My compliments to dear Thresel: the maid who waits on me here is also named Thresel, but, heavens! how inferior to the Linz Thresel in beauty, virtue, charms--and a thousand other merits! You probably know that the worthy musico Marquesi, the Marquessius di Milano, has been poisoned in Naples, but how? He was enamored of a Duchess, whose rightful lover became jealous, and sent three or four fellows to give him his choice between drinking poison out of a cup and being assassinated. He chose the former, but being an Italian poltroon he died ALONE, and allowed his murderers to live on in peace and quiet. I would at least (in my own room) have taken a couple with me into the next world, if absolutely obliged to die myself. Such an admirable singer is a great loss. Adieu!
138.
Munich, Jan. 3, 1780.
MY head and my hands are so fully occupied with my third act, that it would not be wonderful if I turned into a third act myself, for it alone has cost me more trouble than the entire opera; there is scarcely a scene in it which is not interesting to the greatest degree. The accompaniment of the underground music consists merely of five instruments, namely, three trombones and two French horns, which are placed on the spot whence the voice proceeds. The whole orchestra is silent at this part.
The grand rehearsal positively takes place on the 20th, and the first performance on the 22d. All you will both require is to bring one black dress, and another for every-day wear, when you are only visiting intimate friends where there is no ceremony, and thus save your black dress a little; and if my sister likes, one pretty dress also, that she may go to the ball and the Academie Masquee.
Herr von Robinig is already here, and sends his regards to you. I hear that the two Barisanis are also coming to Munich; is this true? Heaven be praised that the cut on the finger of the Archbishop was of no consequence! Good heavens! how dreadfully I was alarmed at first! Cannabich thanks you for your charming letter, and all his family beg their remembrances. He told me you had written very humorously. You must have been in a happy mood.
No doubt we shall have a good many corrections to make in the third act when on the stage; as for instance scene sixth, after Arbace's aria, the personages are marked, "Idomeneo, Arbace, &c., &c." How can the latter so instantly reappear on the spot? Fortunately he might stay away altogether. In order to make the matter practicable, I have written a somewhat longer introduction to the High Priest's recitative. After the mourning chorus the King and his people all go away, and in the following scene the directions are, "Idomeneo kneels down in the Temple." This is impossible; he must come accompanied by his whole suite. A march must necessarily be introduced here, so I have composed a very simple one for two violins, tenor, bass, and two hautboys, to be played a mezza voce, and during this time the King appears, and the Priests prepare the offerings for the sacrifice. The King then kneels down and begins the prayer.
In Elettra's recitative, after the underground voice has spoken, there ought to be marked exeunt. I forgot to look at the copy written for the press to see whether it is there, and whereabouts it comes. It seems to me very silly that they should hurry away so quickly merely to allow Madlle. Elettra to be alone.
I have this moment received your few lines of January 1st. When I opened the letter I chanced to hold it in such a manner that nothing but a blank sheet met my eyes. At last I found the writing. I am heartily glad that I have got an aria for Raaff, as he was quite resolved to introduce the air he had discovered, and I could not possibly (N. B., with a Raaff) have arranged in any other way than by having Varesco's air printed, but Raaff's sung. I must stop, or I shall waste too much time. Thank my sister very much for her New-Year's wishes, which I heartily return. I hope we shall soon be right merry together. Adieu! Remembrances to friends, not forgetting Ruscherle. Young Eck sends her a kiss, a sugar one of course.
139.
Munich, Jan. 10, 1780.
My greatest piece of news is that the opera is put off for a week. The grand rehearsal is not to take place till the 27th--N. B., my birthday--and the opera itself on the 29th. Why? Probably to save Count Seeau two hundred gulden. I, indeed, am very glad, because we can now rehearse frequently and more carefully. You should have seen the faces of the Robinigs when I told them this news. Louisa and Sigmund are delighted to stay; but Lise, that SNEAKING MISERY, has such a spiteful Salzburg tongue that it really drives me distracted. Perhaps they may still remain, and I hope so on Louisa's account. In addition to many other little altercations with Count Seeau, I have had a sharp contention with him about the trombones. I call it so, because I was obliged to be downright rude, or I never should have carried my point. Next Saturday the three acts are to be rehearsed in private. I got your letter of the 8th, and read it with great pleasure; the burlesque, too, I like very much. Excuse my writing more at this time; for, in the first place, as you see, my pen and ink are bad, and, in the second, I have still a couple of airs to write for the last ballet. I hope you will send no more such letters as the last, of only three or four lines.
140.
Munich, Jan. 18, 1780.
PRAY forgive a short letter, for I must go this very moment, ten o'clock (in the forenoon of course), to the rehearsal. There is to be a recitative rehearsal for the first time to-day in the theatre. I could not write before, having been so incessantly occupied with those confounded dances. Laus Deo, I have got rid of them at last, but only of what was most pressing. The rehearsal of the third act went off admirably. It was considered very superior to the second act. The poetry is, however, thought far too long, and of course the music likewise, (which I always said it was.) On this account the aria of Idamante, "No la morte io non pavento" is to be omitted, which was, indeed, always out of place there; those who have heard it with the music deplore this. Raaff's last air, too, is still more regretted, but we must make a virtue of necessity. The prediction of the oracle is still far too long, so I have shortened it; but Varesco need know nothing of this, because it will all be printed just as he wrote it. Madame von Robinig will bring with her the payment both for him and Schachtner. Herr Geschwender declined taking any money with him. In the meantime say to Varesco in my name, that he will not get a farthing from Count Seeau beyond the contract, for all the alterations were made FOR ME and not for the Count, and he ought to be obliged to me into the bargain, as they were indispensable for his own reputation. There is a good deal that might still be altered; and I can tell him that he would not have come off so well with any other composer as with me. I have spared no trouble in defending him.
The stove is out of the question, for it costs too much. I will have another bed put up in the room that adjoins the alcove, and we must manage the best way we can. Do not forget to bring my little watch with you. We shall probably make an excursion to Augsburg, where we could have the little silly thing regulated. I wish you also to bring Schachtner's operetta. There are people who frequent Cannabich's house, who might as well hear a thing of the kind. I must be off to the rehearsal. Adieu!
The father and sister arrived on the 25th of January, and the first performance of the opera took place a few days afterwards; then the family amused themselves for some little time with the gayeties of the Carnival. The Archbishop had gone to Vienna; and, desiring to appear in the Imperial city in the full splendor of a spiritual prince, he had taken with him, in addition to fine furniture and a large household, some of his most distinguished musicians. On this account, therefore, Mozart, in the middle of March, also received the command to go to Vienna. He set off immediately.
END OF VOL. I.
CONTENTS OF VOLUME I. [LETTERS LISTED BY DATE]
FIRST PART ITALY VIENNA MUNICH 1770-1776
LETTER
1. Salzburg, 1769 2. Verona, Jan 7, 1770 3. Milan, Jan 26, 1770 4. Milan, Feb. 10, 1770 5. Milan, Feb 17, 1770 6. Milan, Carnival, Erchtag, 1770 7. Milan, Mar 3, 1770 8. Bologna, Mar 24, 1770 9. Rome, April 14, 1770 10. Rome, April 21, 1770 11. Rome, April 25, 1770 12. Naples, May 19, 1770 13. Naples, May 29, 1770 14. Naples, June 5, 1770 15. Naples, June 16, 1770 16. Rome, July 17, 1770 17. Bologna, July 21, 1770 18. Bologna, July, 1770 19. Bologna, August 4, 1770 20. Bologna, August 21, 1770 21. Bologna, Sept 8, 1770 22. Bologna, Sept 22, 1770 23. Bologna, Sept 29, 1770 24. Bologna, Oct 6, 1770 25. Milan, Oct. 20, 1770 26. Milan, Oct. 27, 1770 27. Milan, Nov 3, 1770 28. Milan, Dec 1, 1770 29. Milan, Jan, 1771 30. Venice, Feb 15, 1771 31. Venice, Feb 20, 1771 32. Verona, Aug 18, 1771 33. Milan, Aug 23, 1771 34. Milan, Aug 31, 1771 35. Milan, Sept 13, 1771 36. Milan, Sept 21, 1771 37. Milan, Oct 5, 1771 38. Milan, Oct 26, 1771 39. Milan, Nov 2, 1771 40. Milan, Nov. 24, 1771 41. Milan, Nov 30, 1771 42. Bologna, Oct 28, 1772 43. Milan, Nov 7, 1772 44. Milan, Nov, 1772 45. Milan, Nov 21, 1772 46. Milan, Nov 28, 1772 47. Milan, Dec 5, 1772 48. Milan, Dec 18, 1772 49. Milan, Jan 23, 1773 50. Vienna, Aug 14, 1773 51. Vienna, Aug 21, 1773 52. Vienna, Sept. 15, 1773 53. Munich, Dec. 28, 1774 54. Munich, Dec. 30, 1774 55. Munich, Jan. 11, 1775 56. Munich, Jan. 14, 1775 57. Munich, Jan., 1775 58. Salzburg, Sept. 4, 1776