Mozart, the man and the artist, as revealed in his own words;

MOZART

MOZART

THE MAN AND THE AKTIST, AS
KEYEALED IN HIS OWN WORDS

COMPILED AND ANNOTATED BY

FRIEDRICH KERST

TRANSLATED INTO ENGLISH, AND EDITED, WITH NEW
INTRODUCTION AND ADDITIONAL NOTES, BY

HENRY EDWARD KREHBIEL

AUTHORIZED EDITION

NEW YORK
B. W. HUEBSCH

1905

COPYRIGHT 1905 BY
B. W. HUEBSCH

CONTENTS

MM

EDITOR'S NOTE 7

THE SIGNIFICANCE or MOZART . . . . .9

CHIPS FKOM THE WORKSHOP 13

CONCERNING THE OPERA 23

MUSICAL PEDAGOGICS 39

TOUCHING MUSICAL PERFORMANCES . . . .45

EXPRESSIONS CRITICAL 51

OPINIONS CONCERNING OTHERS ..... 57

WOLFGANG, THE GERMAN 69

SELF-RESPECT AND HONOR 75

STRIVINGS AND LABORS 89

AT HOME AND ABROAD 95

LOVE AND FRIENDSHIP 105

WORLDLY WISDOM 115

IN SUFFERING 121

MORALS 127

4

RELIGION 137

2083063

EDITOR'S NOTE

The purpose and scope of this little book will
be obvious to the reader from even a cursory
glance at its contents. It is, in a way, an auto-
biography of Mozart written without conscious
purpose, and for that reason peculiarly win-
ning, illuminating and convincing. The out-
ward things in Mo/art's life are all but ignored
in it, but there is a frank and full disclosure
of the great musician's artistic, intellectual and
moral character, made in his own words.

The Editor has not only taken the trouble to
revise the work of the German author and com-
piler, but, for reasons which seemed to him im-
perative, has also made a new translation of all
the excerpts. Most of the translations of Mo-
zart's letters which have found their way into
the books betray want of familiarity with the
idioms and colloquialisms employed by Mozart,
as well as understanding of his careless, contra-
dictory and sprawling epistolary style. Some
of the intimacy of that style the new translation
seeks to preserve, but the purpose has chiefly
been to make the meaning plain.

H. E. K.

New York, June 7, 1905.

7

THE SIGNIFICANCE OF
MOZART

Mozart! What a radiance streams from the
name ! Bright and pure as the light of the sun,
Mozart's music greets us. We pronounce his
name and behold! the youthful artist is before
us, — the merry, light-hearted smile upon his
features, which belongs only to true and naive
genius. It is impossible to imagine an aged
Mozart, — an embittered and saddened Mozart,
— glowering gloomily at a wicked world which
is doing its best to make his lot still more bur-
densome ; — a Mozart whose music should reflect
such painful moods.

Mozart was a Child of the Sun. Filled with
a humor truly divine, he strolled unconstrain-
edly through a multitude of cares like Pr'mce
Tamino through his fantastic trials. Music
was his talisman, his magic flute with which he
could exorcise all the petty terrors that beset
him. Has such a man and artist — one who was
completely resolved in his works, and therefore
still stands bodily before us with all his glorious
qualities after the lapse of a century — has Mo-
zart still something to say to us who have just
stepped timidly into a new century separated
by another from that of the composer ? Much ;
9

10 Mozart

very much. Many prophets have arisen since
Mozart's death ; two of them have moved us pro-
foundly with their evangel. One of them knew
all the mysteries, and Nature took away his
hearing lest he proclaim too much. We fol-
lowed him into all the depths of the world of
feeling. The other shook us awake and placed
us in the hurly-burly of national life and striv-
ing; pointing to his own achievements, he said:
" If you wish it, you have now a German art ! "
The one was Beethoven, — the other Wagner.
Because their music demands of us that we share
with it its experiences and struggles, they are
the guiding spirits of a generation which has
grown up in combat and is expecting an un-
known world of combat beyond the morning
mist of the new century.

But we are in the case of the man in the fairy
tale who could not forget the merry tune of the
forest bird which he had heard as a boy. We
gladly permit ourselves to be led, occasionally,
out of the rude realities that surround us, into
a beautiful world that knows no care but lies
forever bathed in the sunshine of cloudless hap-
piness,— a world in which every loveliness of
which fancy has dreamed has taken life and
form. It is because of this that we make pil-
grimages to the masterpieces of the plastic arts,
that we give heed to the speech of Schiller, listen
to the music of Mozart. When wearied by the
stress of life we gladly hie to Mozart that he
may tell us stories of that land of beauty, and

The Significance of Mozart 11

convince us that there are other and better oc-
cupations than the worries and combats of the
fleeting hour. This is what Mozart has to tell
us to-day. In spite of Wagner he has an in-
dividual mission to fulfil which will keep him
immortal. " That of which Lessing convinces
us only with expenditure of many words sounds
clear and irresistible in * The Magic Flute ' : —
the longing for light and day. Therefore
there is something like the glory of daybreak
in the tones of Mozart's opera; it is wafted
towards us like the morning breeze which dis-
pels the shadows and invokes the sun."

Mozart remains ever young; one reason is
because death laid hold of him in the middle of
his career. While all the world was still gazing
expectantly upon him, he vanished from the
earth and left no hope deceived. His was the
enviable fate of a Raphael, Schiller and Korner.
As the German ('tis Schumann's utterance)
thinks of Beethoven when he speaks the word
symphony, so the name of Mozart in his mind
is associated with the conception of things
youthful, bright and sunny. Schumann was
fully conscious of a purpose when he called out,
" Do not put Beethoven in the hands of young
people too early; refresh and strenghten them
with the fresh and lusty Mozart." Another
time he writes : " Does it not seem as if Mozart's
works become fresher and fresher the oftener
we hear them? "

The more we realize that Wagner places a

12 Mozart

heavy and intoxicating draught before us the
more we shall appreciate the precious mountain
spring which laves us in Mozart's music, and
the less willing we shall be to permit any op-
portunity to pass unimproved which offers us
the crystal cup. In the mind of Goethe genius
was summed up in the name of Mozart. In a
prophetic ecstasy he spoke the significant words :
" What else is genius than that productive
power through which deeds arise, worthy of
standing in the presence of God and Nature,
and which, for this reason, bear results and are
lasting? All the creations of Mozart are of
this class; within them there is a generative
force which is transplanted from generation to
generation, and is not likely soon to be ex-
hausted or devoured."

CHIPS FROM THE WORKSHOP

1. If one has the talent it pushes for utter-
ance and torments one; it will out; and then
one is out with it without questioning. And,
look you, there is nothing in this thing of learn-
ing out of books. Here, here and here (point-
ing to his ear, his head and his heart) is your
school. If everything is right there, then take
your pen and down with it; afterward ask the
opinion of a man who knows his business.

To a musically talented boy who asked Mozart how
one might learn to compose.

2. I can not write poetically ; I am no poet.
I can not divide and subdivide my phrases so as
to produce light and shade; I am no painter.
I can not even give expression to my sentiments
and thoughts by gestures and pantomime; I
am no dancer. But I can do it with tones ; I am
a musician. ... I wish you might live till
there is nothing more to be said in music.

Mannheim, November 8, 1777, in a letter of congratu-
lation to his father who was born on November 14, 1719.
Despite his assertion Mozart was an admirable dancer and
passionately devoted to the sport. [So says Herr Kerst
obviously misconceiving Mozart's words. It is plain to me
that the composer had the classic definition of the dance
in mind when he said that he was no dancer. The dance
of which he was thinking was that described by Charles
Kingsley. " A dance in which every motion was a word,
and rest as eloquent as motion; in which every attitude
was a fresh motive for a sculptor of the purest school,

18

14 Mozart

and the highest physical activity was manifested, not as
in coarse pantomime, in fantastic bounds and unnatural
distortions, but in perpetual delicate modulations of a
stately and self-sustained grace." H. E. K.]

3. The poets almost remind me of the trum-
peters with their tricks of handicraft. If we
musicians were to stick as faithfully to our rules
(which were very good as long as we had no
better) we should make as worthless music as
they make worthless books.

Vienna, October 13, 1781, to his father. He is writing
about the libretto of " Die Entfiihrung aus dem Serail,"
by Stephanie. The trumpeters at the time still made use
of certain flourishes which had been traditionally pre-
served in their guild.

4. I have spared neither care nor labor to
produce something excellent for Prague. More-
over it is a mistake to think that the practise
of my art has become easy to me. I assure you,
dear friend, no one has given so much care to
the study of composition as I. There is scarcely
a famous master in music whose works I have
not frequently and diligently studied.

A remark to Conductor Kucharz in Prague, who led
the rehearsals for "Don Giovanni" in 1787.

5. They are, indeed, the fruit of long and
painstaking labor; but the hope which some of
my friends aroused in me, that my work would
be rewarded at least in part, has given me cour-
age and the flattering belief that these, my off-
spring, will some day bring me comfort.

From the dedication of the Six Quartets to Haydn
in 1785. The quartets were sent back to the publisher,
Artaria, from Italy, because "they contained so many

Chips from the Workshop 15

misprints." The unfamiliar chords and dissonances were
looked upon as printers' errors. Grassalkowitsch, a Hun-
garian prince, thought his musicians were playing faultily
in some of these passages, and when he learned differ-
ently he tore the music in pieces.

6. I can not deny, but must confess that I
shall be glad when I receive my release from this
place. Giving lessons here is no fun ; you must
work yourself pretty tired, and if you don't
give a good many lessons you will make but lit-
tle money. You must not think that it is lazi-
ness ; — no ! — but it goes counter to my genius,
counter to my mode of life. You know that,
so to speak, I am wrapped up in music, — that
I practise it all day long, — that I like to specu-
late, study, consider. All this is prevented by
my mode of life here. I shall, of course, have
some free hours, but they will be so few that
they will be necessary more for recuperation
than work.

Paris, July 31, 1778, to his father.

7. M. Le Gros bought the Sinfonie concer-
tante of me. He thinks that he is the only one
who has it; but that isn't so. It is still fresh
in my head, and as soon as I get home I'll write
it down again.

Paris, October 3, 1778, to his father. An evidence of
the retentiveness of Mozart's memory. In this instance,
however, he did not carry out his expressed intention.
Le Gros was director of the Concerts spirituels.

8. Melody is the essence of music. I compare
a good melodist to a fine racer, and counter-
pointists to hack post-horses; therefore be ad-

16 Mozart

vised, let well alone and remember the old
Italian proverb : Chi sa piu, meno sa — " Who
knows most, knows least."

To the English tenor Michael Kelly, about 1786, in
answer to Kelly's question whether or not he should take
up the study of counterpoint.

9. One of the priests gave me a theme. I
took it on a promenade and in the middle (the
fugue was in G minor) I began in the major,
with something jocose but in the same tempo;
finally the theme again, but backwards. Finally
I wondered if I might not use the playful mel-
ody as a theme for a fugue. I did not question
long, but made it at once, and it went as ac-
curately as if Daser had measured it for the
purpose. The dean was beside himself.

Augsburg, October 23, 1777, to his father. Daser was
a tailor in Salzburg.

10. Above us is a violinist, below us another,
next door a singing teacher who gives lessons,
and in the last room opposite ours, a hautboyist.
Merry conditions for composing! You get so
many ideas !

Milan, August 23, 1771, to his " dearest sister."

11. If I but had the theme on paper, — worked
out, of course. It is too silly that we have got
to hatch out our work in a room.

A remark to his wife while driving through a beautiful
bit of nature and humming all manner of ideas that came
into his head.

12. I'd be willing to work forever and forever
if I were permitted to write only such music as

Chips from the Workshop 17

I want to write and can write — which I myself
think good. Three weeks ago I made a sym-
phony, and by to-morrow's post I shall write
again to Hofmeister and offer him three piano-
forte quartets, if he has the money.

Written in 1789 to a baron who was his friend and
who had submitted a symphony for his judgment. F. A.
Hofmeister was a composer and publisher in Vienna.

13. You can do a thing like this for the
pianoforte, but not for the theatre. When I
wrote this I was still too fond of hearing my
own music, and never could make an end.

A remark to Rochlitz while revising and abbreviating
the principal air in "Die Entfiihrung."

14. You know that I had already finished the
first Allegro on the second day after my arrival
here, and consequently had seen Mademoiselle
Cannabich only once. Then came young Dan-
ner and asked me how I intended to write the
Andante. " I will make it fit the character of
Mademoiselle Rose." When I played it it
pleased immensely. ... I was right; she
is just like the Andante.

Mannheim, December 6, 1777, to his father. Rose Can-
nabich was a pupil of Mozart's, aged thirteen and very
talented. " She is very sensible for her age, has a staid
manner, is serious, speaks little, but when she does speak
it is with grace and amiability," writes Mozart in the
same letter. It is also related of Beethoven that he some-
times delineated persons musically. [Also Schumann.
H. E. K.]

15. I have composed a Quintet for Oboe,
Clarinet, Horn, Bassoon and Pianoforte, which
has been received with extraordinary favor.

18 Mozart

(Kochel, No. 452.) I myself think it the best
thing I ever wrote in my life.
Vienna, April 10, 1784, to his father.

16. As an exercise I have set the aria, Non
so d'onde viene, which Bach composed so beau-
tifully. I did it because I know Bach so well,
and the aria pleases me so much that I can't
get it out of my head. I wanted to see whether
or not in spite of these things I was able to
make an aria that should not be a bit like Bach's.
It isn't a bit, not a bit like it.

Mannheim, February 28, 1778, to his father. The
lovely aria is No. 294 in KochePs catalogue. The Bach
referred to was Johann Christian, the " London " Bach.

17. I haven't a single quiet hour here. I can
not write except at night and consequently can
not get up early. One is not always in the mood
for writing. Of course I could scribble all day
long, but these things go out into the world
and I want not to be ashamed of myself when I
see my name on them. And then, as you know,
I become stupid as soon as I am obliged to write
for an instrument that I can not endure. Occa-
sionally for the sake of a change I have com-
posed something else — pianoforte duets with
the violin, and a bit of the mass.

Mannheim, February 14, 1778, to his father. Mozart
was ill disposed toward the pianoforte at the time. His
love for Aloysia Weber occupied the most of his atten-
tion and time.

18. Herewith I am sending you a Prelude
and a three- voiced Fugue (Kochel, No. 394).

Chips from the Workshop 19

It is awkwardly written; the prelude
must come first and the fugue follow. The
reason for its appearance is because I had made
the fugue and wrote it out while I was thinking
out the prelude.

Vienna, April 20, 1782, to his sister Marianne. Here
Mozart gives us evidence of his manner of composing;
he worked out his compositions completely in his mind
and was then able, even after considerable time had
elapsed, to write them down, in which proceeding noth-
ing could disturb him. In the case before us while en-
gaged in the more or less mechanical labor of transcrip-
tion he thought out a new composition. Concerning the
fugue and its origin he continues to gossip in the same
letter.

19. The cause of this fugue seeing the light
of this world is my dear Constanza. Baron von
Swieten, to whom I go every Sunday, let me
carry home all the works of Handel and Sebas-
tian Bach after I had played them through for
him. Constanza fell in love with the fugues as
soon as she had heard them ; she doesn't want to
hear anything but fugues, especially those of
Handel and Bach. Having often heard me im-
provise fugues she asked me if I had never writ-
ten any down, and when I said no, she gave me
a good scolding, for not being willing to write
the most beautiful things in music, and did not
cease her begging until I had composed one for
her, and so it came about. I purposely wrote
the indication Andante maestoso, so that it
should not be played too rapidly ; — for unless a
fugue is played slowly the entrance of the sub-
ject will not be distinctly and clearly heard and

20 Mozart

the piece will be ineffective. As soon as I find
time and opportunity I shall write five more.

Vienna, April 20, 1782, to his sister Marianne. Cf. No.
93. [Mozart's remark that he carried home " all the
works " of Handel and Bach, must, of course, be read as
meaning all that were in print at the time. H. E. K.j

20. I have no small amount of work ahead
of me. By Sunday week I must have my opera
arranged for military band or somebody will
be ahead of me and carry away the profits ; and
I must also write a new symphony. How will
that be possible? You have no idea how difficult
it is to make such an arrangement so that it
shall be adapted to wind instruments and yet
lose nothing of its effect. Well, well; — I shall
have to do the work at night.

Vienna, July 20, 1782, to his father who had asked for
a symphony for the Hafner family in Salzburg. The
opera referred to is "Die Entfiihrung aus dem Serail."

21. I was firmly resolved to write the Adagio
for the clock-maker at once so that I might drop
a few ducats into the hands of my dear little
wife ; and I began it, but was unlucky enough —
because I hate such work — not to be able to fin-
ish it. I write at it every day, but have to drop
it because it bores me. If the reason for its
existence were not such a momentous one, rest
assured I should let the thing drop. I hope,
however, to force it through in time. Ah, yes!
if it were a large clock-work with a sound like
an organ I'd be glad to do it; but as it is the

Chips from the Workshop 21

thing is made up of tiny pipes only, which
sound too shrill and childish for me.

Frankfort-on-the-Main, October 3, 1790, to his wife.
" A Piece for an Organ in a Clock." (Kochel's catalogue,
No. 594.) It was probably ordered by Count Deym for
his Wax-works Museum on the occasion of the death of
the famous Field Marshal Laudon. The dominant mood
of sorrow prevails in the first movement; the Allegro is
in Handel's style.

CONCERNING THE OPERA

When he was twenty-two years old Mozart
wrote to his father, " I am strongly filled with
the desire to write an opera." Often does he
speak of this ambition. It was, in fact, his true
and individual field as the symphony was that of
Beethoven. He took counsel with his father by
letter touching many details in his earlier op-
eras, wherefore we are advised about their
origin, and, what is more to the purpose, about
Mozart's fine sesthetic judgment. His four op-
eratic masterpieces are imperishable, and a few
words about them are in place, particularly
since Mozart has left numerous and interesting
comments on " Die Entf iihrung aus dem Serail."
This first German opera he composed with the
confessed purpose of substituting a work de-
signed for the " national lyric stage " for the
conventional and customary Italian opera. De-
spite its Hispano-Turkish color, the work is so
ingenuous, so German in feeling, and above all
so full of German humor that the success was
unexampled, and Mozart could write to his
father : " The people are daft over my opera."
Here, at the very outset, Mozart's humor, the
golden one of all the gifts with which Mother
Nature had endowed him, was called into play.
With this work German comic opera took its
23

24 Mozart

beginning. As has been remarked " although
it has been imitated, it has never been surpassed
in its musically comic effects." The delightfully
Falstaffian figure of Osmin, most ingeniously
characterized in the music, will create merriment
for all time, and the opera acquires a new, per-
sonal and peculiarly amiable charm from the
fact that we are privileged to see in the love- joy
of Belmont and Constanze an image of that of
the young composer and his " Stanzerl."

After " Die Entfiihrung " (1782) came " Le
Nozze de Figaro" (1786), "Don Giovanni"
(1787), and "Die Zauberflote " (1791). It
would be a vain task to attempt to estab-
lish any internal relationship between these
works. Mozart was not like Wagner, a strong
personality capable of devoting a full sum of
vital force to the carrying out of a chosen and
approved principle. As is generally the case
with geniuses, he was a child; a child led by
momentary conditions ; moreover, a child of the
rococo period. There is, therefore, no cause of
wonderment in the fact that Italian texts are
again used in " Le Nozze de Figaro " and "Don
Giovanni," and that another, but this time a
complete German opera, does not appear until
we reach " Die Zauberflote."

Nevertheless it is possible to note a develop-
ment towards a climax in the four operas re-
specting Mozart's conception of the world. It
has been denied that there is a single red thread
in Mozart's life-work. Nevertheless our method

Concerning the Opera 25

of study will disclose to us an ever-growing
view of human life, and a deeper and deeper
glimpse into the emotional and intellectual life
of man, his aims and destiny. From the almost
commonplace conditions of " Die Entf iihrung,"
where a rascal sings in the best of humor of first
beheading and then hanging a man, we reach
a plane in " The Marriage of Figaro," in which
despite the refinement and mitigation of Beau-
marchais's indiclment we feel the revolutionary
breeze freshly blowing. In " Don Giovanni "
we see the individual set up in opposition to
God and the world, in order that he fulfil his
destiny, or live out his life, as the popular
phrase goes to-day. Here the tremendous trag-
edy which lies in the story has received a musical
expression quite without parallel, notwithstand-
ing the moderation exercised in the employment
of means. In " Die Zauberflote," finally, we
observe the clarification which follows the fer-
mentation. Here we breathe the pure, clear at-
mosphere of heaven, the atmosphere within
which he can live who has freed himself from
selfish desire, thus gaining internal peace, and
who recognizes his ego only in the happiness
and welfare of others.

22. I have an unspeakable desire to compose
another opera. . . . (In Italy one can ac-
quire more honor and credit with an opera than
with a hundred concerts in Germany, and I am
the happier because I can compose, which, after

26 Mozart

all, is my one joy and passion. ... I am
beside myself as soon as I hear anybody talk
about an opera, sit in a theatre or hear singing.
Munich, October 11, 1777, to his father, reporting an
expectation of making a position for himself in Italy.

23. I beg of you do your best that we may
go to Italy. You know my greatest longing —
to write operas. . . . Do not forget my
wish to write operas ! I am envious of every
man who composes one; I could almost weep
from chagrin whenever I hear or see an aria.
But Italian, not German ; seria not buff a.

Mannheim, February 2, 1778, to his father. Mozart
wanted to go with the Weber family (he was in love with
Aloysia, his future sister-in-law) to Italy while his father
was desirous that he should go to Paris.

24. I am strongly possessed by the desire to
write an opera — French rather than German,
but Italian rather than either German or
French. Wendling's associates are all of the
opinion that my compositions would please ex-
traordinarily in Paris. One thing is certain;
I would not fear the test. As you know I am
able to assimilate and imitate pretty much all
styles of composition.

Mannheim, February 7, 1778, to his father. Wendling
was a flautist in Mannheim.

25. I assure you that if I get a commission
to compose an opera I shall not be frightened.
True the (French) language is of the devil's
own making, and I fully appreciate all the diffi-
culties that composers have encountered; but I

Concerning the Opera 27

feel myself as capable of overcoming them as
any other composer. Au contraire when I con-
vince myself that all is well with my opera, I
feel as if my body were afire — my hands and
feet tremble with desire to make the Frenchman
value and fear the German. Why is no French-
man ever commissioned to write a grand opera?
Why must it always be a foreigner? In my
case the most unendurable thing would be the
singers. Well, I'm ready. I shall begin no
dickerings, but if I am challenged I shall know
how to defend myself. But I should prefer to
get along without a duel ; I do not like to fight
with dwarfs.

Paris, July 31, 1778, to his father.

26. Do you imagine that I would write an
opera comique in the same manner as an opera
seria? There must be as little learning and seri-
ousness in an opera buff a as there must be much
of these elements in an opera seria; but all the
more of playfulness and merriment. I am not
responsible for the fact that there is a desire
also to hear comic music in an opera seria; the
difference is sharply drawn here. I find that
the buffoon has not been banished from music,
and in this respect the French are right.

Vienna, June 16, 1781, to his father. Mozart draws
the line of demarcation sharply between tragedy and
comedy in opera. [" Shakespeare has taught us to accept
an infusion of the comic element in plays of a serious
cast; but Shakespeare was an innovator, a Romanticist,
and, measured by old standards, his dramas are irregular.
The Italians, who followed classic models, for a reason

28 Mozart

amply explained by the genesis of the art-form, rigor-
ously excluded comedy from serious operas, except as in-
termezzi, until they hit upon a third classification, which
they called opera semiseria, in which a serious subject
was enlivened with comic episodes. Our dramatic tastes
being grounded in Shakespeare, we should be inclined to
put down " Don Giovanni " as a musical tragedy ; or,
haunted by the Italian terminology, as opera semiseria;
but Mozart calls it opera buffa, more in deference to the
librettist's work, I fancy, than his own." How to Listen
to Music, page 221. H. E. K.]

27. In opera, willy-nilly, poetry must be the
obedient daughter of music. Why do Italian
operas please everywhere, even in Paris, as I
have been a witness, despite the wretchedness of
their librettos? Because in them music rules
and compels us to forget everything else. All
the more must an opera please in which the plot
is well carried out, and the words are written
simply for the sake of the music and not here
and there to please some miserable rhyme, which,
God knows, adds nothing to a theatrical rep-
resentation but more often harms it. Verses are
the most indispensable thing in music , but
rhymes, for the sake of rhymes, the most in-
jurious. Those who go to work so pedantically
will assuredly come to grief along with the
music. It were best if a good composer, who
understands the stage, and is himself able to
suggest something, and a clever poet could be
united in one, like a phoenix. Again, one must
not fear the applause of the unknowing.

Vienna, October 13, 1781, to his father. The utterance
is notable as showing Mozart's belief touching the rela-
tionship between text and music; he places himself in op-

Concerning the Opera 29

position to Gluck whose ideas were at a later day accepted
by Wagner. [" It was my intention to confine music to
its true dramatic province, of assisting poetical expres-
sion, and of augmenting the interest of the fable, with-
out interrupting the action, or chilling it with useless and
superfluous ornaments; for the office of music, when
joined to poetry, seemed to me to resemble that of color-
ing in a correct and well disposed design, where the lights
and shades only seem to animate the figures without alter-
ing the outline." Gluck in his dedication of " Alceste "
to the Grand Duke of Tuscany. " The error in the genre
of opera consists herein, that a means of expression
(music) has been made the end, while the end of expres-
sion (the drama) has been made a means." Wagner,
" Opera and Drama." H. E. K.]

28. Nota bene, what has always seemed un-
natural in an aria are the asides. In speech
one can easily and quickly throw in a few words
in an aside; but in an aria, in which the words
must be repeated, the effect is bad.

Munich, November 8, 1780, to his father. Mozart had
been invited to Munich to compose an opera, " Idomeneo,
Re di Creta," for the carnival of 1781. [In contradis-
tinction to the observations touching poetry and music
in the preceding paragraph, this remark shows that he
nevertheless had a sense of dramatic propriety. He ac-
cepted the form as he found it, but protested against the
things which stood in the way of its vitalization.
H. E. K.]

29. The second duet will be cut out entirely
— more for the good than the harm of the op-
era. You shall see for yourself, if you read
over the scene, that it would be weakened and
cooled by an aria or duet, which, moreover,
would be extremely annoying to the other ac-
tors who would have to stand around with noth-
ing to do ; besides the magnanimous contest be-

30 Mozart

tween Ilia and Idamante would become too long
and therefore lose in value.

Munich, November 13, 1780, to his father. The refer-
ence is to the opera " Idomeneo."

30. It will be better to write a recitative un-
der which the instruments can do some good
work ; for in this scene, which is to be the best
in the whole opera, there will be so much noise
and confusion on the stage that an aria would
cut but a sorry figure. Moreover there will be
a thunder-storm which is not likely to cease out
of respect for an aria, and the effect of a reci-
tative between two choruses will be incompa-
rably better.

Munich, November 15, to his father. Mozart was at
work on " Idomeneo."

31. Don't you think that the speech of the
subterranean voice is too long? Think it over,
carefully. Imagine the scene on the stage.
The voice must be terrifying — it must be im-
pressive, one must believe it real. How can this
be so if the speech is too long — the length itself
convincing the listener of the fictitiousness of
the scene? If the speech of the Ghost in "Ham-
let " were not so long it would be more effective.

Vienna, November 29, 1780, to his father, who had
made the following suggestions respecting the opera
" Idomeneo." " Idamante and Ilia have a short quarrel
(near the close of the opera) in a few words of recita-
tive which is interrupted by a subterranean noise, where-
upon the oracle speaks also from the depths. The voice
and the accompaniment must be moving, terrifying and
most extraordinary; it ought to make a masterpiece of
harmony."

Concerning the Opera 31

32. In a word : far-fetched or unusual words
are always out of place in an agreeable aria;
moreover, I should like to have the aria suggest
only restfulness and satisfaction ; and if it con-
sisted of only one part I should still be satisfied
— in fact, I should prefer to have it so.

Munich, December 5, 1780, to his father. " Idomeneo "
is still the subject of discussion.

33. As to the matter of popularity, be uncon-
cerned; there is music in my opera for all sorts
of persons — but none for long ears.

Munich, December 16, 1780, to his father, who had ex-
pressed a fear that Mozart would not write down to the
level of his public. [On December 11, his father had
written : " I recommend you not to think in your work
only of the musical public, but also of the unmusical.
You know that there are a hundred ignorant people for
every ten true connoisseurs; so do not forget what is
called popular and tickle the long ears." H. E. K.]

34. I have had a good deal of trouble with
him about the quartet. The oftener I fancy it
performed on the stage the more effective it
seems to me; and it has pleased all who have
heard it on the pianoforte. Raaff alone thinks
it will make no effect. He said to me in pri-
vate : " Non c'e da s planar la voce — it is too
curt." As if we should not speak more than we
sing in a quartet ! He has no understanding of
such things. I said to him simply : " My dear
friend, if I knew a single note which might be
changed in this quartet I would change it at
once ; but I have not been so completely satisfied
with anything in the opera as I am with this

32 Mozart

quartet; when you have heard it sung together
you will talk differently. I have done my best
to fit you with the two arias, will do it again
with the third, and hope to succeed; but you
must let the composer have his own way in trios
and quartets." Whereupon he was satisfied.
Recently he was vexed because of one of the
words in his best aria — rinvigorir and ringio-
venir, particularly vienmi a rinvigorir — five i's.
It is true it is very unpleasant at the conclusion
of an aria.

Munich, December 27, 1780, to his father. Raaff was
the principal singer in the opera " Idomeneo," which
Mozart had been commissioned to write by the Elector
for Munich. The observation shows how capable Mozart
was of appreciating foreign criticism.

35. My head and hands are so full of the
third act that it would not be strange if I were
myself transformed into a third act. It has
cost me more care than an entire opera, for
there is scarcely a scene in it which is not inter-
esting. The accompaniment for the subterra-
nean voice consists of five voices only — three
trombones and two French-horns, which are
placed at the point from which the voice pro-
ceeds. At this moment the whole orchestra is
silent.

Munich, January 3, 1781, to his father, whom in the
same letter he invites to Munich to hear the opera.

36. After the chorus of mourning the King,
the populace, everybody, leave the stage, and
the next scene begins with the directions: Ido-
meneo in ginochione nel tempio (Idomeneus,

Concerning the Opera 83

kneeling in the temple). That will never do;
he must come with all his following. That
necessitates a march, and I have composed a
very simple one for two violins, viola, bass and
two oboes, which is to be played a mezza voce,
during which the King enters and the priests
make the preparations for the sacrifice. Then
the King sinks on his knees and begins his
prayer. In Electra's recitative, after the sub-
terranean voice, the word Partono (they go)
should be written in ; I forgot to look at the
copy made for the printer and do not know
whether or how the direction has been written
in. It seems silly to me that everybody should
hurry away only in order to leave Mademoiselle
Electra alone.

Munich, January 3, 1781, to his father.

37. I am glad to compose the book. The
time is short, it is true, for it must be per-
formed about the middle of September ; but the
circumstances connected with the performances,
and a number of other purposes, are of such a
character that they enliven my spirits in such a
degree that I hurry to my writing desk and re-
main seated there with great joy.

Vienna, August 1, 1781, to his father. The opera re-
ferred to is "Die Entfiihrung aus dem Serail." The
" circumstances " were the court festivals which were to
celebrate the coming of the Russian Grand Duke, from
which Mozart, as was his wont, expected all manner of
future benefits.

38. As regards the work of Stephanie you
are right, of course, but nevertheless the poetry

34 Mozart

is well fitted to the character of the stupid,
coarse and malicious Osmin. I know full well
that the style of the verse is none of the best,
but it has so adjusted itself to the musical
thoughts (which were promenading in my brain
in advance) that the lines had to please me, and
I will wager there will be no disappointment at
the performance. So far as the songs are con-
cerned they are not to be despised. Belmont's
aria " O, wie angstlich " could scarcely have
been written better for music.

Vienna, October 13, 1781, to his father. Stephanie
was the author of the libretto of "Die Entfiihrung aus
dem Serail."

39. An aria has been written for Osmin in
the first act. . . . You have seen only the
beginning and end of it, which must be effective ;
the rage of Osmin is made ridiculous by the use
of Turkish music. In developing the aria I
have given him (Fischer, a bass) a chance to
show his beautiful low tones. The " By the
beard of the Prophet " remains in the same
tempo but has quicker notes, and as his anger
grows continually, when one thinks that the aria
is come to an end, the Allegro assai must make
the best kind of an effect when it enters in a dif-
ferent measure and key. Here is the reason : a
man who is in such a violent rage oversteps all
order, all moderation; he forgets himself, and
the music must do the same.

Inasmuch as the passions, whether violent or
not, must never be carried in their expression to

Concerning the Opera 35

the verge of disgust, and music, even in the most
awful situations must not offend the ear but
always please, consequently always remain mu-
sic, I have not chosen a key foreign to F (i.e.
the key of the aria), but a related one, — not
the nearest, D minor, but the more distant, A
minor. You know how I have given expression
to Belmonfs aria, " O, wie angstlich, O wie
feurig," — there is a suggestion of the beating
heart, — the violins in octaves. This is the fa-
vorite aria of all who have heard it, — of myself,
as well, — and is written right into the voice of
Adamberger. One can see the reeling and trem-
bling, one can see the heaving breast which is
illustrated by a crescendo; one hears the lisp-
ings and sighs expressed by the muted violins
with flute in unison. The Janizary chorus is,
as such, all that could be asked, short and jolly,
written to suit the Viennese.

Vienna, September 26, 1781, to his father. Concerning
the composition of "Die Entfiihrung," Mozart delivered
himself at greater length and more explicitly than about
any other opera. From the above excerpt one can learn
his notions touching musical characterization and delinea-
tion. [" Turkish " music, or " Janizary " music, is that in
which the percussion effects of Oriental music are imitated
— music utilizing the large drum, cymbals, etc. H. E. K.}

40. The close will make a deal of noise; and
that is all that is necessary for the end of an
act ; — the noisier the better, the shorter the bet-
ter, so that the people shall not get too cool to
applaud.

Vienna, September 26, 1781, to his father. The Trio
at the end of the first act is the finale referred to.

36 Mozart

41. My opera is to be performed again next
Friday, but I have protested against it as I do
not want it to be ridden to death at once. The
public, I may say, are daft about this opera.
It does a fellow good to receive such applause.

Vienna, July 27, 1782, to his father. ,

42. My opera was performed again yester-
day, this time at the request of Gluck. Gluck
paid me many compliments on it. I am to dine
with him to-morrow.

Vienna, August 7, 1782, to his father. [How Mozart
and Gluck differed in principle on the relation between
text and music the reader has already had an opportunity
to learn. H. E. K.]

43. The most necessary thing is that the
whole be really comical; then, if possible, there
should be two equally good female parts, one
seria, the other mezzo carattere; but one must
be as good as the other. The third woman may
be all buff a, also all the men if necessary.

Vienna, May 7, 1783, to his father, in Salzburg, where
the Abb£ Varesco was to write an opera libretto.

44. It would be a pity if I should have com-
posed this music for nothing, that is to say if
no regard is to be shown for things that are
absolutely essential. Neither you, nor Abbe
Varesco, nor I, reflected that it will be a bad
thing, that the opera will be a failure, in fact,
if neither of the principal women appears on
the scene until the last minute, but both are kept
promenading on the bastion of the fortress. I
credit the audience with patience enough for one

Concerning the Opera 37

act, but it would never endure the second. It
must not be.

Vienna, December 6, 1783, to his father. The opera
in question, entitled " L'Oca del Cairo," was never fin-
ished.

45. Abbe Varesco has written over the cava-
tina for Lavma: a cui servira la musica della
cavatina antecedente, — that is the cavatina of
Celidora. But that will never do. In Celidora's
cavatina the words are comfortless and hope-
less, while in Lavina's cavatina they are full of
comfort and hope. Moreover it is hackneyed
and no longer customary habit to let one singer
echo the song of another. At best it might only
be done by a soubrette and her sweetheart at
ultime parti.

Vienna, December 24, 1783, to his father. The Italian
phrase is a direction that the music of a preceding cava-
tina might be used for a second cavatina,

46. It is much more natural, since they have
all come to an agreement in the quartetto to
carry out their plan of attack that the men
leave the stage to gather their helpers together,
and the women quietly retire to their retreat.
All that can be allowed them is a few lines of
recitative.

Vienna, December 24, 1783, to his father. The situa-
tion referred to was in Varesco's opera which never
reached completion.

47. At six o'clock I drove with Count Canal
to the so-called " Breitfeldischen Ball " where
the pick of the beauties of Prague are in the
habit of congregating. That would have been

38 Mozart

something for you, my friend ! I fancy seeing
you, — not walking, but limping, — after all the
pretty girls and women ! I did not dance,
neither did I spoon; — the first because I was
too tired, the second because of my congenital
bashfulness. But I saw with great pleasure
how all these people hopped about delightedly
to the music of my " Figaro " turned into con-
tra dances and Allemands. Here nothing is
talked about except " Figaro," nothing played,
piped, sung or whistled except " Figaro ; " no
opera is attended except " Figaro," always
" Figaro." Certainly a great honor for me.

Prague, January 15, 1787, to a friend, whose name is
unknown.

48. " Don Giovanni " was not written for
the Viennese; rather for the people of Prague,
but most of all for me and my friends.

Reported by Nissen, who also relates that Mozart
often said " The Bohemians are the ones who understand
me." When " Le Nozze di Figaro " received an enthusi-
astic reception in Prague, Mozart said : " Because the Bo-
hemians understand me so well I must write an opera
for them." The opera was " Don Giovanni."

49. I am just home from the opera; it was
as crowded as ever. The duet, " Mann und
Weib," and the bells in the first act, were re-
peated as usual, — also the trio of the boys in
the second act. But what delights me most is
the silent applause! It is easy to see how this
opera is ever rising.

Vienna, October 7, 1791, to his wife. The opera was
" Die Zauberflote,"

MUSICAL PEDAGOGICS

50. Herr Stein is completely daft on the sub-
ject of his daughter. She is eight years old
and learns everything by heart. Something
may come of her for she has talent, but not if
she goes on as she is doing now; she will never
acquire velocity because she purposely makes
her hand heavy. She will never learn the most
necessary, most difficult and principal thing in
music, that is time, because from childhood she
has designedly cultivated the habit of ignoring
the beat.

Augsburg, October 23, 1777, to his father. Nanette
Stein afterward married Andreas Streicher, who was
Schiller's companion in his flight to Franconia. As Frau
Streicher she became Beethoven's faithful friend and fre-
quently took it upon herself to straighten out his domes-
tic affairs.

51. If she does not get some thoughts and
ideas (for now she has absolutely none), it will
all be in vain, for God knows, I can not give
her any. It is not her father's intention to
make a great composer out of her. " She
shall," he says, " not write any operas, or arias,
or symphonies, but only great sonatas for her
instrument and mine! I gave her her fourth
lesson to-day, and so far as the rules of com-
position and her exercises are concerned I am
pretty well satisfied with her. She wrote a very

40 Mozart

good bass to the first minuet which I set her,
and has already begun to write in three parts.
It goes, but she gets bored too quickly. I can
not help her; progress is impossible, she is too
young even if she had talent. Unfortunately
she has none ; she must be taught artificially ; she
has no ideas, there are no results, I have tried
in every sort of way. Among other things it
occurred to me to write down a very simple
minuet and to see if she could write a variation
on it. In vain. Well, thought I, it is because
she does not know how to begin. I then began
a variation of the first measure and told her to
continue it in the same manner ; that went fairly
well. When she had made an end I asked her
to begin something of her own, — only the first
voice, a melody. She thought a full quarter of
an hour, and nothing came. Thereupon I wrote
four measures of a minuet and said to her:
" Now look what an ass I am ; I have begun a
minuet and can't finish even the first part; be
good enough to finish it for me." She thought
it impossible. At length she produced a little
something to my joy. Then I made her finish
the minuet, i.e. only the first voice. For her
home work I have given her nothing to do ex-
cept to alter my four measures and make some-
thing out of them, to invent another beginning,
to keep to the harmony if she must, but to write
a new melody. We shall see what comes of it
to-morrow.

Paris, May 14, 1778, to his father. The pupil was the

Musical Pedagogics 41

daughter of the Duke de Guines, an excellent flautist.
" She plays the harp magnificently," writes Mozart in the
same letter ; " has a great deal of talent and genius, and
an incomparable memory. She knows 200 pieces and
plays them all by heart." When it came to paying Mozart
for the lessons the Duke was anything but a nobleman.

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 dif-
ferently. 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 handker-
chief, and make her practise both hands at first
slowly on nothing but passages, trills, mor-
dents, 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 ex-
pected was that which Mozart wrote with the purpose
that it should reflect the character of Rose Cannabich, a

42 Mozart

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 Abb6 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 com-
position 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 coun-
terpoint. [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

Musical Pedagogics 43

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 com-
pel 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 criticising
a symphony.

56. Do not wonder at me; it was not a ca-
price. 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 Al-
legro 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 Bon-
dini, the place Prague, and the time before the first per-
formance of the opera which took place on October 29,
1787. H. E. K.]

TOUCHING MUSICAL PER-
FORMANCES

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 daugh-
ter 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 in-
strument, so that there may be greater oppor-
tunities for swaying about and making grim-
aces. Then she rolls up her eyes and smirks.
If a passage occurs twice it is played slower the

45

46 Mozart

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 criticised 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 passion-
ately fond of the instrument, he marvelled
greatly and said : " What, a man like you, so
great a clavier player, want to play on an in-
strument 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 instru-
ments."

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

Touching- Musical Performances 47

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, appoggia-
tura, 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 criticising 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 feel-
ing; 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

48 Mozart

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 na-
ture 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 con-
trary 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 instru-
ment 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

Touching Musical Performances 49

through my sonata prima vista. He played
the first movement prestissimo, the andante al-
legro and the rondo prestissimo with a venge-
ance. 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 in-
fuse 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 in-
troduce the German taste in minuets in Italy;
minuets here last almost as long as whole sym-
phonies.

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 touch-
ing the proper tempo for the minuets in Mozart's sym-
phonies. 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-run-
ning. 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 un-
affected, 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 under-
stand.

Mannheim, November 13, 1777, to his father. Beeck6
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

51

52 Mozart

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 sym-
phony pleases, and, to tell you the truth, I
don't much care. Whom should it please? I
warrant it will please the few sensible French-
men 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 mat-
ter 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 abom-

Expressions Critical 53

inable; 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 think-
ing 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 sugges-
tions 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 sym-
phony 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 sym-
phony ; yet it will be the least effective, for there

54 Mozart

is too much in it, and a fragmentary perform-
ance 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 noth-
ing French about them except the words.

A remark made to Joseph Frank, whom Mozart fre-
quently found occupied with French scores, and who had
asked whether the study of Italian scores were not prefer-
able.

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 sim-
ply 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 criti-
cism with illustrative examples. N. B., not un-
der 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 de-
fended against the Spaniards, Mozart's father wrote to
him calling his attention to the victory. Mozart replied:

Expressions Critical 55

" 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 ap-
peared.

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 re-
ferred to was the setting of the first great German Sing-
spiel, " Giinther 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 entertain-
ment in music nobody better can be recommended
than Paisiello.

Reported by Nissen. Paisiello was born in Tarento
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 supplant-

57

58 Mozart

ing 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 sere-
nade 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 mas-
ters, ancient and modern. Therefore I beg of
you send us something of yours as soon as pos-
sible.

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

88. In a sense Vogler is nothing but a wiz-
ard. As soon as he attempts to play something

Opinions Concerning Others 59

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 mat-
ter of fact I would rather watch him than hear
him.

Mannheim, December 18, 1777, to his father. Abb6
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 impos-
sible for a mass by Vogler to please any com-
poser 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

60 Mozart

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 Clem-
enti, 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, 'Allans,
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, supple-
ness 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 Ciarlatdno like all
Italians. He writes upon a sonata Presto, or
even Prestissimo and alia breve, and plays it
Allegro in 4-4 time. I know it because I have

Opinions Concerning Others 61

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 noth-
ing,— 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 mas-
terpieces 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 Han-
del'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 archiepis-
copal chapelmaster in Salzburg. Many of his unpub-
lished 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.

62 Mozart

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 op-
era, 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 alto-
gether 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 ex-
travagantly, 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 Wolf-
gang learned to know him in 1764. Bach took the preco-
cious boy on his knee and the two played on the harpsi-
chord. [ 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.]

Opinions Concerning Others 63

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 triumph-
antly 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 to-day."

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

Reported by Nissen [the biographer who married Mo-
zart'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

64 Mozart

in the spring of 1787. It was the only meeting between
the two composers. [The prophetic observation was
called out by Beethoven's improvization on a theme from
" Le Nozze di Figaro." H. E. K.j

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 pre-
dict 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 bet-
ter when we heard him in Holland (1766) than
he plays now, he certainly does not deserve the
reputation which he has. Yet, between our-
selves, I was too young at the time to pronounce
a judgment; I remember that he pleased me ex-
ceedingly, 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

Opinions Concerning Others 65

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 conde-
scension. 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

66 Mozart

to speak very slowly and pause after every six
words. Otherwise his is, as we all know, an ad-
mirable brain. His face is very ugly, pock-
marked, 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 car-
nival ' Rosamunde ' will be performed — new poetry by
Herr Wieland, new music by Herr Schweitzer." On Janu-
ary 10, 1778, he writes: '''Rosamunde' was rehearsed in
the theatre to-day; 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 athe-
ism.

108. When God gives a man an office he also
gives him sense; that's the case with the Arch-
duke. Before he was a priest he was much wit-
tier and intelligent ; spoke less but more sensibly.
You ought to see him now! Stupidity looks
out of his eyes, he talks and chatters eternally

Opinions Concerning" Others 67

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 be-
came 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 Ger-
man art, worthy as such to stand beside Richard
Wagner. Properly to appreciate his patriot-
ism it is necessary to bear in mind that in Mo-
zart's day Germany was a figment of the im-
agination, the French language, French man-
ners and Italian music being everywhere dom-
inant. Wagner, on the contrary, was privileged
to see the promise of the fulfillment of his striv-
ings in the light of the German victories of
1870-1871. When the genius of Germany
soared aloft she carried Wagner with her ; Wag-
ner's days of glory in August, 1876, were pre-
conditioned by the great war with France. How
insignificant must the patronage of Joseph II,
scantily enough bestowed on Mozart in com-
parison with that showered on Salieri, appear,
when we recall the Maecenas Ludwig II.

109. Frequently I fall into a mood of com-
plete listlessness and indifference; nothing gives
me great pleasure. The most stimulating and
encouraging thought is that you, dearest father,
69

70 Mozart

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 him-

Wolfgang, the German 71

self 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 musi-
cal 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 pas-
sions? 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 Ger-
mans should once begin to think German, act

72 Mozart

German, speak German, and — even sing Ger-
man ! ! !

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, per-
haps 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 Sing-
spiel. Cavalieri, Adamberger, Teyber, all Ger-
mans, 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 be-
fore 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

Wolfgang, the German 73

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 an-
swer 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 practising 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

74 Mozart

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 talk-
ing 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 with-
out 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 musi-
cian who compelled respect for his craft, — he
who, prouder than Goethe, associated with roy-
alties, 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 stand-
ing. Mozart feels the intolerableness of his po-
sition and protests against it on every oppor-
tunity; he is conscious of his worth and intel-
lectual superiority. When he endures the gross-
est 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 Bee-
thoven 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 con-
duct 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
75

76 Mozart

knows nothing about me, knows nothing about
my ability. What a pity that these grand gen-
tlemen 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 sum-
mon all the composers in Munich, and even in-
vite 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 dis-
appointed.

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.

Self-Respect and Honor 77

123. I will gladly give lessons to oblige, par-
ticularly 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 oc-
cupation 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 daugh-
ter Nannerl were laboriously giving lessons and practising
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 Schweit-
zer 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

78 Mozart

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 drib-
lets 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 dis-
trust 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 re-
quest Baron Grimm had received the young artist in
Paris, but at the same time had exercised a sort of artis-
tic 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,

Self-Respect and Honor 79

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 Salz-
burgians 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 no-
body has to do with music. If I were to under-
take it I should demand free hands. In mat-
ters musical the Head Court Chamberlain should
have nothing to say; a cavalier can not be a
conductor, but a conductor can well be a cava-
lier.

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 as-
surance of the conductorship.

Paris, September 11, 1778, to his father who had urged
him to return to Salzburg to receive an appointment to

80 Mozart

the conductorship. Mozart seems to have a premonition
of the treatment which he received later from the Arch-
bishop.

130. I must admit that I should reach Salz-
burg 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 re-
turning from Paris filled with repugnance to the Arch-
bishop. " 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.

181. The Archbishop can not recompense me
for the slavery in Salzburg! As I have said I
experience great pleasure when I think of visit-
ing 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 w.ell that you would enjoy it as much
as I.

Mannheim, November 12, 1778, to his father.

182. At 11 o'clock in the forenoon, a little
too early for me, unfortunately, we already go
to table; we dine together,, — the two temporal

Self-Respect and Honor 81

and spiritual valets, Mr. the Controller, Mr.
Zetti, the Confectioner, Messrs, the two cooks,
Ceccarelli, Brunetti and my insignificance.
N.B. The two valets sit at the head of the table ;
I have at least the honor of sitting above the
cooks. Well, I simply think I am at Salzburg.
At dinner a great many coarse and silly jokes
are cracked, but not at me, because I do not
speak a word unless of necessity and then al-
ways with the utmost seriousness. As soon as
I have dined I go my way.

Vienna, March 17, 1781, to his father. The Archbishop
was visiting Vienna and had brought with him his best
musicians whom, however, he treated shabbily. At length
the rupture came; Mozart was dismissed — literally with a
kick.

133. Believe me, best of fathers, that I must
summon all my manhood to write to you what
reason commands. God knows how hard it is
for me to leave you; but if beggary were my
lot I would no longer serve such a master; for
that I shall never forget as long as I live, — and
I beg of you, I beg of you for the sake of
everything in the world, encourage me in my
determination instead of trying to dissuade me.
That would unfit me for what I must do. For
it is my desire and hope to win honor, fame and
money, and I hope to be of greater service to
you in Vienna than in Salzburg.

Vienna, May 12, 1781, to his father.

134. I did not know that I was a valet de
chambre, and that broke my neck. I ought to

82 Mozart

have wasted a few hours every forenoon in the
antechamber. I was often told that I should
let myself be seen, but I could not recall that
this was my duty and came punctually only
when the Archbishop summoned me.
Vienna, May 12, 1781.

135. To please you, best of fathers, I would
sacrifice my happiness, my health and my life;
but my honor is my own, and ought to be above
all else to you. Let Count Arco and all Salz-
burg read this letter.

Vienna, May 19, 1781. It was Count Arco who had
dismissed Mozart with a kick. The father was thrown
into consternation at the maltreatment of his son and
sought to persuade Mozart to return to Salzburg. Mozart
replied : " Best, dearest father, ask of me anything you
please but not that; the very thought makes me tremble
with rage."

136. You did not think when you wrote this
that such a back-step would stamp me as one
of the most contemptible fellows in the world.
All Vienna knows that I have left the Arch-
bishop, knows why, knows that it is because of
my injured honor, of an injury inflicted three
times, — and I am to make a public denial, pro-
claim myself a cur and the Archbishop a noble
prince? No man could do the former, least of
all I, and the second can only be done by God if
He should choose to enlighten him.

Vienna, May 19, 1781, to his father, who had asked
him to return to the service of the Archbishop.

137. If it be happiness to be rid of a prince
who never pays one, but torments him to death,

Self-Respect and Honor 83

then I am happy. For if I had to work from
morning till night I would do it gladly rather
than live off the bounty of such a, — I do not
dare to call him by the name he deserves, — I
was forced to take the step I did and I can not
swerve a hair's breadth from it; impossible.
Vienna, May 19, 1781.

138. Salzburg is nothing now to me except
it offer an opportunity to give the Count a
kick . . . even if it were in the public
street. I desire no satisfaction from the Arch-
bishop, for he is not in a position to offer me the
kind that I want and must have. Within a day
or two I shall write to the Count telling him
what he can confidently expect to receive from
me the first time I meet him, be it where it may,
except a place that commands my respect.

Vienna, June 13, 1781, to his father. Count Arco's
offence has been mentioned. On June 16 Mozart wrote:
" The hungry ass shall not escape my chastisement if I
have to wait twenty years; for as soon as I see him he
shall come in contact with my foot, unless I should be so
unfortunate as to see him in the sanctuary." [The reader
will probably guess that the translator is resorting to
euphemisms in rendering Mozart's language. H. E. K.]

139. It is the heart that confers the patent of
nobility on man ; and although I am no count I
probably have more honor within me than many
a count. Menial or count, whoever insults me
is a cur. I shall begin by representing to him,
with complete gravity, how badly he did his
business, but at the end I shall have to assure
him in writing that he is to expect a kick . . .

84 Mozart

and a box on the ear from me ; for if a man in-
sults me I have got to be revenged, and if I
give him no more than he gave me, it is mere
retaliation and not punishment. Besides I
should thus put myself on a level with him, and
I am too proud to compare myself with such a
stupid gelding.

Vienna, June 20, 1781, to his father. These expres-
sions, called out by the insulting treatment received from
the Archbishop and Count Arco, are in striking contrast
to Mozart's habitual amiability.

140. I can easily believe that the court para-
sites will look askance at you, but why need you
disturb yourself about such a miserable pack?
The more inimical such persons are to you the
greater the pride and contempt with which you
should look down upon them.

Vienna, June 20, 1778, to his father, who fears that
some of the consequences of his son's step may be visited
upon him.

141. I do not ask of you that you make a
disturbance or enter the least complaint, but
the Archbishop and the whole pack must fear
to speak to you about this matter, for you (if
compelled) can without the slightest alarm say
frankly that you would be ashamed to have
reared a son who would have accepted abuse
from such an infamous cur as Arco; and you
may assure all that if I had the good luck to
meet him to-day I should treat him as he de-
serves, and that he would have occasion to re-
member me the rest of his life. All that I want

Self-Respect and Honor 85

is that everybody shall see in your bearing that
you have nothing to fear. Keep quiet; but if
necessary, speak, and then to some purpose.
Vienna, July 4, 1781, to his father.

142. I may say that because of Vogler, Win-
ter was always my greatest enemy. But be-
cause he is a beast in his mode of life, and in
all other matters a child, I would be ashamed to
set down a single word on his account; he de-
serves the contempt of all honorable men. I
will, therefore, not tell infamous truths rather
than infamous lies about him.

Vienna, December 22, 1781, to his father, to whose
ears Peter Winter, a composer, had brought slanderous
reports concerning Mozart and his Constanze. Winter
was a pupil of Abb6 Vogler. See No. 66.

143. He is a nice fellow and a good friend
of mine; I might often dine with him, but it is
a custom with me never to take pay for my
favors; nor would a dish of soup pay them.
Yet such people have wonderful notions of what
they accomplish with one. . .' . I am fond
of doing favors for people but they must not
plague me. She (the daughter) is not satisfied
if I spend two hours every day with her, but
wants me to loll about the whole day; yet she
tries to play the well behaved one.

Vienna, August 22, 1781, to his father. Mozart is writ-
ing about a landlord and his daughter concerning whom
favorable reports had reached the ears of the father.
Mozart explains matters and soon thereafter announces a
change of lodgings.

144. I beg of you that when you write to me

86 Mozart

about something in my conduct which is dis-
pleasing to you, and I in turn give you my
views, let it always be a matter between father
and son, and therefore a secret not to be di-
vulged to others. Let our letters suffice and do
not address yourself to others, for, by heaven,
I will not give a finger's length of accounting
concerning my doings or omissions to others,
not even to the Emperor himself. I have cares
and anxieties of my own and have no use for
petulant letters.

Vienna, September 5, 1781, to his father, who lent a
willing ear to gossips and was never chary of his re-
proaches. Mozart was already twenty-five years old.

145. If I were Wiedmer I would demand the
following satisfaction from the Emperor: he
should endure 50 strokes at the same place in
my presence and then he should pay me 6,000
ducats. If I could not obtain this satisfaction
I should take none, but thrust a dagger through
his heart at the first opportunity. N.B. He
has already had an offer of 3,000 ducats on con-
dition that he does not come to Vienna, but per-
mits the matter to drop. The people of Inns-
bruck say of Wiedmer : he who was scourged for
our sake will also redeem us.

Vienna, August 8, 1781, to his father. Herr von
Wiedmer was a nobleman and theatre director, who, with-
out cause, had been sentenced to a whipping by the presi-
dent, Count Wolkenstein, on the complaint of another
nobleman. [Mozart's bloodthirstiness was probably due
to memories of Arco's kick still rankling in his heart. It
was only after long solicitation from his father that he

Self-Respect and Honor 87

abandoned his plan to send Arco the threatened letter.
H. E. K.]

146. You perhaps already know that the
musico Marquesi — Marquesius di Milano — was
poisoned in Naples ; but how ! He was in love
with a duchess and her real amant grew jealous
and sent three or four bravos to Marquesi and
left him the choice of drinking poison or being
massacred. He chose the poison. Being a
timid Italian he died alone and left his gentle-
men murderers to live in rest and peace. Had
they come into my room, I would have taken a
few of them with me into the other world, as
long as some one had to die. Pity for so excel-
lent a singer!

Munich, December 30, 1780, to his father. Mozart, on
the whole, was one of the most peaceable men on earth,
but he was not wanting in personal courage, and he could
fly into transports of rage.

147. If you were to write also to Prince Zeil
I should be glad. But short and good. Do not
by any means crawl! That I can not endure.

Mannheim, December 10, 1777, to his father. Count
Ferdinand von Zeil was Prince Bishop of Chimsee and
favorably disposed towards Mozart, who was hoping for
an appointment in Munich. "If he wants to do some-
thing he can; all Munich told me that." Nothing came
of it.

148. Whoever judges me by such bagatelles
is also a scamp !

Mozart wrote many occasional pieces for his friends,-
fitting them to the players' capacities. Mozart said that
the publisher who bought some of these " bagatelles " and
printed them without applying to him was a scamp
(Lump), but took no proceedings against him.

88 Mozart

149. Very well; then I shall earn nothing
more, go hungry and the devil a bit will I care !

Mozart's answer to Hofmeister, the Leipsic publisher,
who had said: "Write in a more popular style or I can
neither print nor pay for anything of yours."

STRIVINGS AND LABORS

150. We live in this world only that we may
go onward without ceasing, a peculiar help in
this direction being that one enlightens the other
by communicating his ideas ; in the sciences and
fine arts there is always more to learn.

Salzburg, September 7, 1776, to Padre Martini of
Bologna, whose opinion he asks concerning a motet which
the Archbishop of Salzburg had faulted.

151. I am just now reading " Telemachus ; "
I am in the second part.

Bologna, September 8, 1770, to his mother and sister.

152. Because you said yesterday that you
could understand anything, and that I might
write what I please in Latin, curiosity has led
me to try you with some Latin lines. Have the
kindness when you have solved the problem to
send the result to me by the Hagenauer servant
maid.

Cuperem scire, de qua causa, a quam pluri-
mis adolescentibus ottium usque adeo aestime-
tur, ut ipsi se nee verbis, nee verberibus ab hoc
sinant abduct.

The Archiepiscopal concertmaster, aged 13, writes thus
to a girl friend.

153. Since then I have exercised myself daily
in the French language, and already taken three
lessons in English. In three months I hope to

89

90 Mozart

be able to read and understand the English
books fairly well.

Vienna, August 17, 1782, to his father. Mozart had
given it out that he intended to go to Paris or London.
Prince Kaunitz had said to Archduke Maximilian that
men like Mozart lived but once in a hundred years, and
should not be driven out of Germany. Mozart, however,
writes to his father: "But I do not want to wait on
charity; I find that, even if it were the Emperor, I am
not dependent on his bounty.

154. I place my confidence in three friends,
and they are strong and invincible friends, viz:
God, your head and my head. True our heads
differ, but each is very good, serviceable, and
useful in its genre, and in time I hope that my
head will be as good as yours in the field in which
now yours is superior.

Mannheim, February 28, 1778, to his father.

155. Believe me, I do not love idleness, but
work. True it was difficult in Salzburg and cost
me an effort and I could scarcely persuade my-
self. Why? Because I was not happy there.
You must admit that, for me at least, there was
not a pennyworth of entertainment in Salzburg.
I do not want to associate with many and of the
majority of the rest I am not fond. There is
no encouragement for my talent ! If I play, or
one of my compositions is performed, the audi-
ence might as well consist of tables and chairs.

In Salzburg I sigh for a hundred
amusements, and here for not one; to live in
Vienna is amusement enough.

Vienna, May 26, 1781, to his father, who was concerned
as to the progress making in Vienna.

Strivings and Labors 91

156. 1 beg of you, best and dearest of fathers,
do not write me any more letters of this kind, —
I conjure you, for they serve no other purpose
than to heat my head and disturb my heart and
mood. And I, who must compose continually,
need a clear head and quiet mood.

Vienna, June 9, 1781, to his father, who had reproached
him because of his rupture with the Archbishop.

157. If there ever was a time when I was not
thinking about marriage it is now. I wish for
nothing less than a rich wife, and if I could
make my fortune by marriage now I should
perforce have to wait, because I have very dif-
ferent things in my head. God did not give me
my talent to put it a-dangle on a wife, and spend
my young life in inactivity. I am just begin-
ing life, and shall I embitter it myself? I have
nothing against matrimony, but for me it would
be an evil just now.

Vienna, July 25, 1781, to his father, who was solicitous
lest he fall in love with one of the daughters in the Weber
family with whom he was living. All manner of rumors
had been carried to him. The father persuaded his son
to seek other lodgings; but Constanze Weber eventually
became Mozart's wife nevertheless.

158. This sort of composer can do nothing
in this genre. He has no conception of what is
wanted. Lord ! if God had only given me such
a place in the church and before such an or-
chestra !

A remark made in Leipsic, in 1789, in reference to a
composer who was suited to comic opera work, but had
received an appointment as Church composer. Mozart
examined a mass of his and said: "It sounds all very

92 Mozart

well, but not in church." He then played it through with
new words improvised by himself, such as (in the Cum
sancto spiritu) " Stolen property, gentlemen, but no
offence."

159. You see my intentions are good ; but if
you can't, you can't ! I do not want to scribble,
and therefore can not send you the whole sym-
phony before next post day.

Vienna, July 31, 1782, to his father, who had asked
for a symphony for the Hafner family in Salzburg.

160. I do not beg pardon; no! But I beg
of Herr Bullinger that he himself apply to him-
self for pardon in my behalf, with the assurance
that as soon as I can do so in quiet I shall write
to him. Until now no such occasion has offered
itself, for as soon as I know that in all likelihood
I must leave a place I have no restful hour.
And although I still have a modicum of hope,
I am not at ease and shall not be until I know
my status.

Mannheim, November 22, 1777, to his father. Abb6
Bullinger was the most intimate friend that the Mozart
family had in Salzburg. Mozart had been negligent in
his correspondence.

161. To live well and to live happily are dif-
ferent things, and the latter would be impossible
for me without witchcraft; it would have to be
supernatural; and that is impossible for there
are no witches now-a-days.

Paris, August 7, 1778, to his friend Bullinger, who had
sought to persuade him to return to Salzburg.

162. The Duke de Chabot sat himself down
beside me and listened attentively ; and I — I for-

Strivings and Labors 93

got the cold, and the headache and played re-
gardless of the wretched clavier as I play when
I am in the mood. Give me the best clavier in
Europe and at the same time hearers who under-
stand nothing or want to understand nothing,
and who do not feel what I play with me, and
all my joy is gone.

Paris, May 1, 1778, to his father. The Duchess had
behaved very haughtily and kept Mozart sitting in a cold
room for a long time before the Duke came.

AT HOME AND ABROAD

163. I assure you that without travel we (at
least men of the arts and sciences) are miserable
creatures. A man of mediocre talent will re-
main mediocre whether he travel or not; but a
man of superior talent (which I can not deny
I am, without doing wrong) deteriorates if he
remains continually in one place.

Paris, September 11, 1778, to his father, who had se-
cured an appointment for him at Salzburg which he was
loath to accept. He asked that the Archbishop permit
him to travel once in two years. He feared that he
"would find no congenial society" in Salzburg, where,
moreover, music did not stand in large appreciation. Mo-
zart's subsequent experiences were of the most pitiable
character.

164. Write me, how is Mr. Canary? Does
he still sing ? Does he still pipe ? Do you know
why I am thinking of the canary? Because
there is one in our anteroom that makes the
same little sounds as ours.

Naples, May 19, 1770, to his sister. Mozart was very
fond of animals. In a letter from Vienna to his sister
on August 21, 1773, he writes: "How is Miss Bimbes?
Please present all manner of compliments to her." " Miss
Bimbes " was a dog. At another time he wrote a pathetic
little poem on the death of a starling. While in the midst
of the composition and rehearsal of " Idomeneo " he wrote
to his father: "Give Pimperl (a dog) a pinch of Spanish
snuff, a good wine-biscuit and three busses."

165. Because of my disposition which leans
towards a quiet, domestic life rather than to

95

96 Mozart

boisterousness, and the fact that since my youth
I have never given a thought to my linen, cloth-
ing or such things, I can think of nothing more
necessary than a wife. I assure you that I fre-
quently spend money unnecessarily because I
am negligent of these things. I am convinced
that I could get along better than I do now on
the same income if I had a wife. How many
unnecessary expenditures would be saved?
Others are added, it is true, but you know in ad-
vance what they are and can adjust them; —
in a word you lead a regulated life. In my opin-
ion an unmarried man lives only half a life ; that
is my conviction and I can not help it. I have
resolved the matter over and over in my mind
and am of the same opinion still.

Vienna, December 15, 1781, to his father.

166. At present I have only one pupil. . . .
I could have several if I were to lower my fee;
but as soon as one does that one loses credit.
My price is twelve lessons for six ducats, and I
make it understood besides that I give the les-
sons as a favor. I would rather have three pu-
pils who pay well than six who pay ill. I am
writing this to you to prevent you from think-
ing that it is selfishness which prevents me from
sending you more than thirty ducats.

Vienna, June 16, 1781, to his father. [In American
money Mozart's fee is represented by $1.20 per lesson.
H. E. K.]

167. I could not go about Vienna looking like
a tramp, particularly just at this time. My

At Home and Abroad 97

linen was pitiable; no servant here has shirts of
such coarse stuff as mine, — and that certainly
is a frightful thing for a man. Consequently
there were again expenditures. I had only one
pupil ; she suspended her lessons for three weeks,
and I was again the loser. One must not throw
one's self away here, — that is a first principle, —
or one is ruined forever. The most audacious
man wins the day.

Vienna, September 5, 1781, to his father, excusing
himself for not having made remittances.

168. Resent anything and at once you re-
ceive smaller pay. Besides all this the Emperor
is a skinflint. If the Emperor wants me he
ought to pay for me; the mere honor of being
in his employ is not enough. If the Emperor
were to offer me 1,000 florins and a count 2,000,
I should present my compliments to the Em-
peror and go to the count, — assuming a guar-
antee, of course.

Vienna, April 10, 1782, to his father. Mozart was not
too industrious in the pursuit of a court appointment, yet
had reason to be hopeful. Near the end of his short life
the appointment came from Joseph II, to whom Mozart
had been too faithful.

169. I described my manner of life to my
father only recently, and I will now repeat it to
you. At six o'clock in the morning I am already
done with my friseur, and at seven I am fully
dressed. Thereupon I compose until nine
o'clock. From nine to one I give lessons ; then
I eat unless I am a guest at places where they
dine at two or even three o'clock, — as, for in-

98 Mozart

stance, to-day and to-morrow with Countess
Zichy and Countess Thun. I can not work before
five or six o'clock in the evening and I am often
prevented even then by a concert ; if not I write
till nine. Then I go to my dear Constanze,
where the delight of our meeting is generally
embittered by the words of her mother; — hence
my desire to free and save her as soon as possi-
ble. At half after ten or eleven I am again at
home. Since (owing to the occasional concerts
and the uncertainty as to whether or not I may
be called out) I can not depend on having time
for composition in the evening, I am in the habit
(particularly when I come home early) of writ-
ing something before I go to bed. Frequently
I forget myself and write till one o'clock, — then
up again at six.

Vienna, February 13, 1782, to his sister Marianne —
Xannerl, as he called her.

170. We do not go to bed before 152 o'clock
and get up half after five or five, because nearly
every day we take an early walk in the Au-
garten.

Vienna, May 26, 1784, to his father, to whom he com-
plains of his maid-servant who came from Salzburg and
who had written to the father that she was not permitted
to sleep except between 11 and 6 o'clock.

171. Now as to my mode of life: As soon as
you were gone I played two games of billiards
with Herr von Mozart who wrote the opera for
Schickaneder's theatre; then I sold my nag for
fourteen ducats; then I had Joseph call my

At Home and Abroad 99

primus and bring a black coffee, to which I
smoked a glorious pipe of tobacco. . . . At
5 :30 I went out of the door and took my favor-
ite promenade through the Glacis to the theatre.
What do I see? What do I smell? It is the
primus with the cutlet Gusto! I eat to your
health. It has just struck 11 o'clock. Perhaps
you are already asleep. Sh ! sh ! sh ! I do not
want to wake you.

Saturday, the 8th. You ought to have seen
me yesterday at supper ! I could not find the
old dishes and therefore produced a set as white
as snow-flowers and had the wax candelabra in
front of me.

Vienna, October 7, 1791, to his wife, who was taking
the waters at Baden. Mozart was fond of billiards and
often played alone as on this occasion. He was careful
of his health and had been advised by his physician to
ride; but he could not acquire a taste for the exercise —
hence the sale of his horse. The primus was his valet, a
servant found in every Viennese household at the time.
Out of the door through which he stepped on beginning
his walk to the theatre his funeral procession passed two
months later.

172. I have done more work during the ten
days that I have lived here than in two months
in any other lodgings ; and if it were not that
I am too often harassed by gloomy thoughts
which I can dispel only by force, I could do still
more, for I live pleasantly, comfortably and
cheaply.

Vienna, June 27, 1788, to his friend Puchberg.

173. I have no conveniences for writing there
(i.e. at Baden), and I want to avoid embarrass-

100 Mozart

ments as much as possible. Nothing is more en-
joyable than a quiet life and to obtain that one
must be industrious. I am glad to be that.

Vienna, October 8, 1791, to his wife at Baden. Mozart
probably refers to work on his " Requiem." He says
further: " If I had had nothing to do I would have gone
with you to spend the week."

174. Now the babe against my will, yet with
my consent, has been provided with a wet nurse.
It was always my determination that, whether
she was able to do so or not, my wife was not to
suckle her child; but neither was the child to
guzzle the milk of another woman. I want it
brought up on water as I and my sister were,
but ...

Vienna, June 8, 1783, to his father, the day after his
first child was born. The " Dear, thick, fat little fellow "
died soon after.

175. Young as I am, I never go to bed with-
out thinking that possibly I may not be alive
on the morrow; yet not one of the many per-
sons who know me can say that I am morose or
melancholy. For this happy disposition I thank
my Creator daily, and wish with all my heart
that it were shared by all my fellows.

Vienna, April 4, 1787, to his father, shortly before the
latter's death. Mozart himself died when he was not
quite thirty-six years old.

176. If it chances to be convenient I shall
call on the Fischers for a moment; longer than
that I could not endure their warm room and
the wine at table. I know very well that people
of their class think they are bestowing the high-

At Home and Abroad 101

est honors when they offer these things, but I
am not fond of such things, — still less of such
people.

Vienna, December 22, 1781, to his sister. Mozart was
acquainted with the Fischer family from the time of his
first journeys as a child. The contrast which he draws
between the artist and the comfort-loving, commonplace
citizen is diverting.

177. The Viennese are a people who soon
grow weary and listless, — but only of the thea-
tre. My forte is too popular to be neglected.
This, surely, is Clavierland!

Spoken to Count Arco who had warned him against
removing to Vienna because of the fickleness of the
Viennese public. He wanted him to return to Salzburg.

178. I am writing at a place called Reisen-
berg which is an hour's distance from Vienna.
I once stayed here over night; now I shall re-
main a few days. The house is insignificant,
but the surroundings, the woods in which a
grotto has been built as natural as can be, are
splendid and very pleasant.

Vienna, July 13, 1781, to his father. Like Beethoven,
Mozart loved nature and wanted a garden about his home.

179. I wish that my sister were here in Rome.
I am sure she would be pleased with the city, for
St. Peter's church is regular, and many other
things in Rome are regular.

Rome, April 14, 1770. A droll criticism from the
travelling virtuoso, aged 14, in a letter to his mother and
sister.

180. Carefully thinking it over I conclude
that in no country have I received so many hon-

102 Mozart

ors or been so highly appreciated as in Italy.
You get credit in Italy if you have written an
opera, — especially in Naples.

Munich, October 11, 1777, to his father. An influential
friend had offered to help him get an appointment in
Italy.

181. Strassburg can't get along without me.
You have no idea how I am honored and loved
here. The people say that everything I do is
refined, that I am so sedate and courteous and
have so good a bearing. Everybody knows me.

Strassburg, October 26, 1778, to his father, on his re-
turn journey from Paris. On October 3 he had written:
" I beg your pardon if I cannot write much. It is be-
cause, unless I am in a city in which I am well known, I
am never in a good humor. If I were acquainted here I
would gladly stay, for the city is truly charming — beau-
tiful houses, handsome broad streets, and superb squares.

182. Oh, what a difference between the people
of the Palatinate and of Bavaria ! What a lan-
guage! How coarse! To say nothing of the
mode of life !

Mannheim, November 12, 1778, to his father. Mozart,
while returning from Paris, had stopped at his " dear
Mannheim," where at the moment a regiment of Bavarian
soldiers were quartered, and had just got news of the
rudeness with which the people of Munich had treated
their Elector.

183. In Regensburg we dined magnificently
at noon, listened to divine table music, had an-
gelic service and glorious Mosel wine. We
breakfasted in Nuremberg, — a hideous city.
At Wiirzburg we strengthened our stomachs
with coffee; a beautiful, a splendid city. The
charges were moderate everywhere. Only two

At Home and Abroad 103

post relays from here, in As chaff enburg, the
landlord swindled us shamefully.

Frankfort-on-the-Main, September 29, 1790, to his
wife. The remark is notable because of the judgments
pronounced on the renaissance city Nuremberg, and the
rococo city Wiirzburg.

184. All the talk about the imperial cities is
mere boasting. I am famous, admired and loved
here, it is true, but the people are worse than
the Viennese in their parsimony.

Mozart went to Frankfort, in 1790, on the occasion of
the coronation of the emperor, hoping to make enough
money with concerts to help himself out of financial diffi-
culties, but failed.

LOVE AND FRIENDSHIP

Mozart's love for his father made him depend-
ent on the latter to the end of his days. He
was a model son and must have loved his wife
devotedly, since, for her sake, he once in his life
disobeyed his father. The majority of his let-
ters which have been preserved are addressed to
his father, to whom he reported all his happen-
ings and whose advice he is forever seeking.
Similar were his relations with his sister Mari-
anne (Nannerl), whom he loved with great ten-
derness. The letters to his wife are unique;
all of them, even the last, seem to be the letters
of a lover. They were a pair of turtle-doves.

Mozart was an ideal friend, ready to sacri-
fice to the uttermost on the altar of friendship.
It was this trait of character which made him
throw himself with enthusiasm into Freema-
sonry, whose affiliations he sought to widen by
drafting the constitution of a community which
he called " The Grotto." He probably hated
only one man in the world, — the Archbishop of
Salzburg, his tormentor.

185. The moment you do not trust me I shall

distrust myself. The time is past, it is true,

when I used to stand on the settle, sing oragna

fiagata fa and kiss the tip end of your nose ; but

105

106 Mozart

have I therefore shown laxity in respect, love
and obedience? I say no more.

Mannheim, February 19, 1779, to his father, who was
vexed because Mozart was showing a disposition to stay
in Mannheim, because of a love affair, instead of going
to Paris. " Oif with you to Paris, and soon ! " wrote the
father. The Italian words are meaningless and but a bit
of child's play, the nature of which can be gathered from
Mozart's remark.

186. Pray do not let your mind often harbor
the thought that I shall ever forget you ! It is
intolerable to me. My chief aim in life has been,
is, and will be to strive so that we may soon be
reunited and happy. . . . Reflect that you
have a son who will never consciously forget his
filial duty toward you, and who will labor ever
to grow more worthy of so good a father.

Mannheim, February 28, 1778, to his father.

187. The first thing I did after reading your
letter was to go on my knees, and, out of a full
heart, thank my dear God for this mercy. Now
I am again at peace, since I know that I need no
longer be concerned about the two persons who
are the dearest things on earth to me.

Paris, Juy 31, 1778, to his father, who had written that
he and Nannerl had comforted each other on the death
of his mother.

188. Dearest, best of fathers! I wish you
all conceivable good; whatever can be wished,
that I wish you, — but no, I wish you nothing,
but myself everything. For myself, then, I wish
that you remain well and live innumerable years
to my great happiness and pleasure ; I wish that

Love and Friendship 107

everything that I undertake may agree with
your desire and liking, — or, rather, that I may
undertake nothing which might not turn out to
your joy. This also I hope, for whatever adds
to the happiness of your son must naturally be
agreeable also to you.

Vienna, November 16, 1781, to his father, congratu-
lating him on his name-day. On March 17, 1778, Mozart
had written from Mannheim : " Your accuracy extends to
all things. ' Papa comes directly after God ' was my
maxim as a child and I shall stick to it."

189. Our little cousin is pretty, sensible, ami-
able, clever and merry, all because she has been
in society ; she visited Munich for a while. You
are right, we suit each other admirably, for she,
too, is a bit naughty. We play great pranks on
the people hereabouts.

Augsburg, October 17, 1777, to his father. The " little
cousin " was two years younger than Mozart. Her father
was a master bookbinder in Augsburg. The maiden
seems later to have had serious designs on the composer.

190. I shall be right glad when I meet a place
in which there is a court. I tell you that if I
did not have so fine a Mr. Cousin and Miss
Cousin and so dear a little cousin, my regrets
that I am in Augsburg would be as numerous as
the hairs of my head.

Augsburg, October 17, 1777, to his father, whose birth-
place he was visiting on a concert tour. Mozart was
vexed at the insolence of the patricians.

191. In the case of Frau Lange I was a fool,
— that's certain ; but what is a fellow not when

he's in love? I did really love her, and am not

108 Mozart

indifferent toward her even now. It's lucky for
me that her husband is a jealous fool and never
permits her to go anywhere, so that I seldom
see her.

Vienna, May 12, 1781, to his father, at the time when
he was being outrageously treated by the Archbishop.
Frau Lange was Aloysia Weber, sister of Constanze, to
whom Mozart transferred his love and whom he made his
wife. Aloysia married an actor at the Court Theatre,
Josef Lange, with whom she lived unhappily.

192. I will not say that when at the house of
the Mademoiselle to whom I seem already to
have been married off, I am morose and silent;
but neither am I in love. I jest with her and
amuse her when I have time (which is only even-
ings when I sup at home, for in the forenoons I
write in my room and in the afternoons I am
seldom at home) ; only that and nothing more.
If I were obliged to marry all the girls with
whom I have jested I should have at least 200
wives.

Vienna, July 25, 1781, to his father, who had heard all
manner of tales concerning the relations of Mozart and
Constanze Weber.

193. My good, dear Constanze is the martyr,
and, perhaps for that very reason, the best
hearted, cleverest, and (in a word) the best of
them all. She assumes all the cares of the
house, and yet does not seem able to accomplish
anything. O, best of fathers, I could write
pages if I were to tell you all the scenes that
have taken place in this house because of us
two. . . . Constanze is not ugly, but any-

Love and Friendship 109

thing but beautiful; all her beauty consists of
two little black eyes and a handsome figure.
She is not witty but has enough common sense
to be able to perform her duties as wife and
mother. She is not inclined to finery, — that is
utterly false; on the contrary, she is generally
ill clad, for the little that the mother was able
to do for her children was done for the other
two — nothing for her. True she likes to be
neatly and cleanly, though not extravagantly,
dressed, and she can herself make most of the
clothes that a woman needs ; she also dresses her
own hair every day, understands housekeeping,
has the best heart in the world, — tell me, could
I wish a better wife?

Vienna, December 15, 1781, to his father. Constanze
seems to have been made for Mozart; they went through
the years of their brief wedded life like two children.

194. Dearest, best of friends!

Surely you will let me call you that? You
can not hate me so greatly as not to permit me
to be your friend, and yourself to become mine?
And even if you do not want to be my friend
longer, you can not forbid me to think kindly
of you as I have been in the habit of doing.
Consider well what you said to me to-day. De-
spite my entreaties you gave me the mitten three
times and told me to my face that you would
have nothing further to do with me. I, to whom
it is not such a matter of indifference as it is
to you to lose a sweetheart, am not so hot tem-
pered, inconsiderate or unwise as to accept that

110 Mozart

mitten. I love you too dearly for that. I there-
fore beg you to ponder on the cause of your in-
dignation. A little confession of your thought-
less conduct would have made all well, — if you
do not take it ill, dear friend, may still make
all well. From this you see how much I love
you. I do not flare up as you do; I think, I
consider, and I feel. If you have any feeling
I am sure that I will be able to say to myself
before night: Constanze is the virtuous, honor-
loving, sensible and faithful sweetheart of just
and well-meaning Mozart.

Vienna, April 29, 1782, to his fiancee, Constanze
Weber. She had played at a game of forfeits such as
was looked upon lightly by the frivolous society of the
period in Vienna. Mozart rebuked her and she broke off
the engagement. The letter followed and soon thereafter
a reconciliation. Mozart had said to her : " No girl who
is jealous of her honor would do such a thing."

195. She is an honest, good girl of decent
parents; — I am able to provide her with
bread; — we love each other and want each
other ! ... It is better to put one's things
to rights and be an honest fellow! — God will
give the reward! I do not want to have any-
thing to reproach myself with.

Vienna, July 31, 1782, to his father, who had given his
consent, hesitatingly and unwillingly, to the marriage of
his son who was twenty-six years old. On August 7
Mozart wrote to him : " I kiss your hands and thank you
with all the tenderness which a son should feel for his
father, for your kind permission and paternal blessing."

196. If I were to tell you all the things that
I do with your portrait, you would laugh heart-

Love and Friendship 111

ily. For instance when I take it out of its prison
house I say " God bless you, Stanzerl ! God
bless you, you little rascal, — Krallerballer —
Sharpnose — little Bagatelle ! " And when I put
it back I let it slip down slowly and gradually
and say " Nu, — Nu, — Nu, — Nu ; " but with
the emphasis which this highly significant word
demands, and at the last, quickly : " Good-night,
little Mouse, sleep well ! " Now, I suppose, I
have written down a lot of nonsense (at least
so the world would think) ; but for us, who love
each other so tenderly, it isn't altogether silly.
Dresden, April 13, 1789, to his wife in Vienna.

197. Dear little wife, I have a multitude of
requests ; Imo, I beg of you not to be sad.

%do, that you take care of your health and
not trust the spring air.

3tio, that you refrain from walking out
alone, or, better, do not walk out at all.

4to, that you rest assured of my love. Not
a letter have I written to you but that your por-
trait was placed in front of mine.

5to, I beg of you to consider not only my
honor and yours in your conduct but also in
appearances. Do not get angry because of this
request. You ought to love me all the more be-
cause I make so much of honor.

Dresden, April 16, 1789, to his wife, in Vienna, who
was fond of life's pleasures.

198. You can not imagine how slowly time
goes when you are not with me ! I can't describe

112 Mozart

the feeling ; there is a sort of sense of emptiness,
which hurts — a certain longing which can not
be satisfied, and hence never ends, but grows
day by day. When I remember how childishly
merry we were in Baden, and what mournful,
tedious hours I pass here, my work gives me
no pleasure, because it is not possible as was my
wont, to chat a few words with you when stop-
ping for a moment. If I go to the Clavier and
sing something from the opera (" Die Zauber-
flb'te " ) I must stop at once because of my emo-
tions.— Basta!

Vienna, July 7, 1791, to his wife, who was taking the
waters at Baden.

199. I call only him or her a friend who is
a friend under all circumstances, who thinks day
or night of nothing else than to promote the
welfare of a friend, who urges all well-to-do
friends and works himself to make the other
person happy.

Kaisersheim, December 18, 1778, to his father. Mozart
was making the journey from Mannheim to Munich in
the carriage of a prelate. The parting with his Mann-
heim friends, especially with Frau Cannabich, his motherly
friend, was hard. " For me, who never made a more
painful parting than this, the journey was only half
pleasant — it would even have been a bore, if from child-
hood I had not been accustomed to leave people, countries
and cities."

200. Permit me to beg for a continuance of
your precious friendship, and to ask you to ac-
cept mine for now and forever; with an honest
heart I vow it to you everlastingly. True it
will be of little use to you; but it will be the

Love and Friendship 113

more durable and honest for that reason. You
know that the best and truest friends are the
poor. Rich people know nothing of friendship !
— especially those who are born rich and those
who have become rich fortuitously, — they are
too often wrapped up completely in their own
luck ! But there is nothing to fear from a man
who has been placed in advantageous circum-
stances, not through blind, but deserved good
fortune, through merit, — a man who did not
lose courage because of his first failures, — who
remained true to his religion and trust in God,
was a good Christian and an honest man and
cherished and valued his true friend, — in a
word, — a man who has deserved better fortune
— from such a man, there is nothing to fear.
Paris, August 7, 1778, to his friend Bullinger, in Salz-
burg, to whom he felt beholden for the gentle and con-
siderate way in which he had broken the news of his
mother's death to the family.

201. My friend, had I but the money which
many a man who does not deserve it wastes so
miserably, — if I only had it ! O, with what j oy
would I not help you ! — But, alas ! those who
can will not, and those who would like to can
not!

Paris, July 29, 1778, to Fridolin Weber, father of
Constanze. The letter was found but recently among
some Goethe autographs.

WORLDLY WISDOM

Mozart's father brought him up to be worldly
wise. While journeying at a tender age through
the world with his father the lad became an eye
witness of the paternal business management
with all its attention to detail; of the art of
utilizing persons and conditions in order to
achieve material results. As a youth he repeats
the journeys accompanied by his mother whom
he loses by death in Paris. Regularly from
Salzburg his father sends him letters full of
admonitions and advice, the subjects almost
systematically grouped. The worldly wisdom
of the son is the fruit of paternal education,
which he did not outgrow up to the day of his
death. But life, experience, was also an edu-
cator; a seeming distrust of mankind speaks
out of many a passage in his letters, but on
the whole he thought too well of his fellow-
men, and remained blind to the faults of his
false friends who basely exploited him for their
own ends. Although gifted with keen powers
of observation he always followed his kind heart
instead of his better judgment and his sister
spoke no more than the truth when she said
after his death : " Outside of music he was, and
remained, nearly always, a child. This was the
chief trait of his character on its shady side;
115

116 Mozart

he always needed a father, mother, or other
guardian."

202. Reflect, too, on this only too certain
truth: it is not always wise to do all the things
contemplated. Often one thinks one thing would
be most advisable and another unadvisable and
bad, when, if it were done, the opposite results
would disclose themselves.

Mannheim, December 10, 1777, to his father, when a
plan for an appointment in Mannheim came to naught.

203. I am not indifferent but only resolved,
and therefore, I can endure everything with
patience, — provided, only, that neither my honor
nor the good name of Mozart shall suffer there-
from. Well, since it must be so, so be it; only
I beg, do not rejoice or sorrow prematurely;
for let happen what may it will be all right so
long as we remain well — happiness exists only
in the imagination.

Mannheim, November 29, 1777, to his father, who had
upbraided him because of his reckless expenditures. At
the time Mozart was hoping for an appointment at Mann-
heim.

204. Dearest and best of fathers : — You shall
see that things go better and better with me.
What use is this perpetual turmoil, this hurried
fortune ? It does not endure. — Che va piano va
sano. One must adjust himself to circum-
stances.

Vienna, December 22, 1781, to his father, just before
Mozart's marriage engagement to Constanze Weber.

Worldly Wisdom 117

205. Now, to put your mind at ease, I am
doing nothing without reasons, and well-founded
ones,- too.

Vienna, October 21, 1781, to his "little cousin," who
may still have cherished hopes of capturing her merry
kinsman.

206. I have no news except that 35, 59, 60,
61, 62, were the winning numbers in the lottery,
and, therefore, that if we had played those num-
bers we would have won; but that inasmuch as
we did not play those numbers we neither won
nor lost but had a good laugh at others.

Milan, October 26, 1771, to his sister.

207. Everybody was extremely courteous,
and therefore I was also very courteous ; for it
is my custom to conduct myself towards others
as they conduct themselves towards me, — it's
the best way to get along.

Augsburg, October 14, 1777, to his father.

208. In Vienna and all the imperial heredita-
ments the theatres will all open in six weeks. It
is wisely designed ; for the dead are not so much
benefited by the long mourning as many people
are harmed.

Munich, December 13, 1780, to his father. Empress
Maria Theresa had died on November 29. Mozart had
greatly revered her from his youth. Nevertheless he takes
a practical view of the situation since the production of
his opera " Idomeneo " is imminent. He requests of his
father to have his " black coat thoroughly dusted, cleaned
and put to rights," and to send it to him, since " every-
body would go into mourning, and I, who will be sum-
moned hither and thither, must weep along with the
others."

118 Mozart

209. Rest assured that I am a changed man ;
outside of my health I know of nothing more
necessary than money. I am certainly not a
miser, — it would be difficult for me to change
myself into one — and yet the people here think
me more disposed to be stingy than prodigal;
and for a beginning that will suffice. So far
as pupils are concerned I can have as many as
I want ; but I do not want many ; I want better
pay than the others, and therefore I am content
with fewer. One must put on a few airs at the
beginning or one is lost, i.e. one must travel the
common road with the many.

Vienna, May 26, 1781, to his father.

210. Depend confidently on me. I am no
longer a fool, and you will still less believe that
I am a wicked and ungrateful son. Meanwhile
trust my brains and my good heart implicitly,
and you shall never be sorry. How should I
have learned to value money? I never had
enough of it in my hands. I remember that
once when I had 20 ducats I thought myself
rich. Need alone teaches the value of money.

Vienna, May 26, 1781, to his father.

211. If it were possible that it should vex me
I should do my best not to notice it; as it is,
thank God, there is no need of my deceiving
myself because only the opposite could vex me,
and I should have had to decline, which is al-
ways too bad when one is dealing with a grand
gentleman.

Worldly Wisdom 119

Vienna, October 5, 1782, to his father. Mozart had
expected to give music lessons to a princess, but another
teacher was chosen. Continuing in the same letter, he
says : " I need only tell you his fee and you will easily be
able to judge from it the strength of the master— 400
florins. His name is Summerer."

212. I shall compose an opera but not in or-
der, for the sake of 100 ducats, to see the theatre
earn four times as much in a fortnight. I shall
perform my opera at my own cost and make at
least 1,200 florins in three performances; then
the director can have the work for 50 ducats.
If he does not want it I shall have received my
pay and can utilize the opera elsewhere. I hope
that you have never observed a tendency to dis-
honest dealing in me. One ought not to be a
bad fellow, but neither ought one to be a stupid
who is willing to let others benefit from the work
which cost him study, care and labor, and sur-
render all claims for the future.

Vienna, October 5, 1782, to his father. Mozart's plans
for exploiting his opera were never realized.

213. Yesterday I dined with the Countess
Thun, and to-morrow I shall dine with her
again. I let her hear all that was complete;
she told me that she would wager her life that
everything that I have written up to date would
please. In such matters I care nothing for the
praise or censure of anybody until the whole
work has been seen or heard; instead I follow
my own judgment and feelings.

Vienna, August 8, 1781, to his father. The opera in
question was "Die Entfiihrung aus dem Serail."

120 Mozart

214. Magnanimity and gentleness have often
reconciled the worst enemies.

Vienna, July 8, 1791, to his wife, who had somewhat
rudely repulsed the advances of one of the visitors at
Baden where she was taking the waters.

IN SUFFERING

It is as difficult to call up in the fancy a
picture of a suffering Mozart as a merry Bee-
thoven. The effect of melancholy hours is
scarcely to be found in Mozart's music. When
he composed, — i.e. according to his own expres-
sion " speculated " while walking up and down
revolving musical ideas in his mind and forming
them into orderly compositions, so that the
subsequent transcription was a mechanical occu-
pation which required but little effort, — he was
transported to the realm of tones, far from the
miseries of this world. Nor would his happy
disposition permit him long to remain under
the influence of grief and care. None of the
letters which sound notes of despair lacks a jest
in which the writer forcibly tears himself away
from his gloomy thoughts. His sufferings came
to him from without; the fate of a Beethoven
was spared him. Others brought him pain, —
his rivals through envy, the Archbishop through
malevolence, the Emperor through ignorance.
Sufferings of this character challenged opposi-
tion and called out his powers, presenting to us
a Mozart full of temperament and capable of
measuring himself with any opponent.

He never lost hope even when hope seemed
most deceptive. It is therefore impossible to
121

122 Mozart

speak of a suffering Mozart in the sense that
we speak of a suffering Beethoven; fate was
kind even at his death, which was preceded by
but a brief illness.

215. I am still full of gall! . . . Three
times this — I do not know what to call him —
has assailed me to my face with impertinence
and abuse of a kind that I did not want to
write down, my best of fathers, and I did not
immediately avenge the insult because I thought
of you. He called me a wretch (Buben), a li-
centious fellow, told me to get out and I — suf-
fered it all, feeling that not only my honor but
yours as well was attacked; but, — it was your
wish, — I held my tongue.

Vienna, May 9, 1781, to his father, who had heard
with deep concern of the treatment which his son was
enduring at the hands of the Archbishop of Salzburg,
and who feared for his own position. At the close of the
letter Mozart writes: " I want to hear nothing more about
Salzburg; I hate the archbishop to the verge of madness."

£16. The edifying things which the Arch-
bishop said to me in the three audiences, par-
ticularly in the last, and what I have again been
told by this glorious man of God, had so admi-
rable a physical effect on me that I had to leave
the opera in the evening in the middle of the
first act, go home, and to bed. I was in a fever,
my whole body trembled, and I reeled like a
drunken man in the street. The next day, yes-
terday, I remained at home and all forenoon in
bed because I had taken the tamarind water.

In Suffering 123

Vienna, May 12, 1781, to his father. The catastrophe
between Mozart and the archbishop is approaching.

217. Twice the Archbishop gave me the gross-
est impertinences and I answered not a word;
more, I played for him with the same zeal as if
nothing had happened. Instead of recognizing
the honesty of my service and my desire to please
him at the moment when I was expecting some-
thing very different, he begins a third tirade in
the most despicable manner in the world.

Vienna, June 13, 1781, to his father. See the chapter
" Self-Respect and Honor."

218. All the world asserts that by my brag-
gadocio and criticisms I have made enemies of
the professional musicians ! Which world? Pre-
sumably that of Salzburg, for anybody living
in Vienna sees and hears differently; there is
my answer.

Vienna, July 31, to his father, who had sent Mozart
what the latter called " so indifferent and cold a letter,"
when informed by his son of the great success of his
opera, " Die Entfiihrung aus dem Serail." As on previous
occasions Salzburg talebearers had been busying them-
selves.

219. I rejoice like a child at the prospect of
being with you again. I should have to be
ashamed of myself if people could look into my
heart; so far as I am concerned it is cold, —
cold as ice. Yes, if you were with me I might
find greater pleasure in the courteous treatment
which I receive from the people ; but as it is, it
is all empty. Adieu! — Love!

Frankfort, September 30, 1790, to his wife. Mozart

124 Mozart

had made the journey to Frankfort to give concerts amidst
the festivities accompanying the coronation of Leopold
II, hoping that he could better his financial condition.
Not having been sent at the cost of the Emperor, like
other Court musicians, he pawned his silver, bought a
carriage and took with him his brother-in-law, a violinist
named Hofer. " It took us only six days to make the
journey." He was disappointed in his expectations. " I
have now decided to do as well as I can here and look
joyfully towards a meeting with you. What a glorious
life we shall lead; I shall work — work!"

220. Dreams give me no concern, for there
is no mortal man on earth who does not some-
times dream. But merry dreams ! quiet, re-
freshing, sweet dreams ! Those are the thing !
Dreams which, if they were realities, would make
tolerable my life which has more of sadness in it
than merriment.

Munich, December 31, 1778, to his father. During
Mozart's sojourn in Paris the love of Aloysia Weber had
grown cold, and Mozart was in the dolors.

221. Happy man! Now see, — I have got to
give still another lesson in order to earn some
money.

1786, to Gyrowetz, on the latter's departure for Italy.

222. You can not doubt my honesty, for you
know me too well for that. Nor can you be
suspicious of my words, my conduct or my mode
of life, because you know my conduct and mode
of life. Therefore, — forgive my confidence in
you, — I am still very unhappy, — always between
fear and hope.

Vienna, July 17, 1788, to his faithful friend, Puch-
berg, whom he has asked for money on account of the
severe illness of his wife.

In Suffering 125

223. You know my circumstances; — to be
brief, since I can not find a true friend, I am
obliged to borrow money from usurers. But as
it takes time to hunt among these un-Christian
persons for those who are the most Christian
and to find them, I am so stripped that I must
beg you, dear friend, for God's sake to help me
out with what you can spare.

One of many requests for help sent to Puchberg. It
was sent in 1790 and the original bears an endorsement:
"May 17, sent 150 florins."

If you, worthy brother, do not help me
out of my present predicament I shall lose my
credit and honor, the only things which I care
now to preserve.

Vienna, June 27, 1788, to Puchberg, who had sent him
^00 florins ten days before. Puchberg was a brother
Mason.

225. How I felt then! How I felt then!
Such things will never return. Now we are
sunk in the emptiness of everyday life.

Remarked on remembering that at the age of fourteen
he had composed a " Requiem " at the command of Em-
press Maria Theresa and had conducted it as chapelmas-
ter of the imperial orchestra.

226. Did I not tell you that I was composing
this "Requiem" for myself?

Said on the day of his death while still working on
the " Requiem " for which he had received so mysterious
a commission. The work had been ordered by a Count
Walsegg, who made pretensions to musical composition,
and who wished to palm it off as a work of his own,
written in memory of his wife. Mozart never knew him.

227. I shall not last much longer. I am sure

126 Mozart

that I have been poisoned ! I can not rid myself
of this thought.

Mozart believed that he had been poisoned by one of
his Italian rivals, his suspicion falling most strongly on
Salieri. ["As regards Mozart, Salieri cannot escape cen-
sure, for though the accusation of having been the cause
of his death has been long ago disproved, it is more than
possible that he was not displeased at the removal of so
formidable a rival. At any rate, though he had it in his
power to influence the Emperor in Mozart's favor, he not
only neglected to do so, but even intrigued against him,
as Mozart himself relates in a letter to his friend Puch-
berg. After his death, however, Salieri befriended his
son, and gave him a testimonial which secured him his
first appointment." C. F. Pohl, in " Grove's Dictionary of
Music and Musicians."]

228. Stay with me to-night; you must see
me die. I have long had the taste of death on
my tongue, I smell death, and who will stand
by my Constanze, if you do not stay ?

Reported by his sister-in-law, Sophie, sister of Con-
stanze.

229. And now I must go just as it had be-
come possible for me to live quietly. Now I
must leave my art just as I had freed myself
from the slavery of fashion, had broken the
bonds of speculators, and won the privilege of
following my own feelings and compose freely
and independently whatever my heart prompted !
I must away from my family, from my poor
children in the moment when I should have been
able better to care for their welfare !

Uttered on his death-bed.

MORALS

As regards his manner of life and morals
Mozart long stood in a bad light before the
world. The slanderous stories all came from
his enemies in Vienna, and a long time passed
before their true character was recognized. A
great contribution to this end was made by the
publication of his letters, which disclose an ex-
traordinarily strong moral sense. The tale of
an alleged liaison with a certain Frau Hofda-
mel, as a result of which the deceived husband
was said to have committed suicide, has been
proved to be wholly untrue and without war-
rant.

It may be said, indeed, that Mozart was an
exception among the men of his period. The
immorality of the Viennese was proverbial.
Karoline Pichler, a contemporary, writes as fol-
lows in her book of recollections of the eighth
decade of the eighteenth century : " In Vienna
at the time there reigned a spirit of appreciation
for merriment and a susceptibility for every
form of beauty and sensuous pleasure. There
was the greatest freedom of thought and opin-
ion; anything could be written and printed
which was not, in the strictest sense of the words,
contrary to religion and the state. Little
thought was bestowed on good morals. There
121

128 Mozart

was considerable license in the current plays and
novels. Kotzebue created a tremendous sensa-
tion. His plays . . . and a multitude of
romances and tales (Meissner's sketches among
other things) were all based on meretricious re-
lations. All the world and every young girl
read them without suspicion or offence. More
than once had I read and seen these things;
* Oberon ' was well known to me ; so was Meiss-
ner's * Alcibiades.' No mother hesitated to ac-
quaint her daughter with such works and be-
fore our eyes there were so many living exem-
plars whose irregular conduct was notorious,
that no mother could have kept her daughter
in ignorance had she tried."

Mozart was a passionate jester and his jokes
were coarse enough ; of that there is no doubt.
But these things were innocent at the time. The
letters of the lad to his little cousin in Augs-
burg contain many passages that would be
called of questionable propriety now; but the
little cousin does not seem to have even blushed.
The best witness to the morality of Mozart's
life is his wife, who, after his death, wrote to
the publishing firm of Breitkopf and Hartel:
" His letters are beyond doubt the best criterion
for his mode of thought, his peculiarities and
his education. Admirably characteristic is his
extraordinary love for me, which breathes
through all his letters. Those of his last year
on earth are just as tender as those which he
must have written in the first year of our mar-

Morals 129

ried life; — is it not so? I beg as a particular
favor that special attention be called to this
fact for the sake of his honor."

He was a Freemason with all his heart, and
gave expression to his humanitarian feeling in
his opera " The Magic Flute." Without sus-
picion himself, he thought everybody else good,
which led to painful experiences with some of
his friends.

230. Parents strive to place their children
in a position which shall enable them to earn
their own living ; and this they owe to their chil-
dren and the state. The greater the talents
with which the children have been endowed by
God, the more are they bound to make use of
those talents to improve the conditions of them-
selves and their parents, to aid their parents
and to care for their own present and future
welfare. We are taught thus to trade with our
talents in the Gospels. I owe it, therefore, to
God and my conscience to pay the highest grati-
tude to my father, who tirelessly devoted all his
hours to my education, and to lighten his bur-
dens.

From his request for dismissal from service in August,
1777. He wished to undertake an artistic tour with hi^
father. He received his dismissal from the Archbishop
of Salzburg, who granted it right unwillingly, however.

231. Only one thing vexed me a trifle, — the
question whether I had forgotten confession.
I have no complaint to make, but I do ask one
favor, and that is that you do not think so ill

130 Mozart

of me ! I am fond of merriment, but, believe me,
I can also be serious. Since I left Salzburg
(and while still in Salzburg) I have met persons
whose conduct was such that I would have been
ashamed to talk and act as they did though they
were ten, twenty or thirty years older than I!
Again I humbly beg of you to have a better
opinion of me.

Mannheim, December 20, 1777, to his father, in answer
to a letter of reproaches.

232. With all my heart I do wish Herr von
Schiedenhofen joy. It is another marriage for
money and nothing else. I should not like to
marry thus ; I want to make my wife happy, —
not have her make my fortune. For that reason
I shall not marry but enjoy my golden freedom
until I am so situated that I can support wife
and children. It was necessary that Herr Sch.
should marry a rich woman ; that's the conse-
quence of being a nobleman. The nobility must
never marry from inclination or love, but only
from considerations of interest, and all manner
of side considerations. Nor would it be becom-
ing in such persons if they were still to love
their wives after the latter had done their duty
and brought forth a plump heir.

Mannheim, February 7, 1778, to his father.

233. In my opinion there is nothing more
shameful than to deceive an honest girl.

Paris, July 18, 1778, to his father.

234. I am unconscious of any guilt for which

Morals 131

I might fear your reproaches. I have committed
no error (meaning by error any act unbecoming
to a Christian and an honest man). I am antici-
pating the pleasantest and happiest days, but
only in company with you and my dearest sis-
ter. I swear to you on my honor that I can not
endure Salzburg and its citizens (I speak of the
natives). Their speech and mode of life are
utterly intolerable.

Munich, January 8, 1779, to his father, who was urging
his return from Paris to take the post of chapelmaster in
Salzburg. The musicians of Salzburg were notorious be-
cause of their loose lives.

235. From the way in which my last letter
was received I observe to my sorrow that (just
as if I were an arch scoundrel or an ass, or both
at once) you trust the tittle-tattle and scrib-
blings of other people more than you do me.
But I assure you that this does not give me the
least concern. The people may write the eyes
out of their heads, and you may applaud them
as much as you please, it will not cause me to
change a hair's breadth ; I shall remain the same
honest fellow that I have always been.

Vienna, September 5, 1781, to his father, who was still
listening to the slander mongers. Mozart could not lightly
forget the fact that it was due to these gentlemen that
he had been forced to leave the house of the widow
Weber with whose daughter Constanze he was in love.

236. You have been deceived in your son if
you could believe him capable of doing a mean
thing. . . . You know that I could not
have acted otherwise without outraging my con-

132 Mozart

science and my honor. ... I beg pardon
for my too hasty trust in your paternal love.
Through this frank confession you have a new
proof of my love of truth and detestation of a
lie.

Vienna, August 7, 1782, to his father, whose consent to
his son's marriage did not arrive till the day after.

237. Dearest and best of fathers : — I beg of
you, for the sake of all that is good in the world,
give your consent to my marriage with my dear
Constanze. Do not think that it is alone be-
cause of my desire to get married; I could well
wait. But I see that it is absolutely essential
to my honor, the honor of my sweetheart, to my
health and frame of mind. My heart is ill at
ease, my mind disturbed; — then how shall I do
any sensible thinking or work? Why is this?
Most people think we are already married ; this
enrages the mother and the poor girl and I are
tormented almost to death. All this can be
easily relieved. Believe me it is possible to live
as cheaply in expensive Vienna as anywhere else ;
it all depends on the housekeeping and the or-
derliness which is never to be found in a young
man especially if he be* in love. Whoever gets
a wife such as I am going to have can count
himself fortunate. We shall live simply and
quietly, and yet be happy. Do not worry ; for
should I (which God forefend!) get ill to-day,
especially if I were married, I wager that the
first of the nobility would come to my
help. ... I await your consent with long-

Morals 133

ing, best of fathers, I await it with confidence,
my honor and fame depend upon it.
Vienna, July 27, 1782.

238. Meanwhile my striving is to secure a
small certainty; then with the help of the con-
tingencies, it will be easy to live here ; and then
to marry. I beg of you, dearest and best of
fathers, listen to me! I have preferred my re-
quest, now listen to my reasons. The calls of
nature are as strong in me, perhaps stronger,
than in many a hulking fellow. I can not pos-
sibly live like the majority of our young men.
In the first place I have too much religion, in
the second too much love for my fellow man and
too great a sense of honor ever to betray a
girl. . . .

Vienna, December 15, 1781. [The whole of this letter
deserves to be read by those who, misled by the reports,
still deemed trustworthy when Jahn published the first
edition of his great biography, believed that Mo/art was a
man of bad morals. Unfortunately Mozart's candor in
presenting his case to his father can scarcely be adjusted
to the requirements of a book designed for general circu-
lation. Let it suffice that in his confession to his father
Mozart puts himself on the ground of the loftiest sexual
purity, and stakes life and death on the truthfulness of
his statements. H. E. K.]

239. You surely can not be angry because I
want to get married? I think and believe that
you will recognize best my piety and honorable
intentions in the circumstance. O, I could easily
write a long answer to your last letter, and offer
many objections; but my maxim is that it is not
worth while to discuss matters that do not affect

134 Mozart

me. I can't help it, — it's my nature. I am really
ashamed to defend myself when I find myself
falsely accused; I always think, the truth will
out some day.

Vienna, January 9, 1782, to his father. In the same
letter he continues : " I can not be happy and contented
without my dear Constanze, and without your satisfied
acquiescence, I could only be half happy. Therefore,
make me wholly happy."

240. As I have thought and said a thousand
times I would gladly leave everything in your
hands with the greatest pleasure, but since, so
to speak, it is useless to you but to my advan-
tage, I deem it my duty to remember my wife
and children.

June 16, 1787, to his sister, concerning his inheritance
from his father who had died on May 28.

241. Isn't it true that you are daily becom-
ing more convinced of the truth of my correct-
ive sermons? Is not the amusement of a fickle
and capricious love far as the heavens from the
blessedness which true, sensible love brings with
it? Do you not often thank me in your heart
for my instruction? You will soon make me
vain ! But joking aside, you do owe me a modi-
cum of gratitude if you have made yourself
worthy of Fraulein N., for I certainly did not
play the smallest role at your conversion.

Prague, November 4, 1787, to a wealthy young friend,
name unknown.

242. Pray believe anything you please about
me but nothing ill. There are persons who be-

Morals 135

lieve it is impossible to love a poor girl without
harboring wicked intentions; and the beautiful
word mistress is so lovely ! — I am a Mozart, but
a young and well meaning Mozart. Among
many faults I have this that I think that the
friends who know me, know me. Hence many
words are not necessary. If they do not know
me where shall I find words enough? It is bad
enough that words and letters are necessary.

Mannheim, February 22, 1778, to his father, who had
rebuked him for falling in love with Aloysia Weber, who
afterward became his sister-in-law.

RELIGION

Mozart was of a deeply religious nature,
reared in Salzburg where his father was a mem-
ber of the archiepiscopal chapel. Throughout
his life he remained a faithful son of the church,
for whose servants, however, he had little sym-
pathy. The one man whom Mozart hated from
the bottom of his soul was Archbishop Hierony-
mus of Salzburg who sought to put all possible
obstacles in the way of the youthful genius, and
finally by the most infamous of acts covered
himself everlastingly with infamy. Though
Mozart frequently speaks angrily and bitterly
of the priests he always differentiates between
religion, the church and their servants. Like
Beethoven, Mozart stood toward God in the re-f
lationship of a child full of trust in his father.
His reliance on Providence was so utter that his
words sometimes sound almost fatalistic. His
father harbored some rationalistic ideas which
were even more pronounced in Mozart, so that
he formed his own opinion concerning ecclesi-
astical ceremonies and occasionally disregarded
them. His cheery temperament made it impos-
sible that his religious life should be as pro-
found as that of Beethoven.

243. I hope that with the help of God, Miss
Martha will get well again. If not, you should
137

138 Mozart

not grieve too deeply, for God's will is always
the best. God will know whether it is better to
be in this world or the other.

Bologna, September 29, 1770, to his mother and sister
in Salzburg. The young woman died soon after.

244. Tell papa to put aside his fears; I live
with God ever before me. I recognize His om-
nipotence, I fear His anger ; I acknowledge His
love, too, His compassion and mercy towards
all His creatures, He will never desert those who
serve Him. If matters go according to His will
they go according to mine ; consequently noth-
ing can go wrong, — I must be satisfied and
happy.

Augsburg, October 25, 1777, to his father, who was
showering him with exhortations on the tour which he
made with his mother through South Germany.

245. Let come what will, nothing can go ill
so long as it is the will of God ; and that it may
so go is my daily prayer.

Mannheim, December 6, 1777, to his father. Mozart
was waiting with some impatience to learn if he was to
receive an appointment from Elector Karl Theodore. It
did not come.

246. I know myself; — I know that I have so
much religion that I shall never be able to do
a thing which I would not be willing openly to
do before the whole world ; only the thought of
meeting persons on my journeys whose ideas are
radically different from mine (and those of all
honest people) frightens me. Aside from that
they may do what they please. I haven't the

Religion 139

heart to travel with them, I would not have a
single pleasant hour, I would not know what to
say to them; in a word I do not trust them.
Friends who have no religion are not stable.

Mannheim, February 2, 1778, to his father. For the
reasons mentioned in the letter Mozart gave up his plan
to travel to Paris with the musicians Wendling and
Ramen. In truth, perhaps, his love affair with Aloysia
Weber may have had something to do with his resolve.

247. I prayed to God for His mercy that all
might go well, to His greater glory, and the
symphony began. . . . Immediately after
the symphony full of joy I went into the Palais
Royal, ate an iced cream, prayed the rosary as
I had promised to do, and went home. I am
always best contented at home and always will
be, or with a good, true, honest German.

Paris, July 3, 1778, to his father. The symphony in
question is no longer in existence, although Mozart wanted
to write it down again at a later date.

248. I must tell you my mother, my dear
mother, is no more. — God has called her to Him-
self; He wanted her, I see that clearly, and I
must submit to God's will. He gave her to me,
and it was His to take her away. My friend,
I am comforted, not but now, but long ago. By
a singular grace of God I endured all with
steadfastness and composure. When her illness
grew dangerous I prayed God for two things
only, — a happy hour of death for my mother,
and strength and courage for myself. God
heard me in His loving kindness, heard my

140 Mozart

prayer and bestowed the two mercies in largest
measure.

Paris, July 3, 1778, to his good friend Bullinger, in
Salzburg, who was commissioned gently to bear the intel-
ligence to Mozart's father. At the same time Mozart,
with considerate deception, wrote to his father about his
mother's illness without mentioning her death.

249. I believe, and nothing shall ever per-
suade me differently, that no doctor, no man,
no accident, can either give life to man or take
it away; it rests with God alone. Those are
only the instruments which He generally uses,
though not always; we see men sink down and
fall over dead. When the time is come no reme-
dies can avail, — they accelerate death rather
than retard it. . . . I do not say, there-
fore, that my mother will and must die, that all
hope is gone ; she may recover and again be well
and sound, — but only if it is God's will.

Paris, July 3, 1778, to his father, from whom he is con-
cealing the fact that his mother is dead. He is seeking
to prepare him for the intelligence which he has already
commissioned Bullinger to convey to the family.

250. Under those melancholy circumstances
I comforted myself with three things, viz. : my
complete and trustful submission to the will of
God, then the realization of her easy and beau-
tiful death, combined with the thought of the
happiness which was to come to her in a mo-
ment,— how much happier she now is than we,
so that we might even have wished to make the
journey with her. Out of this wish and desire
there was developed my third comfort, namely,

Religion 141

that she is not lost to us forever, that we shall
see her again, that we shall be together more
joyous and happy than ever we were in this
world. It is only the time that is unknown, and
that fact does not frighten me. When it is
God's will, it shall be mine. Only the divine, the
most sacred will be done; let us then pray a
devout " Our Father " for her soul and proceed
to other matters ; everything has its time.

Paris, July 9, 1778, to his father, informing him of
his mother's death.

251. Be without concern touching my soul's
welfare, best of fathers ! I am an erring young
man, like so many others, but I can say to my
own comfort, that I wish all were as little erring
as I. You, perhaps, believe things about me
which are not true. My chief fault is that I
do not always appear to act as I ought. It is
not true that I boasted that I eat fish every
fast-day; but I did say that I was indifferent
on the subject and did not consider it a sin, for
in my case fasting means breaking off, eating
less than usual. I hear mass every Sunday and
holy day, and when it is possible on week days
also, — you know that, my father.

Vienna, June 13, 1781 — another attempt at justifica-
tion against slander.

252. Moreover take the assurance that I cer-
tainly am religious, and if I should ever have
the misfortune (which God will forefend) to go
astray, I shall acquit you, best of fathers, from
all blame. I alone would be the scoundrel; to

1 42 Mozart

you I owe all my spiritual and temporal welfare
and salvation.

Vienna, June 13, 1781.

253. For a considerable time before we were
married we went together to Holy Mass, to con-
fession and to communion; and I found that I
never prayed so fervently, confessed and com-
municated so devoutly, as when I was at her
side; — and her experience was the same. In a
word we were made for each other, and God,
who ordains all things and consequently has or-
dained this, will not desert us. We both thank
you obediently for your paternal blessing.

Vienna, August 17, 1782.

254. I have made it a habit in all things to
imagine the worst. Inasmuch as, strictly speak-
ing, death is the real aim of our life, I have for
the past few years made myself acquainted with
this true, best friend of mankind, so that the
vision not only has no terror for me but much
that is quieting and comforting. And I thank
my God that He gave me the happiness and the
opportunity (you understand me) to learn to
know Him as the key to true blessedness.

Vienna, April 4, 1787, to his father, who died on the
28th of the following month. One of the few pasages in
Mozart's letters in which there are suggestions of the
teachings of Freemasonry. In 1785 he had persuaded his
father to join the order, with the result that new warmth
was restored to the relationship which had cooled some-
what after Mozart's marriage.

255. To me that again is art twaddle ! There
may be something true in it for you enlightened

Religion 143

Protestants, as you call yourselves, when you
have your religion in your heads ; I can not tell.
But you do not feel what Agnus Del, qui tollis
peccata mundi and such things mean. But when
one, like I, has been initiated from earliest child-
hood in the mystical sanctuary of our religion ;
when there one does not know whither to go
with all the vague but urgent feelings, but waits
with a heart full of devotion for the divine
service without really knowing what to expect,
yet rises lightened and uplifted without know-
ing what one has received; when one deemed
those fortunate who knelt under the touching
strains of the Agnus Dei and received the sacra-
ment, and at the moment of reception the music
spoke in gentle joy from the hearts of the kneel-
ing ones, Benedictus qui venit, etc.; — then it is
a different matter. True, it is lost in the hurly-
burly of life ; but, — at least it is so in my case,
— when you take up the words which you have
heard a thousand times, for the purpose of set-
ting them to music, everything comes back and
you feel your soul moved again.

Spoken in Leipsic, in 1789, when somebody expressed
pity for those capable musicians who were obliged to
" employ their powers on ecclesiastical subjects, which
were mostly not only unfruitful but intellectually kill-
ing." Rochlitz reports the utterance but does not vouch
for its literalness.

BEETHOVEN

THE MAN AND THE ARTIST

AS REVEALED IN HIS OWN WORDS

Compiled and Annotated by
FRIEDRICH KERST

Translated and Edited by
HENRY EDWARD KREHBIEL

Similar to this volume
$1.00 net, postage 10 cents

B. W. HUEBSCH

NEW YORK

University of California

SOUTHERN REGIONAL LIBRARY FACILITY

Return this material to the library

from which it was borrowed.

1990

A 000118571 9

Unr

S