I have now about fourteen pieces to write, and then I shall have finished. [Footnote: He alludes to his Milan opera, "Lucio Silla."] Indeed, the trio and the duet may be considered as four. I cannot possibly write much, for I have no news, and in the next place I scarcely know what I am writing, as all my thoughts are absorbed in my opera, so there is some danger of my writing you a whole aria instead of a letter. I have learned a new game here, called mercanti in fiera. As soon as I come home we can play at it together. I have also learned a new language from Frau von Taste, which is easy to speak, though troublesome to write, but still useful. It is, I own, rather a little childish, but will do capitally for Salzburg. My kind regards to pretty Nandl and to the canary, for these two and yourself are the most innocent creatures in our house. Fischietti [the Archbishop's Capellmeister] will no doubt soon begin to work at his opera buffa (translated into German, his CRAZY opera!). Addio!

The following letter of Wolfgang's shows the sparkling state of his spirits, caused by the completion of his opera. At each line he turns the page, so that one line stands, as it were, on the head of the other. The father, too, in the joy of his heart that the arduous work was drawing to a close, and with it his long journey, writes four lines, one above another, round the edge of the page, so that the whole forms a framework for a sketch of a burning heart and four triangles (symbols of fidelity), and a bird on the wing from whose beak a distich is streaming:—

Oh! fly to seek my child so fair Here, and there, and everywhere!

Wolfgang adds:—

48.

Milan, Dec. 18, 1772.

I HOPE, dear sister, that you are well, dear sister. When this letter reaches you, dear sister, my opera will be in scena, dear sister. Think of me, dear sister, and try, dear sister, to imagine with all your might that my dear sister sees and hears it also. In truth, it is hard to say, as it is now eleven o'clock at night, but I do believe, and don't at all doubt, that in the daytime it is brighter than at Easter. My dear sister, to-morrow we dine with Herr von Mayer; and do you know why? Guess! Because he invited us. The rehearsal to-morrow is to be in the theatre. The impresario, Signor Cassiglioni, has entreated me not to say a word of this to a soul, as all kinds of people would come crowding in, and that we don't wish. So, my child, I beg, my child, that you won't say one syllable to any one on the subject, or too many people would come crowding in, my child. Approposito, do you know the history that occurred here? Well, I will relate it to you. We were going home straight from Count Firmiani's, and when we came into our street we opened our door, and what do you think happened? We went in. Good-bye, my pet. Your unworthy brother (frater),

WOLFGANG.

On the 26th of December "an incomparable performance" of "Lucio Silla" took place; it was eminently successful, and continued to fill the house night after night in the most surprising way. The father writes home regularly, and Wolfgang subjoins the usual postscripts, which, however, at this time contain nothing worth quoting. We give only part of an Italian letter which he writes for practice:—

49.

Vi prego di dire al Sig. Giovanni Hagenauer da parte mia, che non dubiti, che andro a veder sicuramente in quella bottega delle armi, se ci sono quei nomi [?] che lui desidera, e che senza dubbio doppo averlo trovato le portero meco a Salisburgo. Mi dispiace che il Sig. Leitgeb e partito tanto tardi da Salisburgo [see No. 46] che non trovera piu in scena la mia opera e forte non ci trovera nemeno, se non in viaggio.

Hieri sera era la prima prova coi stromenti della seconda opera, ma ho sentito solamente il primo atto, perche a secondo mene andiedi essendo gia tardi. In quest' opera saranno sopra il balco 24 cavalli e . . . mondo di gente, che saro miracolo se non succede qualche disgrazia. La musica mi piace; se piace al replico non so, perche alle prime prove non e lecito l' andarci che alle personne che sono del Teatro. Io spero che domani il mio padre potra uscir di casa. Sta sera fa cativissimo tempo. La Signora Teyber e adesso a Bologna e il carnevale venturo recitera a Turino e l'anno sussiquente poi va a cantare a Napoli.

[Footnote: "Pray say from me to Johannes Hagenauer, that he may entirely rely on my going to the armorer's shop, to see if I can procure what he desires, and after getting it I will not fail to bring it with me to Salzburg. I regret that Herr Leitgeb delayed so long leaving Salzburg [see No. 46], for he will no longer find my opera in scena, nor will he find us either unless we meet on our travels. Yesterday evening was our first rehearsal of the second opera with instruments, but I only heard the first act, for I went away at the second, because it was so very late. In this opera there are to be twenty-four horses and a crowd of people on the stage at the same time, so it will be surprising if no accident happens. The music pleases me; whether it will please others I cannot tell, for no persons but those belonging to the theatre are permitted to attend the first rehearsals. I hope that papa will be able to leave the house to-morrow. The weather is detestable this evening. Madame Teyber is now at Bologna; she is to act at Turin in the ensuing Carnival, and the year following she is to sing at Naples."]

After enjoying some more of the amusements of the Carnival, they arrived again in Salzburg about the middle of March. This place, or rather their position at court there, was in the highest degree repugnant to both; so the father, in the course of his travels, applied to the Grand-Duke of Tuscany for an appointment for his son. As, however, nothing was to be got in that quarter, he directed his views to the Imperial capital itself; and thus, at the end of three months, we find him again with his son in Vienna. From thence Wolfgang often wrote to his loved ones at home.

50.

Vienna, August 14, 1773.

I HOPE that your Majesty [Footnote 1: O. Jahn remarks that this epithet is a reminiscence of a fantastic game that often amused the boy on his journeys. He imagined a kingdom, the inhabitants of which were endowed with every gift that could make them good and happy.] enjoys the best state of health; and yet that now and then—or rather sometimes—or, better still, from time to time—or, still better, qualche volta, as the Italians say—your Majesty will impart to me some of your grave and important thoughts (emanating from that most admirable and solid judgment which, in addition to beauty, your Majesty so eminently possesses; and thus, although in such tender years, my Queen casts into the shade not only the generality of men but even the gray-haired).

P. S. This is a most sensible production.

51.

Vienna, August 21, 1773.

When we contemplate the benefit of time, and yet are not entirely oblivious of the estimation in which we ought to hold the sun, then it is quite certain, Heaven be praised! that I am quite well. My second proposition is of a very different character. Instead of sun, let us put moon, and instead of benefit, science; then any one, gifted with a certain amount of reasoning powers, will at once draw the conclusion that—I am a fool because you are my sister. How is Miss Bimbles? [the dog.] I beg you will convey all sorts of amiable messages from me to her. I also send my kind remembrances to M. Kreibich [conductor of the Imperial chamber-music], whom we knew at Presburg and also at Vienna; and very best regards from Her Majesty the Empress, Frau Fischerin, and Prince Kaunitz. Oidda!

GNAGFLOW TRAZOM.

52.

Vienna, Sept. 15, 1773.

WE are quite well, thank God; on this occasion we have contrived to make time to write to you, although we have so much business to do. We hope you also are well. Dr. Niderl's death grieved us very much. I assure you we cried a good deal, and moaned and groaned. Our kind regards to "Alle gute Geister loben Gott den Herrn" [to all good spirits who praise the Lord], and to all our friends. We graciously remain

Yours, WOLFGANG.

Given from our capital of Vienna.

The travellers returned home the end of September, for no situation was to be found in Vienna either; indeed, they did not even give a public concert there. Wolfgang remained in his native town during the whole of the ensuing year, writing instrumental and church music. At length he received a commission from the Elector of Bavaria, Maximilian III., to write an opera buffa for the Carnival of 1775,—"La finta Giardiniera."

53.

Munich, Dec. 28, 1774.

My Dearest Sister,

I entreat you not to forget, before your journey, [FOOTNOTE: Nannerl had also the most eager desire to see the new opera, and the father at last succeeded in getting a lodging for her in the large market place, in the house of a widow, "a black-eyed brunette," Frau von Durst.] to perform your promise, that is, to make a certain visit. I have my reasons for this. Pray present my kind regards in that quarter, but in the most impressive and tender manner—the most tender; and, oh!–but I need not be in such anxiety on the subject, for I know my sister and her peculiarly loving nature, and I feel quite convinced that she will do all she can to give me pleasure—and from self-interest, too—rather a spiteful hit that! [Nannerl was considered a little selfish by her family.]

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 grand mass at the offertory. Most dear and highly esteemed Maestro, I do entreat you to give me unreservedly your candid opinion of the motett. We live in this world in order always to learn industriously, and to enlighten each other by means of discussion, and to strive vigorously to promote the progress of science and the fine arts. Oh, how many and many a time have I desired to be nearer you, that I might converse and discuss with your Reverence! I live in a country where music has very little success, though, exclusive of those who have forsaken us, we have still admirable professors, and more particularly composers of great solidity, knowledge, and taste. We are rather badly off at the theatre from the want of actors. We have no MUSICI, nor shall we find it very easy to get any, because they insist upon being well paid, and generosity is not a failing of ours. I amuse myself in the mean time by writing church and chamber music, and we have two excellent contrapuntists here, Haydn and Adlgasser. My father is maestro at the Metropolitan church, which gives me an opportunity to write for the church as much as I please. Moreover, my father has been thirty-six years in the service of this court, and knowing that our present Archbishop neither can nor will endure the sight of elderly people, he does not take it to heart, but devotes himself to literature, which was always his favorite pursuit Our church music is rather different from that of Italy, and the more so, as a mass including the Kyne, Gloria, Credo, the Sonata all Epistola, the Offertory or Motett, Sanctus, and Agnus Dei, and even a solemn mass, when the Prince himself officiates, must never last more than three-quarters of an hour. A particular course of study is required for this class of composition. And what must such a mass be, scored with all the instruments, war-drums, cymbals, &c, &c! Oh! why are we so far apart, dearest Signor Maestro? for how many things I have to say to you! I devoutly revere all the Signori Filarmonici. I venture to recommend myself to your good opinion, I shall never cease regretting being so distant from the person in the world whom I most love, venerate, and esteem. I beg to subscribe myself, reverend Father, always your most humble and devoted servant,

"WOLFGANG AMADEUS MOZART"]