Life of Mozart, Vol. 3 by Otto Jahn

THE success of "Figaro" did not materially improve Mozart's position in Vienna. He lived, it is true, in very pleasant intercourse with a large circle of friends, especially with the members of the Jacquin family (Vol. II., p. 357), but the necessity he was under of earning his living as a music teacher and virtuoso was very galling to him. "You happy man!" said he to Gyrowetz, who was setting out on a journey to Italy; "as for me, I am off now to give a lesson, to earn my bread." 1 A glance at the Thematic Catalogue of his compositions succeeding "Figaro" shows that they were probably suggested by his position as a teacher and in musical society:—

1786. June 3. Quartet for piano, violin, viola, and violoncello, in E flat major (493 K.).

August 19. Quartet for two violins, viola, and violoncello, in D major (499 K.).

November 18. Terzet for piano, violin, and violoncello, in B flat major(502 K.).

December 27. Scena con rondo with pianoforte solo, for Mdlle. Storace and myself, in E flat major (505 K.).

We cannot wonder that he turned a willing ear to the entreaties of his English friends, that he would leave Vienna in the autumn of 1786 (his wife having presented him on October 27, 1786, with their third son, Leopold, who died the following spring) and visit England; this plan was seriously considered, and only abandoned upon his father's strong opposition to it (Vol. II., p. 274). There soon after reached him an invitation from another quarter, giving still greater prospect of success and encouragement. "Figaro" made its way but slowly to most of the other great towns of Europe, 2 but in Prague, where the "Entführung" had left a very pleasing impression, it was performed at once, and with the greatest success.

The national taste for music which early distinguished MUSIC IN BOHEMIA. the Bohemians, and which they retain to the present day, arrived at a high stage of development during the last century. 3 The zealous attention bestowed upon church music both in town and country, and the cultivated taste of the nobility, gave to talent an easy recognition, and no available forces, either vocal or instrumental, were suffered to remain in neglect. It was the "custom and obligation" for every head of a school to write at least one new mass during the year, and to perform it with his scholars. Any youth who distinguished himself was placed in an institution where he was able to continue his musical education; there was no lack of patrons ready to support him until he found a situation in the musical establishment of a prince, a prelate, or a monastery. 4 "The families of Morzini, Hartiggi, Czemini, Mannsfeldi, Netolizki, Pachta, &c., were the patrons of many young men; they took them from the village schools on their territories and brought them to the capital to swell the ranks of their private musical establishments; they wore a livery, and formed part of their retinue of servants. Riflemen were not allowed to wear a uniform until they could blow the bugle perfectly. Many noble families in Prague required their livery servants to have a knowledge of music before being considered competent for service." Under these circumstances, music and all connected with it must have been held in high estimation at Prague, where the aristocracy were wont to congregate during the winter. A permanent Italian opera, especially intended for opera buffa, was founded by Bustelli, who had also obtained a license in Dresden in 1765. From that time until 1776 he gave performances at both places with a select MOZART IN PRAGUE. company, and acquired great fame thereby. 5 His successor was Pasquale Bondini, who afterwards gave performances in Leipzig during the summer, 6 and who was able to uphold the ancient fame of the Italian opera in Prague. First-rate artists, such as Jos. Kucharz and Jos. Strobach were engaged as operatic conductors; and other distinguished musicians were engaged, as, for instance, Joh. Kozeluch (a relation of Mozart's opponent living in Vienna, Leopold Kozeluch), Wenzel Praupner, Vincenz Maschek, &c. There was, however, one artistic couple in Prague of peculiar interest from their influential position and their intimate friendship with Mozart. These were the Duscheks, whose name we have already had frequent occasion to mention. 7

Franz Duschek (born 1736 in Chotinborek), while still a poor peasant lad, attracted the notice of his feudal lord, Count Joh. Karl von Spork, by his uncommon talent. He was first sent to study at the Jesuit seminary at Königgràtz, but being obliged to give up study owing to an unfortunate accident, he devoted himself entirely to music, and was sent by the Count to Vienna, where he was educated into an accomplished piano-forte-player by Wagenseil. 8 As such he had long held the first rank in Prague, and not only did much by his excellent teaching to advance the art of pianoforte-playing, but exercised a decided and beneficial influence on musical taste in general. He was universally esteemed as an honest and upright man, and his influence with distinguished connoisseurs made him a powerful patron of foreign artists visiting Prague. His hospitable house formed a meeting-point both for foreign and native talent, and concerts were regularly given there on certain days in the week. The animating spirit at all these meetings was Duschek's wife Josepha (neé Hambacher), 9 who had received her musical education from MADAME DUSCHEK. him. She played the pianoforte well enough to pass for a virtuoso, and made some not unsuccessful attempts as a composer; but her forte lay in singing. Her beautiful, full, round voice was admired equally with her delivery, which was especially fine in recitative; she accomplished the most difficult bravura passages with perfect ease, without neglecting the effect of a perfect portamento; she united fire and energy with grace and expression—in short, she maintained in every respect her claim to be ranked with the first Italian singers of her time. This claim was not, it is true, acknowledged by Leopold Mozart; when she was in Salzburg with her husband, in 1786, he wrote to his daughter (April)—

Madame Duschek sang; but how? I cannot but say that she shrieked out an air of Naumann's with exaggerated expression, just as she used to do, only worse. Her husband is answerable for this; he knows no better, and has taught her, and persuades her that she alone possesses true taste.

Her appearance did not please him either. "She seems to me to show signs of age already," he writes (April 13); "she has rather a fat face, and was very carelessly dressed." Schiller's unfavourable remarks upon her in Weimar, where she was in May, 1788, are quite in accordance with this. 10 She displeased him by her assurance (Dreistigkeit)—he would not call it impudence (Frechheit)—and her mocking manner, which caused the reigning Duchess to observe that she looked like a discarded mistress. 11 By favour of the Duchess Amalie she was allowed to give three concerts for the display of her talent and the general edification; Korner answers Schiller's account of her: 12 —

The Duchess is not so wrong in what she said of her. She did not interest me very greatly. Even as an artist, I consider her expression caricatured. Gracefulness is, in my estimation, the chief merit of song, and in this she seems to me entirely wanting.

Reichardt, who became acquainted with the Duscheks in 1773, 13 writes in 1808 from Prague: 14 —

I have found a dear and talented friend of those happy youthful days in Madame Duschek, who retains her old frankness and love for all that is beautiful. Her voice, and her grand, expressive delivery, have been a source of true pleasure to me,

She was a true friend also to Mozart. In 1777 the Duscheks were in Salzburg, where they had family connections who were acquainted with the Mozarts. Wolfgang took great pleasure in the society of the young lively singer, and if she showed a disposition to hold aloof from Salzburg folk in general, he too was "schlimm," as he called it, in this respect. Of course he composed several songs for her (Vol. I., p. 234). The Duscheks discovered Wolfgang's uncomfortable position in Salzburg; and the intelligence that he intended shortly to leave the town drew from them, his father says (September 28, 1777), expressions of the warmest sympathy. They begged Wolfgang, whether he came to Prague then or at any other time, to rely upon the most friendly welcome from them. In the spring of 1786 they came to Vienna, and were witness of the cabals against which Mozart had to contend before the performance of his "Figaro." They were quite able to judge for themselves what the opera was likely to be, and after the success which had attended the performance of the "Entführung" in Prague they found no difficulty in rousing interest there in the new opera:—

"Figaro" was placed upon the stage in 1786 by the Bondini company, and was received with an applause which can only be compared with that which was afterwards bestowed on the "Zauberflote." It is a literal truth that this opera was played almost uninterruptedly during the whole winter, and that it completely restored the failing fortunes of the entrepreneur. The enthusiasm which it excited among the public was unprecedented; they were insatiable in their demands for it. It was soon arranged for the pianoforte, for wind instruments, as a quintet for chamber music, and as German dance music; songs from "Figaro" PERFORMANCE OF "FIGARO." were heard in streets, in gardens; even the wandering harper at the tavern-door was obliged to strum out "Non più andrai" if he wanted to gain any audience at all. 15

Fortunately this enthusiastic approbation was turned to the profit of the one whom it most concerned. Leopold Mozart wrote to his daughter with great satisfaction (January 12, 1787):—

Your brother is by this time in Prague with his wife, for he wrote to me that he was to set out last Monday. His opera "Le Nozze di Figaro" has been performed there with so much applause that the orchestra and a number of connoisseurs and amateurs sent him a letter of invitation, together with some verses that had been written upon him.

He conjectured that they would take up their abode with Duschek, whose wife was absent on a professional journey to Berlin; but a greater honour was in store for them. Count Johann Joseph Thun, one of the noblest patrons of music in Prague, had placed his house at Mozart's disposal. He accepted the offer gladly, and on his arrival at Prague, in 1787, he found the public enthusiastic for his music, and well-disposed towards himself. The account which he addressed to Gottfried von Jacquin (January 15, 1787) is written in the highest spirits:—

Dearest Friend!—At last I find a moment in which to write to you; I intended to write four letters to Vienna immediately on my arrival, but in vain! only a single one (to my mother-in-law) could I attempt, and that I only wrote the half of; my wife and Hofer were obliged to finish it. Immediately upon our arrival (Thursday, the 11th, at noon) we had enough to do to be ready for dinner at one. After dinner old Count Thun regaled us with music performed by his own people, and lasting about an hour and a half. I can enjoy this true entertainment daily. At six o'clock I drove with Count Canal to the so-called Breitfeld Ball, where the cream of Prague beauty are wont to assemble. That would have been something for you, my friend! I think I see you after all the lovely girls and women—not running—no, limping after them. I did not dance, and did not make love. The first because I was too tired, and the last from my native bashfulness; but I was quite pleased to see all these people hopping about to the music of my "Figaro" turned into waltzes and country dances; nothing is talked of here but MOZART IN PRAGUE. "Figaro," no opera is cared for but "Figaro," always "Figaro"—truly a great honour for me. Now to return to my diary. As I returned late from the ball, and was tired and sleepy from my journey, it was only natural that I should sleep long; and so it was. Consequently the whole of the next morning was sine linea; after dinner we had music as usual; and as I have a very good pianoforte in my room, you can easily imagine that I did not allow the evening to pass without some playing; we got up a little quartet in caritatis camera (and the "schone Bandl hammera," [Vol. II., p. 362] ) among ourselves; and in this way the whole evening again passed sine linea. I give you leave to quarrel with Morpheus on my account; he favoured us wonderfully in Prague; why, I cannot tell, but we both slept well. Nevertheless, we were ready at 11 o'clock to go to Pater Unger, and to give a passing glance at the Royal Library and at the Seminary. After we had looked our eyes out, we felt a small menagerie in our insides, and judged it well to drive to Count Canal's to dinner. The evening surprised us sooner than you would believe, and we found it was time for the opera. We heard "Le Gare Generose" (by Paesiello). As to the performance, I can say little, for I talked all the time; the reason I did so, against my usual custom, must have been because—but basta—this evening was again spent al solito. To-day I am fortunate enough to find a moment in which to inquire after your welfare and that of your parents, and of the whole family of Jacquin. Now farewell; next Friday, the 19th, will be my concert at the theatre; I shall probably be obliged to give a second, and that will lengthen my stay here. On Wednesday I shall see and hear "Figaro"—at least if I am not deaf and blind by that time. Perhaps I shall not become so until after the opera.

At the performance of "Figaro" Mozart was received by the numerous audience with tumultuous applause; he was so pleased with the representation, especially with the orchestral part of it, that he expressed his thanks in a letter to Strobach, who conducted it. The Prague orchestra was not strongly appointed, 16 nor did it shine through the names of celebrated virtuosi; but it contained clever and well-schooled musicians, full of fire and of zeal for what was good—the best guarantee of success. Strobach often asserted that he and his orchestra used to get so excited by "Figaro" that, in spite of the actual labour it entailed, they would willingly have played it all over again when they came to the end. 17

The theatre was never so full, and delight was never so strongly and unanimously roused as by his divine playing. We scarcely knew which to admire most, his extraordinary compositions or his extraordinary playing; the two together made an impression on our minds comparable only to enchantment. 18

We have already given an account of the enthusiasm excited by Mozart's extemporising (Vol. II., p. 438); the other compositions which he performed were all loudly applauded, especially the lately written symphony in D major. The pecuniary gain corresponded to the warmth of this reception, and Storace was able to announce to L. Mozart that his son had made 1,000 florins in Prague. The social distractions which Mozart describes so graphically to his friend appear to have continued; at least, he accomplished no musical work except the country dances which he improvised for Count Pachta (510 K.; Vol. II., p. 436), and six waltzes (509 K.), composed for the grand orchestra, probably for a similar occasion (February 6, 1787). 19 When, however, in the joy of his heart Mozart declared how gladly he would write an opera for an audience which understood and admired him like that of Prague, Bondini took him at his word, and concluded a contract with him by which Mozart undertook to compose an opera by the beginning of the next season for the customary fee of one hundred ducats. 20

CHAPTER XXXVIII. "DON GIOVANNI."

MOZART had been so well satisfied with Da Ponte's libretto for "Figaro" that he had no hesitation in intrusting the new libretto to him, and immediately on his return to Vienna they consulted together as to the choice of subject. Da Ponte, fully convinced of the many-sidedness of Mozart's genius, proposed "Don Giovanni," and Mozart at once agreed to it. Da Ponte relates, 1 with an amusing amount of swagger, that he was engaged at one and the same time on "Tarar" for Salieri, on the "Arbore di Diana" for Martin, and on "Don Giovanni" for Mozart. Joseph II. made some remonstrance on this, to which Da Ponte answered that he would do his best; he could write for Mozart at night and imagine himself reading Dante's "Inferno"; for Martin in the morning, and be reminded of Petrarch; and in the evening for Salieri, who should be his Tasso. Thereupon he set to work, a bottle of wine and his Spanish snuffbox before him, and his hostess's pretty daughter by his side to enact the part of inspiring muse. The first day, the two first scenes of "Don Giovanni," two scenes of the "Arbore di Diana," and more than half of the first act of "Tarar" were written, and in sixty-three days the whole of the first two operas and two-thirds of the last were ready. Unfortunately we have no certain information either of the share taken by Mozart in the construction of the text, nor of the manner in which his composition was carried on. The warmth of his reception at Prague made the contrast of his position in Vienna all the more galling to him. On the departure of Storace, Kelly, and Attwood for England, in February, 1787, he had seriously entertained the idea of following them as soon as they had found a situation worthy of his acceptance VIENNA, 1787—DITTERSDORF. in London. The bass singer Fischer, who was visiting Vienna, 2 wrote in Mozart's album on April 1, 1787, the following verses, more well-meaning than poetical:—

     Die holde Göttin Harmonie Der Tone und der Seelen,
     Ich dächte wohl, sie sollten nie
     Die Musensöhnen fehlen,
     Doch oft ist Herz und
     Mund verstimmt;
     Dort singen Lippen Honig,
     Wo doch des Neides Feuer glimmt—
     Glaub mir, es gebe wenig Freunde die den
     Stempel tragen Echter Treu, Rechtschaffenheit.

The lines throw a light on Mozart's relations to his fellow-artists, and the hint contained in Barisani's album verses, written on April 14, 1787, that the Italian composers envied him his art (Vol. II., p. 306), leaves no doubt as to whose envy, in the opinion of himself and his friends, he had to dread. A musical connoisseur, visiting Vienna on his return from Italy in the spring of 1787, 3 found everybody engrossed with Martin's "Cosa Rara," which, Storace's departure having rendered its performance in Italian impossible, was being played in a German adaptation at the Marinelli theatre with success. Dittersdorfs success in German opera had also the effect of throwing Mozart completely into the shade.

Dittersdorf (1739-1799) 4 came to Vienna during Lent, 1786, 5 to produce his oratorio of "Job" at the concerts of the Musical Society, and he afterwards gave two concerts in the Augarten, at which his symphonies on Ovid's "Metamorphoses" were performed. The genuine success of these compositions led to his being requested to write a German opera. Stephanie junior, theatrical director at the time, provided him with the incredibly dull libretto of the "Doctor und Apotheker," which was played for the first DON GIOVANNI. time on July 11, 1786, and twenty times subsequently during the year. That which had not been attained by the success of the "Entführung," happened in this case. Dittersdorf was at once requested to write a second opera, "Betrug durch Aberglauben," which was performed on October 3, 1786, with not less applause than the first; it was followed by a third "Die Liebe im Narrenhause," also very well received on April 12, 1787. On the other hand, an Italian opera by Dittersdorf, "Democrito Corretto," first performed on January 2, 1787, was a complete failure. Dittersdorf's brilliant triumph over such composers as Umlauf, Hanke, or Ruprecht, is not to be wondered at; his operas rapidly spread from Vienna to all the other German theatres, and he acquired a popularity far in excess of most other composers. 6 True merit was undoubtedly at the bottom of this; he was skilful in appropriating the good points both of opera buffa and of French comic opera, and his finales and ensemble movements are specially happy in effect; he was not only thoroughly experienced in the management of voices, but, being a fertile instrumental composer, he had learnt from the example and precedent of Haydn to employ his orchestra independently, and with good effect. His easy flow of invention furnished him with an abundance of pleasing melodies, a considerable amount of comic talent showed itself in somewhat highly flavoured jokes, and his music had an easy-going, good-tempered character, which, though often sinking into Philistinism, was, nevertheless, genuinely German. Far behind Grétry as he was in intellect and refinement, he decidedly excelled him in musical ability. Life and originality were incontestably his, but depth of feeling or nobility of form will be sought for in vain in his works. Each new opera was a mere repetition of that which had first been so successful, affording constant proof of his limited powers, which were rightly estimated by some of his contemporaries. 7 Joseph II. COMPOSITIONS IN 1787. shared the partiality of the public for Dittersdorf's lighter style of music, and rewarded him munificently when he left Vienna in the spring of 1787. But the Emperor took no real interest in German opera—the company received their dismissal in the autumn of 1787, and the performances ceased in February, 1788. 8

Mozart's autograph Thematic Catalogue contains few important works between his return to Vienna and his second journey to Prague:—

April 19. Quintet for two violins, two violas, and violoncello, C major (Vol. III., p. 19) (515 K.).

These were probably all composed for social or teaching purposes; even the two quintets, which are worthy of the first rank, were no doubt written to order for a particular musical circle. Nor were these compositions to the taste of the Viennese public of the day. The traveller already mentioned notes as follows: 9 —

Kozeluch's works hold their ground, and are always acceptable, while Mozart's are not by any means so popular. It is true; and the fact receives fresh confirmation from his quartets dedicated to Haydn, that he has a decided leaning to what is difficult and unusual. But on the other hand, how great and noble are his ideas—how daring a spirit does he display in them!

The amount of industry with which Mozart worked at "Don Giovanni" is unknown to us. We may conclude that, if he followed his usual habit, he plunged eagerly into his new libretto at first, and afterwards procrastinated over DON GIOVANNI. the actual transcription of his ideas. The received tradition represents him as bringing the unfinished opera to Prague in September, 1787, 10 and completing it, incited by intercourse with the intended performers and the stimulating society of his enthusiastic friends and admirers. 11 The impresario, who was bound to provide accommodation for the composer until after the performance, had lodged Mozart in a house, "bei drei Löwen" (on the market-place). 12 He preferred, however, the vineyard of his friend Duschek at Kossir (Kosohirz); and the summer-house and stone table are still shown at which he used to sit writing his score, with lively talk and bowl-playing going on round him. 13 All such stories as those of the delicate diplomacy with which Mozart apportioned the several parts to the satisfaction of the performers, of his having been obliged to appease L. Bassi, indignant at Don Giovanni having no proper grand air to sing; of his having composed "La ci darem la mano" five times before he could satisfy the singers, 14 repose on the same foundation as those of his PERFORMANCE IN PRAGUE, 1787. love-making with the female performers. 15 As to this, we know his relations with the Duscheks; Teresa Saporiti is said to have expressed her surprise that so great an artist should be so insignificant in appearance; whereat Mozart, touched on his weakest point, diverted his attentions from her and bestowed them on Micelli or Bondini—there were no other female artists in Prague at that time. We are unfortunate in having no information as to the influence exerted on the details of the composition by the idiosyncracies of the singers and other circumstances. Two anecdotes obtained credence at the time, both relating to the rehearsals for which Da Ponte had also come from Vienna; 16 he was lodged at the back of the inn "Zum Platteis," and the poet and composer could converse with each other from their respective windows.

In the finale of the first act Teresa Bondini as Zerlina failed to utter the cry for help in a sufficiently spontaneous manner. After many vain attempts, Mozart went himself on to the stage, had the whole thing repeated, and at the right moment gave the singer so unexpected and severe a push that she shrieked out in alarm. "That's right," he exclaimed, laughing, "that is the way to shriek!" The words of the Commendatore in the churchyard scene were originally, it is said, accompanied only by the trombones. The trombone-players failing to execute the passage, Mozart went to the desk, and began to explain how it might be done, whereupon one of them said: "It cannot be played in that way, nor can even you teach us how to do it." Mozart answered, laughing: "God forbid that I should teach you to play the trumpet; give me the parts, and I will alter them." He did so accordingly, and added the wood wind instruments. 17

A good omen for the reception of the new opera was afforded by a brilliant performance of "Figaro" on October 14, 18 under Mozart's direction, in honour of the bride of Prince Anton of Saxony, the Archduchess Maria Theresa of Toscana, who was passing through Prague on her wedding tour. 19 Nevertheless, Mozart himself felt far from secure of the success of "Don Giovanni"; and after the first rehearsal, while taking a walk with the orchestral conductor Kucharz, he asked him in confidence what he thought of the opera, and whether it was likely to achieve so decided a success as that of "Figaro." Kucharz answered that he could entertain no doubt of the success of such fine and original music, and that anything coming from Mozart would meet with ready recognition from the Prague public. Mozart declared himself satisfied with such an opinion from a musician, and said he was ready to spare neither pains nor labour to produce a work worthy of Prague. 20

Thus approached the day of performance, October 29 (not November 4), 1787; and on the previous evening the overture was still unwritten, to the great consternation of Mozart's assembled friends. We have already told (Vol. II., p. 414) how he parted late from the merry company, and sat down to write with a glass of punch before him, and his wife telling him stories by his side; how sleep overcame him, and he was obliged to lie down for several hours before completing his task; and how the copyist was sent for at seven o'clock in the morning, and the overture was ready at SUCCESS IN PRAGUE

the appointed time. 21 There was barely time to write out the parts before the beginning of the opera, which indeed was somewhat delayed on this account. The well-drilled and inspired orchestra played the overture at sight so well that, during the introduction to the first act, Mozart observed to the instrumentalists near him: "Some of the notes fell under the desks, it is true, but the overture went capitally upon the whole." The success of the first representation was brilliant. The theatre was full to overflowing, and Mozart's appearance as conductor at the piano was the signal for enthusiastic clapping and huzzas. The suspense with which the overture was awaited found vent in a very storm of applause, which accompanied the opera from beginning to end. The cast of this performance was as follows:—[See Page Images]

The performance, though not including any virtuosi of the first rank or fame, was considered an excellent one; the inspiring influence of the maestro and the elevated mood of the public united to induce the performers to put forth all their powers, and stimulated them to extraordinary efforts. Guardasoni, who was associated with Bondini in the management of the theatre, 22 was so delighted with the success of DON GIOVANNI. the opera that he announced it to Da Ponte (who had been obliged to hurry back to Vienna to put "Axur" upon the stage) in the words: "Evviva Da Ponte, ewiva Mozart! Tutti gli impresari, tutti i virtuosi devono benedirli! finchè essi vivranno, son si saprà mai, cosa sia miseria teatrale." 23 Mozart also communicated to' Da Ponte the happy result of their joint labours, and wrote to Gottfried von Jacquin (November 4, 1787):—

Dearest Friend,—I hope you have received my letters. On October 29, my opera, "Don Giovanni," was put in scena, with the most unqualified success. Yesterday it was performed for the fourth time, for my benefit.

I intend to leave here on the 12th or 13th, and as soon as I arrive in Vienna you shall have the airs to sing. N.B.—Between ourselves—I only wish my good friends (particularly Bridi and yourself) could be here for a single evening to share in my triumph. Perhaps it will be performed in Vienna. I hope so. They are trying all they can here to persuade me to remain two months longer, and write another opera; but flattering as the proposal is, I cannot accept it. 24

Mozart met with constant and unequivocal proofs of esteem on all sides during his visit to Prague; an esteem, too, not of mere fashion or prejudice, but founded on a genuine love of art; he gave himself up unreservedly to the pleasure afforded him by intercourse with his friends and admirers; and many of these retained long after, as Niemet-schek says (p. 93), the memory of the hours passed in his society. He was as artless and confiding as a child, and overflowing with fun and merriment; it was difficult for SONG FOR MADAME DUSCHEK, 1787. strangers to realise that they were in the society of the great and admired artist.

Mozart had promised his friend, Madame Duschek, that he would compose a new concert air for her; as usual, however, he could not be brought to the point of transcribing it. One day she locked him into a summer-house on the Weinberg, and declared she would not let him out until he had finished the air. He set to work at once, but having completed his task, retorted that if she could not sing the song correctly and well at first sight, he would not give it to her. 25 In truth, the words: "Quest' affanno, questo passo è terribile," in the andante of this song ("Bella mia fiamma," 528 K., part 2) are rendered after a highly characteristic manner; and the intervals for the voice, not easy in themselves, become, by their harmonic disposition, a severe test of pure and correct intonation. Altogether, this is one of the most beautiful of Mozart's concert airs; it makes no great claims on the singer's powers of execution, but it requires a soprano voice of considerable compass and power, and a grand and expressive delivery. It is interesting to observe how this song, animated and energetic as it is in expression, yet differs essentially from the properly dramatic music of "Don Giovanni." Unconnected with any plot, and not designed for the stage, the situation adopts a modified character, the concert singer being in a totally different position from the actor; and the form in which the composer clothes his conception is suitably modified also. On November 15, 1787, immediately after Mozart's return to Vienna, Gluck died; and the success of "Don Giovanni" in Prague may have contributed to induce Joseph II. to retain Mozart in Vienna by appointing him Chamber-Musi-cian (Kammermusikus) on December 7, 1787. For the present, however, there was no prospect of a performance of "Don Giovanni" in Vienna.

Salieri had produced his opera of "Tarar" in Paris, in June, 1787, Beaumarchais having spared no pains to create DON GIOVANNI. an effect by a lively and exciting plot, by lavish decorations and costumes, and by political and philosophical allusions. The public was at first somewhat disappointed, and the music was considered inferior to that of the "Danaides," produced in 1774; but the extraordinary piece made in the end a great effect, and attracted large audiences. 26 The Emperor was exceedingly pleased with the music, and commissioned Da Ponte to prepare Italian words for it upon the occasion of the marriage of the Archduke Francis with the Princess Elizabeth. This Italian opera of "Axur" retained only the groundwork of the original, both the words and the music being completely remodelled. Da Ponte gave fresh proof of his dexterity, and Salieri, finding his task far more congenial than before, did not grudge the trouble of recomposition. 27 On January 8, 1788, the Festival opera "Axur" was performed as a "Freispektakel," the betrothal of the distinguished pair by the Archduke Maximilian having taken place on January 6. 28 At first the audience were somewhat taken aback by the traces of the French "Tarar" in the Italian "Axur," but very soon they felt the lively, brilliantly appointed plot, and the freer development of musical forms to be additional charms bestowed on the essentially Italian music. Several representations, following in quick succession, increased the favour in which this opera came to be held in Vienna, 29 especially by the Emperor Joseph, 30 and very soon on every stage in Germany. 31

The present, therefore, was no time for "Don Giovanni." Mozart catered for the amusement of the Viennese by the dances (534-536 K.), which he wrote in January, 1788, for the balls in the Redoutensaale, and he indulged his patriotic feelings by a song on the Turkish war, which Baumann sang at the theatre in the Leopoldstadt (539 K.). He PERFORMANCE IN VIENNA, 1788. appears also to have given a concert during Lent, for which he wrote his pianoforte concerto in D major (537 K.). But Joseph II. commanded the production of "Don Giovanni," and there was no more to be said; it was given on May 7, 1788, 32 and was a failure. Everybody, says Da Ponte, 33 except Mozart, thought it a mistake; additions were made, airs were altered, but no applause followed. Nevertheless Da Ponte took Mozart's advice, and had the opera repeated several times in quick succession, so that people grew accustomed to what was unusual, and the applause increased with every representation. 34 The cast of the opera in Vienna was as follows:—[See Page Image]

There was no reason, as will be acknowledged, to ascribe the tardy success of "Don Giovanni" to the inferiority of its performance. 35 Da Ponte appears also to have DON GIOVANNI. exaggerated with respect to the frequent alterations. Mozart's Thematic Catalogue contains three pieces for insertion written before the first performance (April 24, 28, 30) and incorporated in the book of words. 36 Mdlle. Cavalieri, of whom it was said at the time 37 that, deserving to be placed in the first rank of Italian singers, and almost deified as she was in Italy, not a word in her praise was ever uttered in Vienna, insisted on having a grand scena in the part of Elvira, in order to maintain her reputation as a singer. This gave rise (April 30) to the magnificent air "Mi tradi quell' alma ingrata" (527, 25 K.). 38 Mozart could not indeed persuade himself to sacrifice so much to the "voluble organ of Mdlle. Cavalieri" as he had formerly done in the "Entführung" (Vol. II., p. 235), but even as it is, the dramatic interest has to yield to the vocal—the character of Elvira to the individuality of the singer. The tenor singer, Signor Francesco Morelia, 39 on the contrary, seems to have found Ottavio's grand air too much for him, and the air in G major "Della sua pace" (527, 27 K.), composed for him is more modest in every respect.

A stronger effort after popularity was made by the duet between Zerlina and Leporello, "Per queste tue manine" (527, 28 K.). The situation is broadly comic, and has no proper connection with the plot; Leporello is roundly abused, and finally tied hand and foot by Zerlina. It was probably intended as a sacrifice to the taste of the audience, who expected an opera buffa to make them laugh heartily. We know that Benucci was an excellent comedian in every branch of his art, and this duet leads to the conclusion that Signora Mombelli's forte was buffa. Zerlina expresses her anger and revenge volubly enough, but her own special grace CRITIQUES ON DON GIOVANNI. and roguery have quite deserted her here. In a true opera buffa the duet would have been quite in keeping; but it is out of place in "Don Giovanni," because it brings Leporello and Zerlina to the foreground in a degree which does not accord with the plot, and places them both in a harsh light, false to their character as elsewhere displayed. Mozart was right, then, in his opinion that additions and alterations were not the means to make his opera gain favour; it was altogether too unusual a phenomenon to take immediate effect upon a Viennese audience. We have already seen how Haydn was constrained to put to silence the adverse criticisms of musicians and connoisseurs assembled at Count Rosenberg's, by declaring his conviction that Mozart was the greatest composer in the world. "Don Giovanni" first made its way upon the stages of Germany in German adaptations. It was given at Mannheim with extraordinary success in October, 1789, 40 and Schroder produced it in Hamburg at about the same time; Schink, while severely criticising the libretto of the opera, expresses himself enthusiastically in praise of the music—

How can this music, so full of force, majesty, and grandeur, be expected to please the lovers of ordinary opera, who bring their ears to the theatre with them, but leave their hearts at home? The grand and noble qualities of the music in "Don Juan" will appeal only to the small minority of the elect. It is not such as to tickle the ear of the crowd, and leave the heart unsatisfied. Mozart is no ordinary composer. His music has been profoundly felt and thought out in its relation to the characters, situations, and sentiments of his personages. It is a study in language, treated musically. He never decks out his songs with unnecessary and meaningless passages. That is the way in which expression is banished from music: expression consisting not in particular words, but in the skilful and natural combination of sounds as a medium of real emotion. Of this method of expression Mozart is a consummate master. Each sound which he produces has its origin in emotion, and overflows with it. His expression is glowing with life and picturesqueness, yet without the taint of voluptuousness. He has the richest, and at the same time the most temperate imagination. He is a true virtuoso, never allowing his creative impulse to run away with his judgment; his inspiration is guided by reason, his impersonations are the result of calm deliberation. 41

The Berlin criticism was not quite so favourable, the opera having been there performed for the first time in the presence of the King on December 20, 1790: 42 —

If ever an opera was looked forward to with curiosity, if ever a composition of Mozart's was lauded to the skies before its performance, it was surely this "Don Juan." Every one will allow that Mozart is a great and admirable composer, but that nothing good or great has been written before this opera, or will be written after it, is a point on which we may be allowed to doubt. Theatrical music admits of no rules, of no appeal but to the heart, and its worth is in proportion to its effect thereon. No amount of art in heaping up instrumental effects will make a great musician or render his name immortal, unless he can give utterance to the passions and emotions of the heart. Grétry, Monsigny, and Philidor are instances to the point. Mozart has aimed at writing something extraordinary, something inimitably grand in his "Don Juan"; the extraordinary is there, certainly, but not the inimitably grand. Vanity, eccentricity, fancy, have created "Don Juan," not the heart; and we should have preferred being called upon to admire the highest capabilities of music in one of his oratorios or solemn church compositions than in his "Don Juan." 43

The extraordinary success of the opera 44 is attested by a notice of it 45 which proceeds to prove that this musical drama satisfies the eye, enchants the ear, does violence to the intellect, offends against morals, and suffers vice to trample upon virtue and good feeling. The author of the criticism accounts for the popularity of the opera by the quality of the music, which is beyond all expression grand:—

If ever a nation might be proud of one of its children, Germany may be proud of Mozart, the composer of this opera. Never was the greatness of the human mind more perceptible, never did music reach so high a level! Melodies which an angel might have conceived are accompanied by divinest harmonies, and those whose souls are in any degree susceptible to what is truly beautiful will agree with me in saying the ear is bewitched.

Oh, that he had not so wasted the energies of his mighty mind!—that his judgment had been brought to the aid of his imagination, and had shown him a less miry path to fame! How can it please him that his name should appear set in diamonds upon a golden tablet, and the tablet suspended on a pillory?

Spazier, who acknowledged Mozart's "true, unborrowed, unartificial wealth of ideas," 46 and said of "Don Giovanni" that some of its single airs were worth more than whole operas by Paesiello, 47 remarks on another occasion: 48 —

The pleasure of seeing a genius strike out a new path with ease, which one feels would possess insurmountable obstacles to others, becomes pain and grief, which can only be turned to enjoyment again by minute study of the work, when such an artist puts forth his whole strength as Mozart has in "Don Juan," where he overwhelms his hearers with the vastness of his art, giving to the whole an almost boundless effect.

His promise of a more minute description remained unfulfilled. The various notices of the work which followed its performance in other places were all of the same kind, both praise and blame recognising the fact that a novel and important phenomenon was being treated of. 49 After the performance in Weimar, Goethe wrote to Schiller (December 30, 1797) ^

Your hopes for the opera are richly fulfilled in "Don Juan"; but the work is completely isolated, and Mozart's death frustrates any prospect of his example being followed. 50

The popularity of the opera with the general public spread rapidly, and very soon there was no stage in Germany where "Don Juan" had not acquired permanent possession. According to Sonnleithner's calculation, "Don Giovanni" had been performed 531 times at Vienna at the end of the year 1863; at Prague, Stiepanek asserts that 116 representations took place during the first ten years, and 360 before 1855; 51 at the celebration of the fiftieth anniversary of "Don Giovanni" at Berlin, in 1837, more than 200 performances were calculated to have taken place; 52 similar celebrations took place at Prague 53 and Magdeburg. 54 The opera was first introduced at Paris in 1805, in a fearfully distorted and mangled version, by C. Kalkbrenner; a characteristic instance was the masque terzet, where the words "Courage, vigilance, adresse, défiance, que l'active prudence préside à nos desseins" were sung by three gendarmes. Kalkbrenner also interpolated some of his own music, and, spite of it all, the fabrication pleased for a time. 55 In the year 1811 "Don Giovanni" was first given in its original form by the singers of the Italian opera, and ever since the most distinguished artists have retained Mozart's masterpiece upon this stage in an uninterrupted succession of performances. 56 A French translation of "Don Juan," by Castil-Blaze, 57 was given at Lyons in 1822, at the Odéon in Paris in 1827, and at the Académie de Musique in 1834, admirably cast and brilliantly appointed, besides being more true to the original; 58 a still newer adaptation has been performed at the Théätre Lyrique. 59 In London the great success of "Figaro" had paved the way for "Don Giovanni," which has ever since its STATISTICS OF PERFORMANCES. first performance, in April, 1817, occupied a prominent place at the Italian opera of that city. The applause which followed the first Italian representation was so great that the lessee of Covent Garden theatre produced an English version in May of the same year, which was excellently performed, and with considerable success. 60

While "Don Giovanni" was thus becoming familiar to opera-goers in the north, and even in Petersburg, Stockholm, and Copenhagen, it had not met with any very warm or general sympathy in Italy, where repeated attempts to introduce it to the public had resulted only in a certain amount of respectful recognition from connoisseurs. "Don Giovanni" was first given in Rome in 1811, no pains having been spared in the rehearsals, and few alterations made in the opera. The audience was very attentive, and applauded loudly; the music was termed "bellissima, superba, sublime, un musicone"—but not altogether "del gusto del paese"; the many stranezze might be "belissime," but they were not what people were accustomed to. 61 A more successful attempt was made in Naples in the following year, although not on so grand a scale; the audience were attentive, and seemed to accustom themselves to the musica classica, but even here the success was not lasting. 62 The first representation at Milan in 1814 provoked quite as much hissing as applause, but subsequent performances were more successful. 63 At Turin the opera appears to have pleased in 1815, in spite of its wretched performance. 64 A mangled version of "Don Giovanni" was given at Florence in 1818, and failed, but it was afterwards very well received in its true form; 65 in 1857, as a friend wrote to me, "the antiquated hyperborean music" was so emphatically hissed that it could not be risked again. In Genoa, too, in 1824, "Don Giovanni" pleased the learned, but not the public; 66 and at Venice, in 1833, it gained some DON GIOVANNI. little popularity by slow degrees. 67 Quite lately a celebrated Italian singer exclaimed angrily at a rehearsal of "Don Giovanni": "Non capisco niente a questa maledetta musica!" 68 Against all this must be placed Rossini's charming answer when he was pressed to say which of his own operas he liked best: one person present suggested one, another the other, till at last Rossini exclaimed: "Vous voulez connaître celui de mes ouvrages que j'aime le mieux; eh bien, c'est 'Don Giovanni.'" 69 The fame of "Don Giovanni" did not long remain confined to the old world. When Garcia and his daughters were giving Italian operas at New York in 1825, at Da Ponte's suggestion they produced

"Don Giovanni." 70 At the conclusion of the first finale everything went wrong; Garcia, who was playing Don Giovanni, exerted himself in vain to keep the singers and orchestra in time and tune, until at last, sword in hand, he came forward and, commanding silence, exclaimed that it was a shame so to murder a masterpiece. They began again, collected themselves and took pains, and the finale came happily to an end. 71 The applause of the public renewed Da Ponte's youth; he recounts the satisfaction with which he heard the assurance of a friend, whose custom it was to go regularly to sleep at the opera, that such an opera as that would keep him awake all night. 72 "Don Giovanni" brought him still further good fortune; he placed his unexpectedly large profits obtained therefrom in the lottery, and for the first time drew a prize. 73 "Don Giovanni," once having made its way, was soon unanimously pronounced first among all, Mozart's operas; he was said to have declared that he wrote THE LIBRETTO. it not at all for Vienna, a little for Prague, but mostly for himself and his friends. 74 It is true that the libretto was formerly considered as a bungling fabrication only tolerated for the sake of the music; nevertheless, and especially after Hoffmann's clever vindication of its poetical meaning, 75 "Don Giovanni" gradually became the accepted canon of dramatic music, and the subject of wide-reaching discussion. 76 In "Figaro" Da Ponte had opened a new field to opera buffa, by representing the actual life of bourgeois society; in "Don Giovanni" he raised opera buffa in another direction to an altogether higher sphere. 77 The legend on which the opera is founded had reached the people through the tradition of centuries, and, familiar upon every stage in Europe, it held the same place in the popular mind as the myths of Greek tragedy. The facts, in spite of their wonderful and fantastic character, offered a good groundwork to the dramatist, and the main conception and essential elements of the situations and characters being given, the fullest freedom of construction and development was permitted in the treatment of the legend. 78 Whether the legend current in Seville DON GIOVANNI. of Don Juan Tenorio, 79 who invited to supper the statue of a warrior slain by him in a duel, and who, warned in vain to repent, was doomed to everlasting perdition, is of ancient origin or not, would be difficult to determine from the contradictory accounts given of it. 80 It is said to have been performed in monasteries from an early date, adapted by an unknown writer with the title of "El Ateista Fulminado:" 81 the first authentic dramatic version of the story being that by Gabriel Tellez, contemporary of Lope de Vega, monk and prior of a monastery in Madrid. His active ecclesiastical life did not prevent his acquiring, under the name of Tirso de Molina, an honourable place in Spanish literature as a dramatic poet. 82 His "Burlador de Sevilla y Convidado de Piedra" belongs, according to Schack, both in design and workmanship to his most fugitive pieces, but contains portions which could only have been written by a poet of the first rank. 83 The plot is briefly as follows:—

First Day [The scene is laid in Naples].—The Duchess Isabella is having a parting interview with her lover, Duke Ottavio, when she discovers that Don Juan has stolen into her apartment in Ottavio's stead. Her cries for assistance bring the King, who gives Don Juan into the custody of his uncle, Don Pedro Tenorio, the Spanish TIRSO DE MOLINA'S "CONVIDADO DE PIEDRA." Ambassador; the latter, discovering his relationship with his prisoner, allows him to escape, and denounces Don Ottavio to the King as Isabella's seducer. Don Pedro is thereupon commanded to arrest Don Ottavio, to whom, however, he declares that a man having been found with Isabella, she reported him to be Ottavio; the lover believes himself to be deceived and betrayed, and Don Pedro connives at his escape. [Coast scene in Tarragona.] Catalinon, Don Juan's servant, bears his shipwrecked master lifeless to shore, where they are discovered by Tisbea, a fisher-girl; Don Juan awakes to consciousness upon her bosom, and they fall violently in love with each other. 84 Their love-making is interrupted by a scene in which the Commandant, Don Gonzalo de Ulloa gives Don Albeso, King of Castile, an account of his diplomatic mission to Portugal. Then the story returns to Tisbea, who is deceived and deserted by Don Juan, and left to her passion of despair.

CHAPTER XXXVII. MOZART IN PRAGUE.

CHAPTER XXXVIII. "DON GIOVANNI."