on the other hand, much is a great deal more than nothing, and nothing can come of nothing. Thus has it been from the beginning, is now, and ever shall be; and as I can make it neither worse nor better, I may as well conclude my letter. The gods know I am sincere. How does Probst get on with his wife? and do they live in bliss or in strife? most silly questions, upon my life! Adieu, angel! My father sends you his uncle's blessing, and a thousand cousinly kisses from my sister. Angel, adieu!

A TENDER ODE. [Footnote: A parody of Klopstock's "Dein susses Bild, Edone"]

TO MY COUSIN.

THY sweet image, cousin mine,
Hovers aye before me; Would the form indeed were thine!
How I would adore thee! I see it at the day's decline; I see it
through the pale moonshine, And linger o'er that form divine

By all the flowers of sweet perfume
I'll gather for my cousin,--By all the wreaths of myrtle-bloom
I'll wreathe her by the dozen,--I call upon that image there To
pity my immense despair, And be indeed my cousin fair

[Footnote: These words are written round the slightly sketched caricature of a face.]

FOURTH PART.--MUNICH.--IDOMENEO.--NOVEMBER 1780 TO JANUARY 1781.

MOZART now remained stationary at Salzburg till the autumn of 1780, highly dissatisfied at being forced to waste his youthful days in inactivity, and in such an obscure place, but still as busy as ever. A succession of grand instrumental compositions were the fruits of this period: two masses, some vespers, the splendid music for "Konig Thamos," and the operetta "Zaide" for Schikaneder. At length, however, to his very great joy, a proposal was made to him from Munich to write a grand opera for the Carnival of 1781. It was "Idomeneo, Konig von Greta." At the beginning of November he once more set off to Munich in order to "prepare an exact fit," on the spot, of the different songs in the opera for the singers, and to rehearse and practise everything with them. The Abbate Varesco in Salzburg was the author of the libretto, in which many an alteration had yet to be made, and these were all to be effected through the intervention of the father.

126.

Munich, Nov. 8, 1780.

FORTUNATE and pleasant was my arrival here,--fortunate, because no mishap occurred during the journey; and pleasant, because we had scarcely patience to wait for the moment that was to end this short but disagreeable journey. I do assure you it was impossible for us to sleep for a moment the whole night. The carriage jolted our very souls out, and the seats were as hard as stone! From Wasserburg I thought I never could arrive in Munich with whole bones, and during two stages I held on by the straps, suspended in the air and not venturing to sit down. But no matter; it is past now, though it will serve me as a warning in future rather to go on foot than drive in a diligence.

Now as to Munich. We arrived here at one o'clock in the forenoon, and the same evening I called on Count Seeau [the Theatre Intendant], but as he was not at home I left a note for him. Next morning I went there with Becke. Seeau has been moulded like wax by the Mannheim people. I have a request to make of the Abbate [Gianbattista Varesco]. The aria of Ilia in the second act and second scene must be a little altered for what I require,--"Se il padre perdei, in te lo ritrovo" This verse could not be better; but now comes what always appeared unnatural to me,--N.B. in an aria,--I mean, to speak aside. In a dialogue these things are natural enough, for a few words can be hurriedly said aside, but in an aria, where the words must be repeated, it has a bad effect; and even were this not the case, I should prefer an uninterrupted aria. The beginning may remain if he chooses, for it is charming and quite a natural flowing strain, where, not being fettered by the words, I can write on quite easily; for we agreed to bring in an aria andantino here in concert with four wind instruments, viz. flute, hautboy, horn, and bassoon; and I beg that you will let me have the air as soon as possible.

Now for a grievance. I have not, indeed, the honor of being acquainted with the hero Del Prato [the musico who was to sing Idamante], but from description I should say that Cecarelli is rather the better of the two, for often in the middle of an air our musico's breath entirely fails; nota bene, he never was on any stage, and Raaff is like a statue. Now only for a moment imagine the scene in the first act! But there is one good thing, which is, that Madame Dorothea Wendling is arci-contentissima with her scena, and insisted on hearing it played three times in succession. The Grand Master of the Teutonic Order arrived yesterday. "Essex" was given at the Court Theatre, and a magnificent ballet. The theatre was all illuminated. The beginning was an overture by Cannabich, which, as it is one of his last, I did not know. I am sure, if you had heard it you would have been as much pleased and excited as I was, and if you had not previously known the fact, you certainly could not have believed that it was by Cannabich. Do come soon to hear it, and to admire the orchestra. I have no more to say. There is to be a grand concert this evening, where Mara is to sing three airs. Tell me whether it snows as heavily in Salzburg as here. My kind regards to Herr Schikaneder [impresario in Salzburg], and beg him to excuse my not yet sending him the aria, for I have not been able to finish it entirely.

127.

Munich, Nov. 13, 1780.