Lately, at Stein's, he brought me a sonata of Becke's, but I think I already told you this. A propos, as to his little girl, [Footnote: Nanette, at that time eight years old; afterwards the admirable wife of Andreas Streicher, the friend of Schiller's youth, and one of Beethoven's best friends in Vienna.] any one who can see and hear her play without laughing must be Stein [stone] like her father. She perches herself exactly opposite the treble, avoiding the centre, that she may have more room to throw herself about and make grimaces. She rolls her eyes and smirks; when a passage comes twice she always plays it slower the second time, and if three times, slower still. She raises her arms in playing a passage, and if it is to be played with emphasis she seems to give it with her elbows and not her fingers, as awkwardly and heavily as possible. The finest thing is, that if a passage occurs (which ought to flow like oil) where the fingers must necessarily be changed, she does not pay much heed to that, but lifts her hands, and quite coolly goes on again. This, moreover, puts her in a fair way to get hold of a wrong note, which often produces a curious effect. I only write this in order to give you some idea of pianoforte-playing and teaching here, so that you may in turn derive some benefit from it. Herr Stein is quite infatuated about his daughter. She is eight years old, and learns everything by heart. She may one day be clever, for she has genius, but on this system she will never improve, nor will she ever acquire much velocity of finger, for her present method is sure to make her hand heavy. She will never master what is the most difficult and necessary, and in fact the principal thing in music, namely, time; because from her infancy she has never been in the habit of playing in correct time. Herr Stein and I discussed this point together for at least two hours. I have, however, in some degree converted him; he asks my advice now on every subject. He was quite devoted to Becke, and now he sees and hears that I can do more than Becke, that I make no grimaces, and yet play with so much expression that he himself acknowledges none of his acquaintances have ever handled his pianos as I do. My keeping so accurately in time causes them all much surprise. The left hand being quite independent in the tempo rubato of an adagio, they cannot at all comprehend. With them the left hand always yields to the right. Count Wolfeck and others, who have a passionate admiration for Becke, said lately publicly in a concert that I beat Becke hollow. Count Wolfeck went round the room saying, "In my life I never heard anything like this." He said to me, "I must tell you that I never heard you play as you did to-day, and I mean to say so to your father as soon as I go to Salzburg." What do you think was the first piece after the symphony? The concerto for three pianos. Herr Demmler took the first part, I the second, and Herr Stein the third. I then played a solo, my last sonata in D, for Durnitz, and afterwards my concerto in B; then again a solo in the organ style, namely, a fugue in C minor, then all of a sudden a splendid sonata in C major, finishing with a rondo, all extempore. What a noise and commotion there was! Herr Stein did nothing but make faces and grimaces of astonishment. Herr Demmler was seized with fits of laughter, for he is a queer creature, and when anything pleases him exceedingly, he can't help laughing heartily; indeed, on this occasion he actually began to swear! Addio!
69.
Augsburg, Oct. 25, 1777.
The receipts of the concert were 90 florins, without deducting the expenses. Including, therefore, the two ducats we took in the Casino concert, we had 100 florins. The expenses of the concert did not exceed 16 florins 30 kreutzers; the room I had gratis. I believe most of the musicians will make no charge. We have now ALTOGETHER lost about 26 or 27 florins. This is not of much moment. I am writing this on Saturday the 25th. This morning early I received the letter with the sad news of Frau Oberbereiterin's death. Madlle. Tonerl can now purse up her mouth, or perhaps open it wide, and shut it again as empty as ever. As to the baker's daughter, I have no objection to make; I foresaw all this long ago. This was the cause of my reluctance to leave home, and finding it so difficult to go. I hope the affair is not by this time known all over Salzburg? I beg you, dear papa, most urgently to keep the matter quiet as long as possible, and in the mean time to pay her father on my account any expenses he may have incurred by her entrance into the convent, which I will repay gladly when I return to Salzburg.
I thank you most truly, dear papa, for your good wishes on my name-day. Do not be uneasy on my account, for I have always God before my eyes, I acknowledge His omnipotence, I dread His wrath; but I also know His love, His compassion and mercy towards His creatures, and that He will never forsake His servants. When His will is done I am resigned; so I never can fail to be happy and contented. I shall certainly also strive to live as strictly as possible in accordance with your injunctions and advice. Thank Herr Bullinger a thousand times for his congratulations. I mean to write to him soon and thank him myself, but I may in the mean time assure him that I neither know nor have any better, more sincere, or truer friend than himself. I beg also humbly to thank Madlle. Sallerl; pray tell her I mean to enclose some verses to show my gratitude to her in my letter to Herr Bullinger. Thank my sister also; she is to keep the Schuster duets, and give herself no further trouble on the subject.
In your first letter, dear papa, you write that I lowered myself by my conduct to that lad Langenmantl. Anything but that! I was only straightforward, no more. I see you think he is still a boy; he is one or two and twenty, and a married man. Can any one be considered a boy who is married? I have never gone near him since. I left two cards for him to-day, and excused myself for not going in, having so many indispensable calls to make. I must now conclude, for mamma insists absolument on going to dinner, and then to pack. To-morrow we go straight to Wallerstein. My dear little cousin, who sends you her regards, is anything but a prude. She dressed a la Francaise to please me yesterday. She looked at least 5 per cent, prettier in consequence. Now, Addio!
On the 26th of October the mother and son set off to Mannheim. The mother writes that Wolfgang intended to write to Augsburg, "but he will scarcely be able to do so to-day, for he is now at the rehearsal of the oratorio; so I must beg you to accept my humble self instead." Wolfgang then adds:--
70.
Mannheim, Oct. 30, 1777.
I must beg you also to accept my insignificancy. I went to-day with Herr Danner to M. Cannabich's [Director of the Elector's orchestra]. He was uncommonly polite, and I played something for him on his piano, which is a very good one. We went together to the rehearsal. I could scarcely help laughing when I was presented to the musicians, because, though some who knew me by renomme were very civil and courteous, the rest, who knew nothing whatever about me, stared in such a ludicrous way, evidently thinking that because I am little and young nothing great or mature is to be found in me; but they shall soon find it out. Herr Cannabich is to take me himself to-morrow to Count Savioli, the Intendant of Music. One good thing is that the Elector's name-day is close at hand. The oratorio they are rehearsing is Handel's, but I did not stay to hear it, for they first rehearsed a Psalm Magnificat of the Vice-Capellmeister here, [Abbe] Vogler, which lasted a good hour. I must now conclude, for I have still to write to my cousin.
71.
Mannheim, Nov. 4, 1777.
I am at Cannabich's every day, and mamma went with me there to-day. He is a very different man from what he formerly was, [FOOTNOTE: Mozart had been at his house, when a boy, with his father.] and the whole orchestra say the same. He is very fond of me. He has a daughter who plays the piano very nicely, and in order to make him still more friendly towards me I am working just now at a sonata for her, which is finished all but the Rondo. When I had completed the first allegro and andante, I took it to him myself and played it over; you can't think what applause this sonata receives. There chanced to be some of the musicians there at the moment--young Danner, Lang, who plays the French horn, and the hautboy-player, whose name I forget, but who plays remarkably well, and has a pleasing delicate tone [Ramm]. I made him a present of a concerto for the hautboy; it is being copied in Cannabich's room. The man is wild with delight. I played him the concerto to-day at Cannabich's, and THOUGH KNOWN TO BE MINE it pleased very much. No one said that it was NOT WELL COMPOSED, because people here don't understand these things. They ought to apply to the Archbishop; he would soon put them on the right scent. [FOOTNOTE: The Archbishop never was satisfied with any of the compositions that Mozart wrote for his concerts, but invariably had some fault to find with them.] I played all my six sonatas to-day at Cannabich's. Herr Kapellmeister Holzbauer went with me to-day to Count Savioli's. Cannabich was there at the time. Herr Holzbauer said to the Count in Italian that I wished to have the honor of playing before his Serene Highness the Elector. "I was here fifteen years ago," said I, "but now I am older and more advanced, and I may say in music also"--"Oh!" said the Count, "you are"--I have no idea whom he took me for, as Cannabich interrupted him, but I affected not to hear, and entered into conversation with the others. Still I observed that he was speaking of me very earnestly. The Count then said to me, "I hear that you play the piano very tolerably?" I bowed.