Mozart has turned this into a comic air in the grand style, worthy to rank with those of Leporello, although the delicate malice which characterises the latter would be out of place here. The various points, not only where the mention of dancing and singing suggest musical freaks, but throughout, are made effective in the happiest musical contrasts, without disturbing the flow and consistency of the whole song. Towards the close especially, the climax is inimitable. After the transition into D minor on "trillo" and "uscignolo"—[See Page Image] GUILLELMO'S AIR. the wind instruments sound a mocking fanfare to the violin quavers on "qualch' altro capitale"—[See Page Image] COSÌ FAN TUTTE. whereupon Guillelmo, after the exit of the sisters, breaks out with the whole strength of his voice into a triumphant allegro molto—[See Page Image]
but stops suddenly, as if afraid of being overheard, and sings his joy sotto voce to Don Alfonso. This air, which afforded abundant opportunity for the display of voice and art to the happiest advantage, was laid on one side, no doubt with the conviction that so evident a caricature could not be maintained throughout the love-test without wedding internal to external improbabilities, and displaying Guillelmo in two distinct characters. Another air (15) was therefore substituted, expressing Guillelmo's character as a cheerful man of the world who takes serious matters lightly, and comports himself with ease and freedom. He turns half confidently, half jokingly to the ladies, the secret pleasure which their rejection of his suit affords him increasing his cheerfulness, and even giving it a tinge of irony. The music is quite simple, tuneful, light and pleasing, in direct contrast to the previous grand air. His second air (26) in which, after his adventure with Dorabella, his good opinion of women is considerably modified, is in perfect harmony with the first. The feeling that he has the advantage over Ferrando, the GUILLELMO. assurance of Fiordiligi's unalterable faith, give him an air of overweening security, and cause him to express himself with a lightness which he would certainly have refrained from had he known how nearly the matter affected himself. This is a truly comic situation, and Mozart has given effect to it mainly by the tone of easy merriment which he has caught so admirably, and which never passes the bounds of friendly good-humour. The air is long, singer and orchestra vying with each other in rapid animation, and the jovial, easy character of the man is fully and pleasantly expressed. 53 His intercourse with Dorabella corresponds with this view. The easy, half-jesting gallantry with which he approaches her in the duet (23) belongs to his nature, and the part he is playing is no effort to him. It is more than once made plain that Dorabella is more strongly affected than he; after she has once met his advances with favour he merely seconds her, as being pledged to do so; but he does it with the same ease and confidence that he has displayed throughout.
Mozart has shown correct judgment in making Guillelmo' a natural, good-humoured character, instead of a caricatured buffo figure. But a motive seems to have been at work here which appears throughout the whole of "Cosi fan Tutte." It is evident that Mozart has sought to clear himself from the reproach that his music was too heavy, too serious for a comic opera, and to satisfy the taste of the public for what was light and entertaining. This demand was met in the two male duets, the first (7) being light and superficial, and the second a serenade (21), which (accompanied, according to custom, only by wind instruments) follows a striking chorus with a melodious and pleasing effect, but without individual character. The same motive is even more evidently at work in the character of Despina. She never betrays a particle of true feeling. She has no sympathy COSÌ FAN TUTTE. either for her mistresses, or for their lovers, or for Don Alfonso, and she has no love affair of her own. The only visible motive of action with her is selfishness, which triumphs even over her love of intrigue; every expression of hers shows giddy thoughtlessness, not always of the most refined kind. Her two songs are both addressed to her ladies. The first (12) is in answer to Dorabella's pathetic burst of sorrow, and scoffs at her belief in the constancy of men, while urging her to reward inconstancy with inconstancy. The second (19) exhorts the still undecided fair ones to adopt coquetry as the true rule of life for the female sex. In the first air the gaiety, lightly tinged with humour in the short introductory allegretto, is light and easy, and has a forwardness about it not quite maidenly, but so pretty and winning that the whole person is invested with a certain interest and attractiveness. In the second air Despina appears as the temptress; therefore the action is more careful, the expression more delicate; insinuating persuasion takes the place of her former pertness, and the comic element only asserts itself once in the strongly accented:—
This air reminds us in many points of Zerlina, but it serves also to prove how many touches of detail and delicate shades of musical expression are wanting when true feeling is not at the root of the conception. Spite of its commonplace tone, its lively gaiety gives it a certain charm, just as in everyday life we often meet with people commonplace in their nature, but attractive from their youthful freshness and cheerfulness. But Despina is in her element when she herself is playing some extravagant prank, and she adopts her various disguises with much boldness and gay humour. The scene where she enters as a doctor in the first finale belongs indisputably to the wittiest performances of comic music. After the long suspense, the animation caused by the entrance of the doctor has an excellent effect, and the DESPINA. boastful loquacity and solemn conceit of the charlatan stand out from the surroundings without the need of any special medium for their expression. Every phrase is pronounced simply but with telling effect; exaggeration, which at this point of the situation would only do harm, is carefully avoided, and the general impression of unclouded gaiety is heightened by the intensity with which the other characters express their feelings. 54 The notary in the second finale is quite as humorously depicted. After an elaborate greeting, the polite elegance of which is mockingly expressed by the figure in the accompaniment, given to the second violins, the notary begins to read the marriage contract in a monotone (pel naso, Mozart directs), which is the most comic imitation of reality in its five times repeated phrase—[See Page Image] twice with additional emphasis:—
The accompaniment of the violins is different for each clause (the basses remaining the same), and increases in speed, thus producing a climax provoked by the impatient exclamations of the bridal party. The whole conception of the part of Despina may be referred to the individuality of its first performer, Signora Bussani, whose reputation was COSÌ FAN TUTTE. rather for spirit and audacity than for delicacy of expression (Vol. III., p. 97). Another example of perfect gaiety is the terzet for the three male voices (16). After the angry exit of the sisters, Guillelmo and Ferrando begin to laugh, 55 thereby increasing the discomfiture of Don Alfonso, who with difficulty persuades them to desist. The merriment of the young men, the annoyance of the old one, the laughter which they vainly endeavour to suppress, are so admirably expressed, and the triplet passage of the accompaniment adds so strikingly to the effect, that we feel the same irresistible inclination to merriment that is inspired by the countenance of an antique laughing satyr.
The counterpart to Despina is Don Alfonso, 56 who displays throughout the plot no single impulse of sympathy or good-nature, and at the same time fails to inspire interest as a purely comic character. Paltry scepticism without humour or good-temper, cold rationalism without any tinge of geniality, are not attractive in themselves, and are essentially unmusical; they can only be effective by virtue of contrast, and Don Alfonso therefore appears principally in ensembles. In the first male terzet his cool demeanour stands in excellent relief against the excitement of the young men, and Mozart has given an irresistibly droll expression to the little ballad which he mockingly sings to them (2). His sympathy in the parting scene has more delicacy of characterisation; here he keeps in the background, but the quiet remarks which he interposes add just the ingredient to the melting sentiment of the ladies which is required for the production of the right effect on the audience. As a rule, however, Don Alfonso does not express his true sentiments, and his dissimulation induces an exaggeration which is not without comic effect, but requires great refinement of delivery. It belongs to the conception of such a character that he should abstain from asserting himself independently, and therefore DON ALFONSO. no grand air is assigned to him; this may be partly owing, however, to the deficiencies of the first performer, for Bus-sani does not appear to have been much of a singer.
His two most important solo pieces are purposely so arranged as to admit of an amount of sentiment which is foreign to his true character. In the first he expresses with evident exaggeration the consternation which fills him at the afflicting intelligence which he is bringing to the sisters; it is as characteristic of the person as of the situation, and expresses at once the state of excitement which prevails throughout the following scene. Of more original design is the short ensemble movement (22) in which Don Alfonso and Despina bring the two couples together. 57 By undertaking to be the mouthpiece of the bashful lovers, Don Alfonso gains an opportunity of expressing himself with more feeling, and yet his position does not admit of any very deep or serious expression on his part. The device of making the two lovers strike in like an echo is a happy one; but Da Ponte has not turned it to the advantage of which it was capable. It is quite right that Fiordiligi and Dorabella should not join in in the same way when Despina answers for them; but to leave them quite out of the question, and to make the interest of the situation centre in the by-play of Don Alfonso and Despina, destroys the significance which this scene might have had. A teasing, jesting tone predominates throughout the movement, and is indeed in keeping with the whole opera; but we long for a little more energy and fulness of expression at the more important points. In order to place Don Alfonso in the right light, he should be shown in real perplexity, and brought thereby into the COSÌ FAN TUTTE. foreground. The laughing terzet passes too quickly to make this motive effective. Besides the terzet, he has only two short movements wherein to express his views on the inconstancy of women, and these in a sort of accompanied recitative suggest very vividly his exalted and pedantic turn of mind. In the latter of the two he proceeds through a very simple but suggestive climax to point his closing moral—[See Page Image] and the converted but appeased lovers join in at his desire:—
As has already been remarked, Mozart took this phrase as the motto for his overture. It is introduced by a short andante, which, after two quick chords, begins with a tender motif for the oboe; this is interrupted by repeated chords, but starts again, whereupon first the bass, and then the full orchestra, give out the "Cosi fan tutte" as above, 58 and immediately lead into the presto which is to demonstrate the significance of the phrase. A short cursory phrase—rises in rapid crescendo for the violins through two octaves; and then all the parts, in syncopated rhythm—[See Page Image] THE OVERTURE—ENSEMBLES. seem to stop the way for some moments, only to give place to a light running passage—[See Page Image]
which the wind instruments take up by turns. These are the elements which in rapid and incessant alternation chase each other through the overture like feather balls tossed from hand to hand, until the merry game is interrupted by the phrase which gave birth to it: "Cosi fan tutte!" Again the crescendo rises to its highest pitch, and closes with a few powerful chords. The gay and wanton tone of the opera could scarcely be better suggested, the overture being in very truth the most perfect expression of careless gaiety. In the clear flow of its lively frolic we see some resemblance to the overture to "Figaro," but the deep, fine feeling which shines through the tumult of the earlier work would be out of place, and may be sought for in vain in the overture before us.
The characters presented to us in this opera lend themselves best to musical treatment when they join in ensemble pieces. 59 The definite situations give strength to the characterisation, which is further aided by the contrast of the persons concerned; and the dramatic motive adds variety and energy of expression. The sestet in the first act (13) is very simple in design, but effective from its well-placed contrasts and judicious climax. The introduction of the friends has a marchlike character. Don Alfonso recommends them to Despina's favour, and they add more lively entreaties, in accordance with their assumed characters; Despina's mirth COSÌ FAN TUTTE. is excited by the extraordinary figures before her, while they are delighted to find that she does not recognise them.
The action begins with the entrance of the two ladies. The urgent suit of the lovers is now opposed to the strong displeasure of the sisters, Despina making common cause with the former. The declaration of love is emphasised in an unusual fashion by the transition of the harmony into a minor key, 60 by the chromatic movement of the parts, and by the clarinet, bassoon, and violoncello accompaniment. The astonishment of the two ladies at first gives a painful tone to the expression, but as soon as they have recovered sufficiently to give vent to their indignation the situation changes. The lovers rejoice in silence over this proof of fidelity, while Despina and Don Alfonso affect to find some grounds for suspicion in the very violence of the resentment displayed by the sisters. The grouping of the characters is also changed. Fiordiligi and Dorabella, divided between anger at the intruders and the remembrance of their absent lovers, stand together; on the other side the lovers join issue, and Despina and Don Alfonso observe the course of affairs together; it is with right judgment that the two latter are put prominently forward, especially at the passage—[See Page Image] for they command the situation, and this passage throws a light upon the tumult and confusion which prevail. Mozart's temperate discrimination in the use of means has here again enabled him to mould all this into a musical whole of perfect unity. The situation of the first finale is nearly allied to this, but more vividly characterised in the details, and more elaborately worked out. It begins with a very amorous THE FIRST FINALE. duet for the forsaken fair ones, introduced by a long ritornello and worked out in independent style; a counterpart to the first duet, only that here the expression is naturally more fond and languishing. The sensual, dreamy mood thus represented is broken in upon by the harsh dissonances and disjointed rhythm of the poisoning scene, and ends with a pathetic ensemble and the swooning of the lovers. During the absence of Don Alfonso and Despina in quest of aid, a calmer tone is adopted, which grows gradually more animated as the sisters express their terror and anxiety, and the lovers their satisfaction at the state of affairs, and enjoyment of the comic scene in which they are playing the chief parts. But when the sympathy displayed by the ladies at the sight of their apparent sufferings gradually becomes so demonstrative that there seems some danger of pity being transformed to love, the tables are turned, the lovers begin to be anxious, and a state of painful suspense overmasters them all. At this point there occurs one of those deeper and more delicate psychological manifestations which Mozart so well knew how to render, and in which, as usual, the orchestra co-operates. At first, two characteristic motifs which go through the whole movement, a triplet figure—[See Page Image] and an interrupted one of quite a different character— combine together, but then there enter two others— to express the painful sensations of the poisoned lovers. The orchestra carries this idea out in manifold combinations, and thus affords a characteristic groundwork for the expressions of gradually augmenting compassion. The lovers, become suspicious, now express their anxiety, and they finally all concur in a distrustful uncertainty, plaintively COSÌ FAN TUTTE. rendered by imitative chromatic passages. The entertaining and truly comic element of the situation consists in the fact that the merry trick which Ferrando and Guillelmo hoped to play takes so doubtful a turn, and that the emotions, on both sides genuine, spring from quite other sources, and take quite different directions from those which are outwardly indicated. Mozart has seized the situation with ready humour, and, as usual, the right apprehension of the dramatic part of the work has improved the conception and treatment of the musical element; this movement is in every respect a masterpiece, and belongs to Mozart's most exquisite compositions. The scene changes completely with the entrance of the disguised physician, and the key of the dominant G major, following the close in C minor, makes the same impression of freshness as the introduction of an entirely new element. 61 All is now animation and life—question and answer are rapidly exchanged, help is asked for and given, and in the midst stands the charlatan playing out the farce with due solemnity, and infusing the whole scene with wit and humour.
After the completion of the pretended cure, the lovers again come to the foreground and express their passion in extravagant ravings; the reluctance of the ladies, in spite of Despina's and Don Alfonso's persuasions, again gives a comic tone to the situation, contributing to the production of an ensemble singularly rich in contrasting sentiments. The orchestra again serves as a groundwork, and an original and persistent violin figure gives the andante a strange, somewhat solemn character, with which the voices frequently contrast in a manner highly suggestive of the situation. The instrumentation also lends its aid. Not only are the stringed instruments here employed so differently to the preceding movement that they scarcely seem the same instruments; but, whereas oboes with flutes and bassoons THE SECOND FINALE. predominated in the former case, here clarinets and bassoons are reinforced by trumpets with highly original effect. The tone-colouring alters completely at the commencement of the allegro. The flutes in unison with the violins, and the tremolo quaver accompaniment, express a decree of sensual excitement which contrasts strikingly with the calm, exalted tone of the andante. The lovers awaking from their trance and demanding a kiss, the sisters are transported with an indignation far more intense than that excited by the first encounter. Don Alfonso and Despina seek to pacify them, and an unwilling suspicion that the very violence of the resentment argues against its absolute sincerity modifies in the minds of the lovers the comic impression of the whole scene. The dramatic characterisation of all these opposing elements, the well-defined grouping of the characters, the force and fire with which the climax is worked up, and the tumult of excited emotions with which the finale ends, give it a place above the corresponding first finale in "Figaro," and on a level with that in "Don Giovanni."
The second finale begins with the wedding ceremony, which is charmingly and graphically depicted. Despina, who is joined by Don Alfonso, gives directions to the servants for the reception of the bridal party, and the whole of the first movement sparkles with life and gaiety, preparing the way for the festive chorus in which the two couples are presently welcomed. Then follows the endearing talk of the lovers, who seat themselves at table, drink to each other, and finally join in an amorous canon. This is a trait taken from the social manners of the time (Vol. II., p. 362), just as the independent treatment of the wind instruments during the whole scene represents the customary table music. 62 A startling enharmonic transition (from A flat major to E major) transports us out of this lovesick mood, and the scene which follows with the notary is as full of humour as that with the physician, although the context COSÎ FAN TUTTE. necessitates greater moderation of tone; it is effectively interrupted by the distant chorus proclaiming the return of the warriors. The consternation and confusion which ensue have no real interest for the audience, who are aware of what the issue must be; the plot is therefore hurried rapidly to an end, and does not admit of any connected musical treatment. The composer has been forced to content himself with bringing out certain points, such as the feigned terror of Don Alfonso, the real alarm of the ladies, and the joyful greetings of the returning lovers. The situation becomes more piquant when Despina unmasks, and when the lovers discover themselves as the pretended Albanians; and Mozart has rendered both these points with true musical humour. But the purely musical interest does not reassert its sway until the reconciliation has taken place, and a feeling of peace and happiness is diffused around. The last movement more especially is full of such calm and melodious beauty that we feel lifted above the vanity and triviality of so much that has gone before, and left with an impression of heartfelt gaiety and satisfaction.
A nearer examination of the opera shows that the libretto, never rising above the ordinary opera buffa, has not seldom dragged the music down to its own level. The caricature and exaggeration indispensable to this species of comic drama have indeed been made by Mozart, as far as possible, the natural outcomes of the situations and characters, and are thus justified as an artistic element of the work, but he has not been able altogether to avoid the substitution of external stage devices for psychological truth. The attempt is more visible in this work than in any other to render the meaning of the words through the senses; the accompaniment is especially rich in detail-painting, instead of being, as in Mozart's other works, called upon to add the more delicate shades of emotional characterisation. In the duet between Guillelmo and Dorabella (23) the orchestra gives the heart-beats which are made the chief point of the words; in the lovely terzet (10) the raging of wind and waves, and in the preceding quintet (9) the sobs, are distinctly expressed. Even subordinate ideas are represented GENERAL CRITIQUE. after the same realistic manner, as, among others, the drawing of the swords in the first terzet, the flourish of trumpets and clinking of glasses in the third, the piping and cannon reports in the war chorus (8), the beating of the heart in Dorabella's air (28) suggested by the quavers on the oboe, and the general clinking of glasses in the last finale by the pizzicato of the violins. 63 These are all pleasing touches, introduced without injury to more important features, but they do not reach to the same height of psychological characterisation which we are wont to admire in Mozart's operas. Other devices of opera buffa are more constantly employed here than elsewhere, especially rapidity of speech; but, on the other hand, there is no trace of any attempt at imitating national peculiarities, even when the disguises assumed might have given rise to it; Mozart could not but feel that a musical disguise of the kind would very soon, fatigue the audience. The effort to cater to the taste of the public goes hand in hand with submission to the dictates of the singers, and we find their influence far more visible in "Cosi fan Tutte" than in "Figaro" or "Don Giovanni." There is an evident effort to please individual taste in the concerted airs, and in the unusually light and pleasing melodies; such concessions cause this opera, more than any other, to resemble the best works of Italian masters.
The peculiar qualities of Mozart's nature, his refinement and nobility of thought, his wealth of productivity, and his marvellous technical knowledge, are as distinctly marked in this opera as elsewhere. The planning, the construction, the grouping of parts, are so firm, so transparently clear, that we follow even the most complicated movements with ease. The freedom and pliancy of the disposition of parts, where there occurs a combination of different characteristic melodies, the easy dexterity displayed in the employment of contrapuntal forms, co-operate to excite and rivet the attention of the hearer, without causing him any sense of effort.
The quality, however, which delights us more than any other in this opera is its delicate sense of beautiful sound, and the ease with which this sense is made evident throughout. It is a quality, no doubt, inseparable from inventive power and a talent for construction, but it is not universally effective in the same degree, and it is rare to find such a union of the forces which regulate the impression made by musical beauty upon the senses. Even the orchestra, although deficient in the delicate detail of "Figaro" and "Don Giovanni," is in other respects fuller, more brilliant, and richer in separate instrumental effects. The wind instruments are brought more forward, in more varied combinations and finer shades of tone-colouring. The clarinets are made effective, and a characteristic distinction made between their employment and that of the oboes. An original use is made of the trumpets: apart from drums they are not trumpet-like in the ordinary sense, but are used in place of the horns (not in combination with them), and mostly in the lower registers, in order to give freshness and force to the tone-colouring. Similar observations might be extended to show in detail with what refined penetration and correct judgment of effect the forces of the orchestra are made to conduce to the euphonious charm of the opera. That "Cosi fan Tutte," considered as a whole, and in respect of importance and detail of characterisation, is inferior to "Figaro" and "Don Giovanni," no competent critic will deny. Nevertheless many separate portions of the work, and the large majority of the characters, display Mozart's genius and mastery of his art in full measure of originality and brilliancy, and in many respects this opera may be held to indicate an important step in advance of all that has gone before it.
THE accession of Leopold II. to the Imperial throne (March 13, 1790) was not an event of good omen for music and the opera. Up to the month of July he had not entered the theatre, nor had any private concerts, nor MOZART'S POSITION AT COURT, 1790. displayed any sort of partiality for music; his consort, the Empress Louise, visited the opera and laid claim to some musical knowledge, although she expressed herself dissatisfied with the state of music in Vienna; the young princes, too, were instructed in music. 1 The difference between Joseph and his successor in point of taste was very soon manifested by the reintroduction of ballets, and by the favour bestowed on opera seria as well as opera buffa. It was rumoured that a new court theatre was to be built, in which the boxes were to be arranged for card-playing, and that Salieri had determined in consequence to resign his post, which was to be filled by Cimarosa. 2 Those individuals who had enjoyed the esteem of Joseph had little favour to hope for from Leopold; a fact which soon became evident in matters theatrical. Count Rosenberg was removed from the management, which was intrusted to Count Ugarte; 3 Da Ponte and Madame Ferraresi fell into disfavour; 4 Salieri thought it advisable to retire from the conductorship of the opera, and his place was filled by Jos. Weigl, "that the master might be reverenced in the pupil." 5 Mozart had stood too high in the favour of Joseph to be able to expect much from Leopold II.; his candidature for the post of second kapellmeister was as little successful as his request to be honoured with the musical instruction of the princes. Proof positive of the low esteem in which he was held by the court was afforded to him on the occasion of the visit of King Ferdinand of Naples, who came to Vienna (September 14) with his Queen, Caroline, to celebrate the marriages of his daughters, Maria Theresa and Louise, with the Archdukes Francis and Ferdinand. Ferdinand's LABOUR AND POVERTY. two passions were music and the chase; 6 and the instrument which he most affected was the lute. In his honour a new opera by Weigl ("La Cafetiera Bizarra") was performed (September 15); 7 the Emperor made his first appearance at the opera with King Ferdinand, when Salieri's "Axur" was played (September 21); in honour of the weddings, open table was held in the great Redoutensaal, and a concert performed in the gallery under Salieri's direction, in which Cavalieri and Calvesi and the brothers Stadler took part, and a symphony by Haydn was performed which the King knew by heart, and sang out loud as it was played; Haydn was introduced to him, invited to Naples, and honoured with commands for compositions; 8 and all this time Mozart remained unnoticed, and was not even summoned to play before the King of Naples, a neglect which wounded him deeply. His condition was painful in the extreme; his wife's delicate health showed no signs of improving; and as his expenses increased his income gradually diminished. In May he had only two pupils, and was obliged to appeal to his friends to assist him in raising the number to eight. His continual and pressing embarrassments exhausted even the resources of his ever-generous friend Puchberg, and he was obliged to apply to money-lenders, and to embark in speculations which did but hasten his financial ruin (Vol. II., p. 301). The weight of these cares crippled his energies for work, as he himself complains, and no period of his life is so poor in artistic production as this year. His own catalogue contains, after the completion of "Cosi fan Tutte" in January, 1790, only:—
May. Quartet for two violins, viola and violoncello in B flat major (589 K.).
June. Quartet in F major (590 K.).
July. Handel's "Cecilia" and "Alexander's Feast," arranged (591, 592 K.).
EXPEDITION TO FRANKFORT, 1790.
In the hope of improving his circumstances, Mozart resumed his plan of taking a professional tour; the coronation of Leopold II. in Frankfort, on October 9, attracted a large number of strangers to that city, and seemed to render it a favourable place for the experiment. Salieri, as court kapellmeister, 9 Ign. Umlauf as his deputy, and fifteen chamber musicians, were sent to Frankfort among the retinue of the Emperor. 10 Mozart was not included among the number, and thus was deprived of the advantage of the imperial patronage. On September 23 he set off, after pawning his silver plate to defray the expenses of his journey (Vol. II., p. 301) in company with his brother-in-law, the violinist Hofer, whom he took with him out of compassion, and with the intention of sharing the expected profits together; they travelled in their own carriage, and, arriving in Frankfort on the 23rd, had considerable difficulty in finding a lodging, owing to the overflow of strangers into the town. On October 14, at noon, Mozart gave a concert in the Stadt-theater. 11 The contrabassist Ludwig, long since dead, who took part in the concert, used to tell how the piano stood upon the stage, and how during the rehearsal the restless, agile little man was continually leaping over the prompter's box into the orchestra to chat in a friendly way with the various performers, and then climb back again on to the stage. Mozart's own compositions were exclusively performed at this concert; he played the concertos in F major (459 K.) and D major (537 K.). Margarethe Hamel, afterwards Frau Schick, was the vocalist, and so charmed Mozart by her voice and delivery that he is said to have exclaimed repeatedly: "I never wish to hear any other singing LABOUR AND POVERTY. than this." 12 It is also said that he played a pianoforte concerto as a duet with old "Papa Beecké" (Vol. I., pp. 151,368), whom he met again here. 13 He acquaints his wife with the friendly reception accorded him, and tradition has it that he struck up a friendship with the concertmeister Hoffmann, and generally spent the evening with him at Gran's tavern in the Bleidenstrasse. Hesse became acquainted in Frankfort, as he tells us, 14 with an old superannuated organist of the Katharinenkirche, who in 1790 had been the pupil of his predecessor; the old man said:—
One Sunday, after service, Mozart came into the choir at St Katharine's, and begged the old organist to allow him to play something. He seated himself on the stool and gave the reins to his fancy, when the organist suddenly pushed him off the stool in the rudest manner, and said to the pupil standing by: "Mark that last modulation which Herr Mozart made; how can he profess to be a musician and commit such grave offences against correct composition?"
The pupil had remembered the modulation, and Hesse thought it a fine one, and not even unusual.
From Frankfort Mozart proceeded to Mayence. Here rumour assigned him a touching love intrigue, which was supposed to have suggested the song "Io ti lascio," the said song having been in reality composed by Gottfried von Jacquin in Vienna, and not by Mozart at all (Vol. II., p. 361). On his way back to Frankfort, Mozart stayed at Mannheim, and renewed the memory of former days with as many of the old friends as still survived. He arrived just in time for the first performance of his "Figaro," which took place on October 24. The actor Backhaus notes in his Tagebuch der Mann-heimer Schaubühne: "I got into great disgrace with Mozart. I was standing at the door while our rehearsal was going on. He came and asked me about it, and whether he might hear it. I took him for a little journeyman tailor, and refused to let him in. 'You will surely allow Kapellmeister Mozart to hear the rehearsal?' So I was in a scrape most decidedly." 15
RETURN JOURNEY TO VIENNA, 1790.
The late organist of the Trinitatiskirche, Schultz, delighted as an octogenarian to recall how Mozart, who visited his father and played the organ with him, censured the slow tempi of the Kapellmeister Fränzel at the rehearsal in the theatre, and gave it himself with more animation. Otherwise, Mozart pronounced himself highly satisfied with the cast and the performance. 16
At Munich, where Mozart arrived on October 29, and took up his quarters with his old friend Albert, 17 he found still more of the old set, and his letters to his wife show the pleasure he took in their society. Here at last he had the gratification of being requested by the Elector to play at the concert which was given at court to the King of Naples, who was staying at Munich for two days 18 on his return journey from Frankfort. "Highly creditable to the Vienna court," he writes, "that the King should hear me in a foreign country." Shortly after Mozart's return to Vienna Salomon arrived from London, and made what might at that time be considered brilliant proposals to Haydn to accompany him to England, and produce that series of compositions for the Philharmonic Society which were destined to lay the foundation of Haydn's fame and prosperity. Salomon made repeated propositions to Mozart also to undertake the journey to London under similar conditions, as soon as Haydn should return. It was with a heavy heart that Mozart bade adieu to his dear "Papa Haydn," the only artist in Vienna who really understood him and wished him well.
It may safely be asserted that Mozart did not return to Vienna with a full purse, nor did his other financial operations secure for him that for which he so touchingly expresses to his wife his ardent longing: a mind free from anxiety, and permission to work—only to work. He did work, though, LABOUR AND POVERTY. after his return, and the last year of his life displays an activity which passes belief. His own list contains:—
1790. December. A quintet for two violins, two violas, and violoncello D major (593 K.).
1791. January 5. A pianoforte concerto, B flat major (595 K.).
January 14. Three German songs (596 K.).
January 23, 29; February 5, 12, 28; March 6. Dances (599-607, 609-611 K.).
March 3. A piece for clockwork, in F minor (608 K.).
March 8. A bass air with obbligato double-bass, for Hrn. Görl and Pischlberger, "Per questa bella mano" (612 K.). Variations for the piano on the song "Ein Weib ist das herrlichste Ding" (613 K.).
April 12. A quintet for two violins, two violas, and violoncello, in E flat major (614 K.).
April 20. Final chorus in the opera "Le Gelosie Villane," by Sarti, for amateurs, "Viviamo felici in dolce contento" (615 K., unknown).
May 4. Andante for a waltz on a small barrel-organ, in F major (616 K.).
May 23. Adagio and Rondo for harmonica, flute, oboe, viola and violoncello in C minor (617 K.).
June 18. In Baden "Aveverum corpus" (618 K.).
July. A short German cantata for solo voice and pianoforte, "Die ihr des unermesslichen Weltalls Schopfer" (619 K.).
A glance at this catalogue is sufficient to prove that he wrote whatever he was requested, either by commission or to please his friends.
For his own playing, no doubt at a concert, he wrote the pianoforte concerto in B flat major, which like most of the compositions of this period, is distinguished by its mild and earnest tone and charming euphony. The two fine quintets for stringed instruments were written "at the earnest solicitation of a musical friend" (Vol. III., p. 18) who was no doubt acquainted with Mozart's poor circumstances, and wished to afford him a worthy opportunity of turning his art to account. The spirit in which Mozart undertook commissions which were often of a very subordinate nature may be best seen in his composition for a mechanical timepiece which was ordered by Count Deym for Müller's art-collection, then attracting great attention. The serious temper which it displays, and BADEN, 1791—STOLL. the thoroughly technical treatment of the composition, betray no evidence of a work merely done to order. Another occasional composition is the beautiful chorus with stringed quartet accompaniment, "Ave verum corpus." Mozart's wife was staying at Baden for the waters in the summer of 1790, and again in 1791, in company with her sister Sophie. There Mozart became acquainted with the schoolmaster and choirmaster Stoll, an ardent admirer, who took pleasure in making himself useful to Mozart and his wife. That Stoll could appreciate the fun of Mozart, in his unrestrained moods, is shown by the superscription of a note (July 12, 1791)—