Part 14

I HAVE duly received your letter of the 26th February, and learn from it with great joy that our best and kindest of all friends, Baron Grimm [the well-known Encyclopedist, with whom Mozart had become acquainted during his last visit to France], is now in Paris. The vetturino has offered to convey us to Paris by Metz (which, as you probably know, is the shortest route) for eleven louis-d'or. If to-morrow he agrees to do it for ten, I shall certainly engage him, and perhaps at eleven, for even then it will be the cheapest way for us, which is the main point, and more convenient too, for he will take our carriage--that is, he will place the body on wheels of his own. The convenience is great, as we have so many small packages that we can stow away quite comfortably in our own carriage, which we cannot do in the DILIGENCE, and besides we shall be alone and able to talk as we like. But I do assure you that if, after all, we go in the DILIGENCE, my sole annoyance is the bore of not being able to say what we choose and wish, though, as it is very necessary that we should take the cheapest conveyance, I am still rather disposed to do so.

THIRD PART.--PARIS.--MARCH 1778 TO JANUARY 1779.

100.

Paris, March 24, 1778.

YESTERDAY (Monday, the 23d), at four o'clock in the afternoon, we arrived here, thank God! safely, having been nine days and a half on our journey. We thought we really could not have gone through with it; in my life I never was so wearied. You may easily imagine what it was to leave Mannheim and so many dear kind friends, and then to travel for ten days, not only without these friends, but without any human being--without a single soul whom we could associate with or even speak to. Now, thank Heaven! we are at our destination, and I trust that, with the help of God, all will go well. To-day we are to take a fiacre and go in quest of Grimm and Wendling. Early to-morrow I intend to call on the Minister of the Palatinate, Herr von Sickingen, (a great connoisseur and passionate lover of music, and for whom I have two letters from Herr von Gemmingen and M. Cannabich.) Before leaving Mannheim I had the quartet transcribed that I wrote at Lodi one evening in the inn there, and also the quintet and the Fischer variations for Herr von Gemmingen [author of the "Deutsche Hausvater"], on which he wrote me a most polite note, expressing his pleasure at the souvenir I had left him, and sending me a letter to his intimate friend Herr von Sickingen, adding, "I feel sure that you will be a greater recommendation to the letter than the letter can possibly be to you;" and, to repay the expense of writing out the music, he sent me three louis-d'or; he also assured me of his friendship, and requested mine in return. I must say that all those who knew me, Hofrathe, Kammerrathe, and other high-class people, as well as all the court musicians, were very grieved and reluctant to see me go; and really and truly so.

We left on Saturday, the 14th, and on the previous Thursday there was an afternoon concert at Cannabich's, where my concerto for three pianos was given. Madlle. Rose Cannabich played the first, Madlle. Weber the second, and Madlle. Pierron Serrarius (our "house-nymph") the third. We had three rehearsals of the concerto, and it went off well. Madlle. Weber sang three arias of mine, the "Aer tranquillo" from the "Re Pastore," [Footnote: A festal opera that Mozart had composed in 1775, in honor of the visit of the Archduke Maximilian Francis to Salzburg.] and the new "Non so d' onde viene." With this last air my dear Madlle. Weber gained very great honor both for herself and for me. All present said that no aria had ever affected them like this one; and, indeed, she sang it as it ought to be sung. The moment it was finished, Cannabich exclaimed, "Bravo! bravissimo maestro! veramente scritta da maestro!" It was given for the first time on this occasion with instruments. I should like you to have heard it also, exactly as it was executed and sung there, with such precision in time and taste, and in the pianos and fortes. Who knows? you may perhaps still hear her. I earnestly hope so. The members of the orchestra never ceased praising the aria and talking about it.

I have many kind friends at Mannheim (both highly esteemed and rich) who wished very much to keep me there. Well! where I am properly paid, I am content to be. Who can tell? it may still come to pass. I wish it may; and thus it ever is with me--I live always in hope. Herr Cannabich is an honorable, worthy man, and a kind friend of mine. He has only one fault, which is, that although no longer very young, he is rather careless and absent,--if you are not constantly before his eyes, he is very apt to forget all about you. But where the interests of a real friend are in question, he works like a horse, and takes the deepest interest in the matter; and this is of great use, for he has influence. I cannot, however, say much in favor of his courtesy or gratitude; the Webers (for whom I have not done half so much), in spite of their poverty and obscurity, have shown themselves far more grateful. Madame Cannabich and her daughter never thanked me by one single word, much less thought of offering me some little remembrance, however trifling, merely as a proof of kindly feeling; but nothing of the sort, not even thanks, though I lost so much time in teaching the daughter, and took such pains with her. She can now perfectly well perform before any one; as a girl only fourteen, and an amateur, she plays remarkably well, and for this they have to thank me, which indeed is very well known to all in Mannheim. She has now neatness, time, and good fingering, as well as even shakes, which she had not formerly. They will find that they miss me much three months hence, for I fear she will again be spoiled, and spoil herself; unless she has a master constantly beside her, and one who thoroughly understands what he is about, she will do no good, for she is still too childish and giddy to practise steadily and carefully alone. [Footnote: Rosa Cannabich became, indeed, a remarkable virtuoso. C L. Junker mentions her, even in his musical almanac of 1783, among the most eminent living artists.]

Madlle. Weber paid me the compliment kindly to knit two pairs of mits for me, as a remembrance and slight acknowledgment. M. Weber wrote out whatever I required gratis, gave me the music-paper, and also made me a present of Moliere's Comedies (as he knew that I had never read them), with this inscription:--"Ricevi, amico, le opere di Moliere, in segno di gratitudine, e qualche volta ricordati di me." [Footnote: "Accept, my dear friend, Moliere's works as a token of my gratitude; and sometimes think of me."] And when alone with mamma he said, "Our best friend, our benefactor, is about to leave us. There can be no doubt that your son has done a great deal for my daughter, and interested himself much about her, and she cannot be too thankful to him." [Footnote: Aloysia Weber became afterwards Madame Lange. She had great fame as a singer. We shall hear more of her in the Vienna letters.] The day before I set off, they would insist on my supping with them, but I managed to give them two hours before supper instead. They never ceased thanking me, and saying they only wished they were in a position to testify their gratitude, and when I went away they all wept. Pray forgive me, but really tears come to my eyes when I think of it. Weber came down-stairs with me, and remained standing at the door till I turned the corner and called out Adieu!

In Paris he at once plunged into work, so that his love-affair was for a time driven into the background. Compositions for the Concert Spirituel, for the theatre, and for dilettanti, as well as teaching and visits to great people, occupied him. His mother writes: "I cannot describe to you how much Wolfgang is beloved and praised here. Herr Wendling had said much in his favor before he came, and has presented him to all his friends. He can dine daily, if he chooses, with Noverre [the famed ballet-master], and also with Madame d'Epinay" [Grimm's celebrated friend]. The mother herself scarcely saw him all day, for on account of their small close apartment, he was obliged to compose at Director Le Gros's house. She had (womanlike) written to the father about the composition of a Miserere. Wolfgang continues the letter, more fully explaining the matter.

101.

Paris, April 5, 1778.

I MUST now explain more, clearly what mamma alludes to, as she has written rather obscurely. Capellmeister Holzbauer has sent a Miserere here, but as the choruses at Mannheim are weak and poor, whereas here they are strong and good, his choruses would make no effect. M. Le Gros (Director of the Concert Spirituel) requested me therefore to compose others; Holzbauer's introductory chorus being retained. "Quoniam iniquitatem meam," an allegro, is the first air by me. The second an adagio, "Ecce enim in iniquitatibus." Then an allegro, "Ecce enim veritatem dilexisti" to the "ossa humiliata." Then an andante for soprano, tenor, and bass Soli; "Cor mundum," and "Redde mihi," allegro to "ad se convertentur." I also composed a recitative for a bass air, "Libera me de sanguinibus," because a bass air of Holzbauer's follows. The "sacrificium Deo spiritus" being an aria andante for Raaff, with a hautboy and a bassoon solo obligato. I have added a short recitative with hautboy and bassoon, for here recitative is much liked. "Benigne fac" to "muri Jerusalem" andante moderate. Chorus. Then "Tunc acceptabis" to "super altare," allegro and tenor solo (Le Gros) and chorus. Finis. [None of this music is known.]

I must say that I am right glad to have done with this task, for it is really detestable not to be able to write at home, and to be hurried into the bargain; but now, God be praised! it is finished, and I hope it will make some effect. M. Gussec, whom you no doubt know, when he saw my first chorus, said to Le Gros (I was not present) that it was charming, and could not fail to be successful, that the words were so well arranged, and, above all, admirably set to music. He is a kind friend of mine, but very reserved. I am not merely to write an act for an opera, but an entire one in two acts. The poet has already completed the first act. Noverre [ballet-master], with whom I dine as often as I please, managed this, and indeed suggested the idea. I think it is to be called "Alexander and Roxana." Madame Jenome is also here. I am about to compose a sinfonie concertante,--flute, Wendling; oboe, Ramm; French horn, Punto; and bassoon, Ritter. Punto plays splendidly. I have this moment returned from the Concert Spirituel. Baron Grimm and I often give vent to our wrath at the music here; N.B.--when tete-a-tete, for in public we call out "Bravo! bravissimo!" and clap our hands till our fingers tingle.

102.

Paris, May 1, 1778.

THE little violoncellist Zygmatofsky and his unprincipled father are here. Perhaps I may already have written you this; I only mention it cursorily, because I just remember that I met him at a house which I must now tell you about. I mean that of the Duchesse de Chabot. M. Grimm gave me a letter to her, so I drove there, the purport of the letter being chiefly to recommend me to the Duchesse de Bourbon, who when I was last here [during Mozart's first visit to Paris] was in a convent, and to introduce me afresh to her and recall me to her memory. A week elapsed without the slightest notice of my visit, but as eight days previously she had appointed me to call on her, I kept my engagement and went. I waited half an hour in a large room without any fire, and as cold as ice. At last the Duchess came in, and was very polite, begging me to make allowances for her piano, as none of her instruments were in good order, but I might at least try it. I said that I would most gladly play something, but at this moment it was impossible, as my fingers were quite benumbed from the cold, so I asked her at all events to take me to a room where there was a fire. "Oh! oui, Monsieur, vous avez raison"--was her answer. She then seated herself, and drew for a whole hour in company with several gentlemen, all sitting in a circle round a large table, and during this time I had the honor to wait. The windows and doors were open, so that not only my hands, but my body and my feet were cold, and my head also began to ache. Moreover, there was altum silentium, and I really did not know what to do from cold, headache, and weariness. I again and again thought to myself, that if it were not on M. Grimm's account I would leave the house at once. At last, to cut matters short, I played on the wretched, miserable piano. What however vexed me most of all was, that the Duchess and all the gentlemen did not cease drawing for a single moment, but coolly continued their occupation; so I was left to play to the chairs and tables, and the walls. My patience gave way under such unpropitious circumstances. I therefore began the Fischer variations, and after playing one half of them I rose. Then came eulogiums without end. I, however, said all that could be said--which was, that I could do myself no justice on such a piano, but I should be very glad to fix some other day to play, when a better instrument might be found. But the Duchess would not hear of my going away; so I was obliged to wait till her husband came in, who placed himself beside me and listened to me with great attention, while, as for me, I became unconscious of all cold and all headache, and, in spite of the wretched piano, played as I CAN play when I am in the right mood. Give me the best piano in Europe, and listeners who understand nothing, or don't wish to understand, and who do not sympathize with me in what I am playing, I no longer feel any pleasure. I afterwards told all this to M. Grimm.

You write to me that I ought to pay a good many visits in order to make new acquaintances, and to renew former ones. This is, however, impossible, from the distances being so great, and it is too muddy to go on foot, for really the mud in Paris is beyond all description. To go in a carriage entails spending four or five livres a day, and all for nothing; it is true the people say all kinds of civil things, but there it ends, as they appoint me to come on such and such a day, when I play, and hear them exclaim, "Oh! c'est un prodige, c'est inconcevable, c'est etonnant!" and then, Adieu! At first I spent money enough in driving about, and to no purpose, from not finding the people at home. Unless you lived here, you could not believe what an annoyance this is. Besides, Paris is much changed; the French are far from being as polite as they were fifteen years ago; their manner now borders on rudeness, and they are odiously self-sufficient.

I must proceed to give you an account of the Concert Spirituel. By the by, I must first briefly tell you that my chorus-labors were in a manner useless, for Holzbauer's Miserere was too long in itself, and did not please, so they gave only two of my choruses instead of four, and chose to leave out the best; but this was of no great consequence, for many there were not aware that any of the music was by me, and many knew nothing at all about me. Still, at the rehearsal great approbation was expressed, and I myself (for I place no great reliance on Parisian praise) was very much satisfied with my choruses. With regard to the sinfonie concertante there appears to be a hitch, and I believe that some unseen mischief is at work. It seems that I have enemies here also; where have I not had them? But this is a good sign. I was obliged to write the symphony very hurriedly, and worked very hard at it. The four performers were and are perfectly enchanted with the piece. Le Gros had it for the last four days to be copied, but I invariably saw it lying in the same place. Two days ago I could not find it, though I searched carefully among the music; and at last I discovered it hidden away. I took no notice, but said to Le Gros, "A propos, have you given my sinfonie to be copied?" "No; I forgot all about it." As, of course, I have no power to compel him to have it transcribed and performed, I said nothing; but I went to the concert on the two days when the sinfonie was to have been performed, when Ramm and Punto came to me in the greatest rage to ask me why my sinfonie concertante was not to be given. "I don't know. This is the first I hear of it. I cannot tell." Ramm was frantic, and abused Le Gros in the music-room in French, saying how very unhandsome it was on his part, etc. I alone was to be kept in the dark! If he had even made an excuse--that the time was too short, or something of the kind!--but he never said a syllable. I believe the real cause to be Cambini, an Italian maestro; for at our first meeting at Le Gros's, I unwittingly took the wind out of his sails. He composes quintets, one of which I heard at Mannheim; it was very pretty, so I praised it, and played the beginning to him. Ritter, Ramm, and Punto were all present, and gave me no peace till I agreed to continue, and to supply from my own head what I could not remember. I therefore did so, and Cambini was quite excited, and could not help saying, "Questa e una gran testa!" Well, I suppose after all he did not quite relish this, [The symphony in question has also entirely disappeared.]

If this were a place where people had ears to hear or hearts to feel, and understood just a little of music, and had some degree of taste, these things would only make me laugh heartily, but as it is (so far as music is concerned) I am surrounded by mere brute beasts. But how can it be otherwise? for in all their actions, inclinations, and passions, they are just the same. There is no place in the world like Paris. You must not think that I exaggerate when I speak in this way of the music here; refer to whom you will, except to a Frenchman born, and (if trustworthy) you will hear the same. But I am now here, and must endure it for your sake. I shall be grateful to Providence if I get away with my natural taste uninjured. I pray to God every day to grant me grace to be firm and steadfast here, that I may do honor to the whole German nation, which will all redound to His greater honor and glory, and to enable me to prosper and make plenty of money, that I may extricate you from your present emergencies, and also to permit us to meet soon, and to live together happily and contentedly; but "His will be done in earth as it is in heaven." I entreat you, dearest father, in the meantime, to take measures that I may see Italy, in order to bring me to life again. Bestow this great happiness upon me, I implore you! I do hope you will keep up your spirits; I shall cut my way through here as I best can, and trust I shall get off safely. Adieu!

103.

Paris, May 14, 1778.