  ALTHOUGH in his earlier years Mozart's career had, as we have seen, been hindered by the circumstances IDOMENEO. Varesco's "Idomeneo" was modelled on the opera "IdomenÉe," written by Danchet and composed by Campra, first performed in 1712 and revived in 1731. 1 The dramatis personÆ are as follows:—[See Page Images] The plot is briefly as follows:— Idomeneo, King of Crete, after the siege of Troy, has wandered a long way from his home, where his son, Idamante, grown to man's estate during his absence, awaits him in filial love. Electra, daughter of Agamemnon, banished by the people of Argus on account of the matricide of Orestes, has taken refuge with Idamante, and becomes deeply enamoured of him. But Ilia, daughter of Priam, who, with other Trojan captives, has been sent to Crete by Idomeneo, has conceived a passion for Idamante, which he returns. At the opening of the opera we find Ilia struggling with her love for the enemy of her fatherland (aria, 2). Idamante approaches her joyfully. He has received tidings that his father's fleet is in sight, and has sent his old confidant, Arbace, to bring more exact intelligence. On this joyful day he gives freedom to all the Trojan captives, and declares his love for Ilia, which she, although reluctantly, rejects; whereupon he bewails himself in an aria (3). The captive Trojans are led in and loosed from their fetters, IDOMENEO. At the beginning of the second act Idomeneo is in conversation with Arbace. He communicates to him his fearful vow, from the fulfilment of which he wishes to escape. Arbace represents to him that this is impossible. But when he hears that Idamante is to be the sacrifice, he counsels his being sent to a distant country, and that during his banishment they should seek to appease the wrath of Neptune. Idomeneo decides upon commanding Idamante to accompany Electra to Argos, and there ascend the throne, and commissions Arbace to bid him prepare for the journey. Arbace promises obedience (aria, 11), and departs. Ilia now appears, expresses delight at Idomeneo's safety, and, while extolling Idamante's goodness, declares her own gratitude and submission (aria, 12). Her warmth causes Idomeneo to suspect their love, and his grief and confusion are thereby augmented (aria, 13). Electra, entering, thanks him for his care. He leaves her alone, and she expresses her joy at the fulfilment of her dearest wishes (aria, 14). The warriors assemble in the harbour to the sound of a march (15). Electra appears with her followers, the sea is calm, and all look forward to a fortunate voyage (chorus, 16). Idomeneo dismisses Idamante, who sees in this command a fresh proof of his father's inexplicable displeasure. They express their opposing sentiments in a terzet (17). As they prepare to embark, a terrific storm arises, and a huge sea-monster rises from the waves. This convinces Idomeneo that his IDOMENEO—PLOT. Ilia opens the third act, bewailing her unhappy love (aria, 19). Idamante surprises her, and declares his resolve to seek death in combat with the monster who is laying waste the land; this leads to a disclosure of her love, and the two express their happiness in a duet (20). Idomeneo, entering with Electra, discovers them; he cannot bring himself to acknowledge to Idamante the true cause of his mysterious behaviour, but commands him anew to leave Crete at once, and seek an asylum in a distant land. The various emotions of those present are expressed in a quartet (21). Idamante having departed, Arbace enters and announces that the people are hurrying with the high priest at their head to demand deliverance from the monster; Idomeneo goes to meet them, and Arbace expresses his earnest wish for the happiness of his ruler (aria, 22). On an open space in front of the castle the high priest appears with the multitude; he describes the ravages of the monster, which can only be terminated by the fulfilment of Idomeneo's vow, and demands to know the name of the promised victim (23). When Idomeneo names his son as the sacrifice, horror seizes the people (chorus, 24). During a march (25) Idomeneo with his subjects enters the temple of Neptune, and while the priests prepare for the sacrifice they offer their solemn prayers to the god (26); cries of joy are heard from afar, and Arbace hastens in and announces that Idamante has slain the monster in heroic combat. Idamante is presently borne in by priests and warriors, crowned and in white robes; he now knows his father's vow, and satisfied as to his feelings towards him, he is ready to fall a joyful sacrifice to the angry god (aria, 27). As Idomeneo is in the act of striking the fatal blow, Ilia hastens in and restrains him; she insists upon taking the place of her lover, and a tender strife arises between them, which Idomeneo listens to with emotion, Electra with rage and jealousy. As Ilia kneels before the altar, "a great subterranean disturbance is heard, the statue of Neptune totters, the high priest stands entranced before the altar, all are amazed and motionless from fear, while a deep and majestic voice declares the will of the gods": Idomeneo is to renounce the throne, which Idamante is to ascend, and to be united to Ilia (28). At this unexpected issue, Electra breaks into violent anger, and "goes off raging"; Idomeneo arranges everything according to the divine will (30), and expresses his grateful joy (aria, 31); Idamante is crowned in a pantomimic ballet, during which the chorus sing a joyful conclusion to the opera (32). 2 IDOMENEO. Varesco omitted the prologue of his original, and reduced the five acts to the customary three. He also left out altogether the divinities and allegorical personages, which were somewhat prominent in the French text; and of three confidants he retained only Arbace. For the rest he follows the progress of the plot pretty closely, only judiciously omitting the love of Idomeneo for Ilia, and altering the conclusion. In the original, Idomeneo, after voluntarily raising his son to the throne, and bestowing on him the hand of Ilia, is stricken with madness by Nemesis, and slays Idamante with the sacrificial axe. He is then prevented from committing suicide, but Ilia falls by her own hand. Metastasio had weaned Italian opera from such horrors. Varesco naturally looked to opera seria as the foundation of his adaptation, 3 but he endeavoured at the same time to make use of the distinctive features of French opera. This is evident in his care for variety of scenery and machinery, in the marches and processions which occur in every act, and in the pantomimic dances which are made subservient to the plot. Further, the frequent introduction of the chorus was evidently suggested by French opera, and a marked progress displayed in the fact that the chorus was not employed merely to heighten the pomp of the piece, but took part in the action at critical moments, and expressed important dramatic situations. The ensembles, too, are not placed in regular succession at the end of the acts, without reference to the plot; they occur naturally as the piece proceeds, and have a dramatic signification of their own. Such movements are indeed rarely introduced, and not all the suitable points are made use of for them; no attempt is made either to unite the several connected points of the plot into a musical whole in the finale, but rather each separate situation has its own independent musical treatment. 4 On the other hand, there VARESCO'S LIBRETTO. With all its drawbacks the advantage of a settled tradition is very visible, the external arrangements, such as the distribution among the characters of the different pieces being carefully carried out. In short, if "Idomeneo" is compared with Mozart's earlier operas, the progress in the choice and treatment of material is very marked. Such an absolute blending of the essential features of French and Italian opera as is aimed at does not indeed take place; a compromise between the two had first to be made. It can scarcely be doubted that Mozart had a share in the construction of the libretto in its more important parts, and that IDOMENEO. When the libretto was ready, and part of the music composed, Mozart repaired to Munich, according to custom, to finish the opera on the spot. After a journey in the postcarriage, "which shook the soul out of one's body," and gave him not an instant's sleep, he wrote to his father (November 8, 1780), "Joyful and glad was my arrival!" There was plenty to be done: the opera was to be rehearsed, to be put on the stage, and the greater part of it was still unwritten. How much of it he took with him ready to Munich is not precisely known; probably the majority of the recitatives, the first act, and perhaps part of the second; at all events his first letters mention some of the songs as already composed. He was able to set to work with a good heart, for he was met with goodwill on all sides. Count Seeau was altogether at his service; and when they sometimes fell out, and Mozart was provoked to be rude, it was always the Count who gave way. The Elector received him very graciously. "I had almost forgotten the best!" he writes (November 15, 1780); "Count Seeau presented me en passant to the Elector last Sunday, after mass; he was very gracious, and said, 'I am glad to see you here again.' And when I said that I would endeavour to deserve the approbation of his highness, he patted me on the shoulder and said, 'Oh, I have no doubt it will all go very well indeed.' A piano piano si va lontano!" The nobility, too, were favourably disposed towards him. Cannabich introduced him to the Countess Baumgarten, who was then the favourite of the Elector. "My friend is everything in this house," he writes (November 13, 1780), "and I, too, now; it is the best and most useful house here for me, and so far all has gone, and by God's help will go, well with me." He was able, therefore, to satisfy his father as to the success of the opera (November 24, 1780): "Have no care as to my opera, dear father; I hope there will be no hitch. A little cabal is opposed to it, but it will certainly come to grief, for all the best and most powerful houses THE MUNICH SINGERS. There was, at all events, no opposition to be feared on the part of the singers or the orchestra; they and Mozart were mutually anxious to satisfy each other. But their joint labours and the requirements of the stage showed many alterations in the text to be necessary, and Varesco must have been often appealed to to undertake these, or to sanction proposed changes. Among the performers for whom he wrote, Dal Prato gave him some real trouble. Soon after his arrival he had "a piece of roguery" to narrate (November 8, 1780): "I have not indeed the honour of knowing the heroic Dal Prato, but according to the description Ceccarelli must be better than he; for sometimes his breath fails in the middle of a song, and, nota bene, he was never on the stage, and Raaff is like a statue. Now, you may imagine the scene in the first act, the meeting of Idomeneo and Idamante." Further acquaintance with Dal Prato justified the reports concerning him. "My molto amato Castrato dal Prato," he writes (November 15,1780), "requires teaching the whole opera"; "he has to learn his part like a child, and has not a pennyworth of method" (November 22, 1780). He was the stumbling block also in the quartet, which had to be rehearsed six times before it went right. "The fellow can do nothing," complains Mozart (December 30, 1780); "his voice would not be so bad if he did not sing in his throat and head, but he is absolutely without intonation or method or sentiment, and sings like the best among the boys who come to be heard when they seek admission to a choir." He had trouble of quite another kind with his "dear old friend" Raaff. He was exceedingly fanciful, and Mozart made many alterations out of love for him and consideration for his gray hairs (December 27, 1780):— IDOMENEO. Let me tell you that Raaff is the best and honestest man in the world, but so wedded to his old jog-trot ideas that it is enough to drive one crazy. Consequently it is very difficult to write for him; very easy, too, I grant you, if one is content to write songs such as, for example, the first, "Vedrommi intorno," &c. If you could only hear it—it is good, and it is pretty; but if I had written it for Zonca I should have made it much better fitted to the words. I had a good deal of trouble with him about the quartet. The oftener I hear this quartet the more effective it appears to me, and every one that has heard it likes it. Only Raaff thinks it will be wanting in effect; he said to me, "Non c' È da spianar la voce." As if there should not be more speaking than singing in a quartet! But he knows nothing about these things. I only said, "My dear friend! if there was only one note in this quartet that I thought should be altered, I would do it; but I am better satisfied with it than with any other piece in the opera, and when you have once heard it together, you will alter your mind. I have done my best to please you with your two songs, and so I will with the third, with good hopes of succeeding; but as far as regards the terzets and quartets, the composer should be allowed his own way." That satisfied him. After the rehearsal Raaff "gladly acknowledged himself in the wrong, and had no more doubt as to the good effect of the quartet" (December 30, 1780). When Mozart had "shown him the paces" of his first air, he was quite satisfied with it (November 15, 1780); and equally so with the air in the second act (December 1, 1780):— He is as much in love with his song as a younger man might be with his fair lady: he sings it at night before he goes to sleep, and in the morning as soon as he wakes. He said to Baron Viereck and Herr von Castel, "I have always been used to have a hand in my own part, in the recitatives as well as the songs; but I have left this just as it was. There is not a note that does not suit me exactly." Enfin, he is as happy as a king over it. Some ill-natured speeches were made in spite of all this, as Mozart writes to his father (December 27, 1780):— À propos! Becke tells me that he wrote to you again after the last rehearsal but one, and told you among other things that Raaffs song in the second act is not written for the words. "They tell me," he said, "that you know too little of Italian. Is it so?" "You should have asked me, and then written! I can assure you that he who told you this knows very little Italian himself." The song goes exceedingly well with the words. One hears the "mare" and the "mare funesto;" and the THE MUNICH SINGERS. The two other male vocalists belonged to the old Munich opera. "Honest old Panzacchi" had been an excellent singer and a good actor in his time, but his best days were over; and Valesi, too, who had a well-deserved reputation as a tenor, had almost given up the stage, and devoted himself to teaching. L. Mozart had reason, therefore, to write (November 11,1780): "What you tell me of your vocalists is sad, and shows that everything must depend on the composition." There were no difficulties this time with the female vocalists. Both the Wendlings were friendly and amenable—they went Mozart's way, and were contented with everything he did. "Madame Dorothea Wendling is arci-contentissima with her scena, and wanted to hear it three times over,', he wrote home (November 8,1780), and they were quite in accord about the second song. "Lisel Wendling," he wrote soon after (November 15, 1780), "sang her two songs half-a-dozen times; she is thoroughly pleased; I have it from a third person that both the Wendlings have praised their songs very highly." Mozart kept up with great industry the work of rehearsing and composing (a song for Schikaneder was composed meanwhile, Vol. II., p. 102), although he was suffering from a severe cold. The homely remedies which his father ordered brought some alleviation of it, but, as he was obliged to continue writing, the cure was a slow one. At Munich he fell in with Mara, who had not long left Berlin. "She is not so fortunate as to please me," he writes (November 13, 1780); "she does too little to come up to the Bastardina (Vol. I., p. 112), which is her ambition, and she does too much to touch the heart like a Weber, or an expressive singer." He was even less edified by the behaviour of the husband and wife than by Madame Mara's singing, and writes at a later date (November 24,1780) of the "pride, insolence, and effrontery which were visible in their countenances." When Mara was to sing at a court concert, after the first symphony "i saw her lord and master creep behind her with a violoncello in his hand; I thought it was going to be IDOMENEO. The first act was rehearsed at the end of November, and Mozart was able to report to his father such success as raised the general expectation to a still higher pitch (December 1, 1780):— The rehearsal went off remarkably well. There were only six violins in all, but the proper wind instruments. No spectators were admitted but Seeau s sister and young Count Seinsheim. I cannot tell you how delighted and astonished every one was. It was only what I expected, for I assure you I went to this rehearsal with as light a heart as if it had been a banquet. Count Seinsheim said to me: "I assure you I expected much from you, but this I did not expect." The Cannabich family and all who know them are true friends of mine. I went home with Cannabich after the rehearsal. Madame Cannabich met us and embraced me, full of pleasure that the rehearsal had gone off so well; then came Ramm and Lang half out of their minds with delight. The good lady, my true friend, being alone in the house with her sick Rose, had been full of anxiety for me. Ramm said to me (if you knew him you would call him a true German, for he says to your face exactly what he thinks): "You may believe me when I say that no music ever made such an impression on me; and I thought fifty times what a pleasure it will be to your father to hear this opera." But enough of this! My cold was made rather worse by the rehearsal. One cannot help getting overheated when fame and honour are at stake, however cold-blooded one may naturally be. REHEARSALS. Wolfgang's father received other confirmation of the success, which he did not withhold from his son:— Fiala showed me a letter from Becke which is very eulogistic of the music of your first act. He writes that tears of joy and pleasure came to his eyes when he heard the music, and that every one declared it was the finest music they had ever heard—all so new and beautiful, &c. He says that the second act is about to be rehearsed, that he will write to me himself, &c. Well, God be thanked, this all looks well. L. Mozart, who had been wont to exhort Wolfgang not to procrastinate, as indeed he often did at Salzburg, was now concerned to hear of his obstinate cold, the more so as his sister was suffering from a chest complaint, and he begs him to take care of himself; he was not to hurry over the third act, it would be ready quite in good time. Ready, as he always was, with good advice, he warns him to remember that an opera should not only please connoisseurs (December 11, 1780): "I recommend you not to think in your work only of the musical public, but also of the unmusical. You know that there are a hundred ignorant people for every ten true connoisseurs, so do not forget what is called popular, and tickle the long ears." But Wolfgang will not listen to this. "As to what is called popular," he answers (December 16, 1780), "do not be afraid, there is music in my opera for all sorts of people—only none for long-ears." Meantime the work of rehearsing went steadily forward. On December 16, in the afternoon, the first and second acts were rehearsed at Count Seeau's, the parts being doubled, so that there were twelve violins. All went well, as Wolfgang reported (December 19, 1780):— The orchestra and all the audience gladly acknowledged that, contrary to their expectations, the second act was superior both in novelty and expression to the first. Next Saturday the second act is to be rehearsed again, but in a large room in the palace, which I have long desired, for the room at Count Seeau's is far too small. The Elector is to listen incognito in an adjoining apartment. "We must rehearse for dear life then," said Cannabich to me. At the last rehearsal he was bathed in perspiration. You will judge from my letters that I am well and hearty. It is a great thing to come to the end of a great and laborious work, and to feel that one leaves it with honour and fame; this I have almost done, for now nothing is wanting but three songs, and the last chorus of the third act, the overture and the ballet—"et adieu partie!" IDOMENEO. The next rehearsal gave even greater satisfaction (December 27, 1780):— The last rehearsal was splendid; it was in a large room in the palace, and the Elector was present. This time we had the whole orchestra (that belongs to the opera-house, of course). After the first act the Elector said "Bravo!" out loud; and when I went to pay my respects to him, he said, "This opera will be charming—it will certainly do you honour." As he was not sure of being able to remain to the end, we let him hear the concerted song, and the storm at the beginning of the second act. These he also approved of in the most kindly manner, and said, laughing, "No one would imagine that such great things could come out of such a little head." The other day at his early reception, too, he praised my opera very much. In the evening at court the Elector again spoke in high praise of the music, and Mozart learnt from a sure source that he had said after the rehearsal, "I was quite taken by surprise—no music ever had such an effect on me—it is truly magnificent." The news of this success reached Salzburg bit by bit. "All the town is talking of the excellence of your opera," his father tells him (December 25, 1780). "Baron Lerbach set it going; the chancellor s wife told me that she had heard from him that the opera was wonderfully well spoken of everywhere. Then came Becke's letter to Fiala, which he gave to be read everywhere." Becke wrote to L. Mozart himself that "the storm chorus in the second act is so powerful that none could hear it, even in the greatest heat of summer, without turning as cold as ice;" and he praises Dorothea Wendling's concerted song very much. The violinist Esser from Mayence, who had given concerts in Salzburg, wrote from Augsburg concerning the two acts of the opera which he had heard: "Che abbia sentito una musica ottima e particolare, universalmente applaudita." "In short," writes the father, "it would be tedious to tell you all the compliments paid to you. I hope that the third act will have as good an effect, and I do so the more confidently, since all the best situations are here, and the subterranean voices must be startling and terrifying. 7 I hope to be able to say, 'Finis coronat opus.'" REHEARSALS. To this his son answers, over head and ears in work (December 30, 1780): "The third act will be thought at least as good as the other two: I like it infinitely better, and you may justly say, 'Finis coronat opus.'" But there was plenty to do meantime. "Head and hands," he writes (January 3,1781), "are full of the third act, so that I should not be surprised if I were to turn into a third act myself; It alone has cost me more trouble than the whole opera, for there is not a scene in it that has not peculiar interest." He had the satisfaction of finding after the rehearsal that it really was considered to surpass the other two acts. Mozart's anxious father strove to draw his attention to every point that might contribute to success, and particularly cautioned him to keep on good terms with the orchestra (December 25, 1780). Experience of Salzburg must necessarily have shown him the importance of this:— Try to keep your orchestra in good humour—flatter them, and make them devoted to you by praising them; I know your way of writing, and the unceasing and close attention it exacts from all the instruments; it is no joke for the orchestra to be kept on the stretch of their attention for three hours and more. Every one, even the worst fiddler, is touched by being praised tÊte-Ä-tÊte, and becomes more and more attentive and zealous; and these courtesies cost you nothing but a few words. But you know it all yourself; I only tell you because such things are often forgotten at rehearsal, and you will need the friendship and zeal of the whole orchestra when the opera is in scena. The position is then altered, and the player's attention must be much more intent. You know that they cannot all be friendly towards you. There is always a but and an if to be met with. You say people doubted whether the second act would come up to the first. This doubt being relieved, few will have misgivings for the third act. But I will wager my head that there will be some who will doubt whether the music will be as effective in the theatre as in a room; and in that case the greatest zeal and goodwill are necessary on the part of the orchestra. But the opera was not ready yet; there was to be no ballet, only a divertissement fitting into the plot, and this Mozart was, as he expressed it, to have the honour of composing (December 30, 1780). "I am very glad of it," he adds, "for then the music will be by one master." He was IDOMENEO. The arrival of Mozart's father and sister at Munich brings us to a detailed account of the performance of "Idomeneo" PERFORMANCE, JANUARY 29, 1781. On the 29th ult. the opera of "Idomeneo" was performed for the first time in the new opera-house. The adaptation, music, and translation all proceed from Salzburg. The scenery, including a view of the harbour and Neptune's temple, are among the masterpieces of our well-known theatrical architect, the Herr Councillor Lorenz Quaglio. 8 All that we read, however, of the success of the opera in rehearsal leaves us no doubt that it met with a very favourable reception. As to the sum received by Mozart in payment for "Idomeneo" we know nothing; but it cannot have been a large one, or L. Mozart would not have written (December 11, 1780): "How about the score? will it not be copied? You must be careful as to this, for with such a payment the score cannot be given up." To which Wolfgang answered (December 16, 1780): "I made no ceremony as to the copying of the score, but spoke openly on the subject to the Count. It was always the custom in Mannheim (where the kapellmeister was well paid besides) to give up the score to the composer." The original score, in three volumes, is written in a very neat but rapid hand, with scarcely any alterations except a few in the recitatives. As usual, the different numbers are written separately and then put together; the double-bass part was written larger, as in other scores, for the convenience of the bass-player at the clavier. The score was to have been printed at the time, as appears from a letter of L. Mozart to Breitkopf (August 10, 1781): "We were advised to publish the opera, printed or engraved, either in full score or clavier score. Subscribers were promised for some thirty copies, among whom was his highness Prince Max of ZweibrÜcken, but my son's journey to Vienna and the intervening events caused us to postpone the whole affair." The music for the ballet which was given with "Idomeneo" has not yet been printed (367 K.). Mozart seems to have set great value on "Idomeneo" IDOMENEO. Ulibicheff remarks with great justice that it is easy to distinguish in "Idomeneo" where Mozart has still clung to the formulas of the opera seria, where he strives to imitate Gluck and the French opera, and where he gives free play to his own independent impulses as an artist. These indications are, of course, not to be met with accurately marked out in the different pieces, Mozart's individuality, in the perfection to which it had now attained, being throughout the very pith of the work. We have seen that the libretto unites the characteristics of Italian and French opera as far as style is concerned, but that the determining element is the Italian style. We have seen further that the singers, with the exception of the two female characters, belonged to the Italian school, which fact tended to the maintenance of Italian form. It might therefore be expected that Mozart, especially in the songs, should set out from the traditional forms, and only ITALIAN CHARACTER OF THE MUSIC. IDOMENEO. Mozart's "Idomeneo" bears this distinctive Italian colouring, as do all his Italian operas, not only in the employment of Italian technicalities and mechanism, but in the living breath and fragrance which nothing but an absorption into the national spirit could bestow. Even as a boy he displayed a delicate sense of national distinctions, when in "Bastien und Baitienne" and the "Finta Semplice" he defined so sharply the limits of German vaudeville and of opera buffa. If "Zaide" is compared with "Idomeneo," the fundamental distinctions of conception and style are not less definitely marked; and the same was the case later in the "EntfÜhrung" and the "Zauberflote," in "Figaro," "Don Giovanni," "Cosi fan Tutte," and "Tito." To give only one example: one of the most beautiful and affecting scenes that Mozart ever wrote is that in which Idomeneo, at the request of the high priest, indicates his son as the sacrifice demanded by the gods, and all the people break out into lamentations; and yet this chorus (24) is a most unmistakable instance of the Italian form and style. Places like "GiÄ rÉgna la morte" appear typical of similar modes of expression which occur so frequently in Italian operas. But the Italian mould in which Mozart's work is cast, and on which the harmony of the whole depends, is not consciously put forward as a national colouring. It proceeds from such an intimate acquaintance with the Italian style as was then considered the proper foundation for musical studies, and was only possible so long as Italian music bore actual sway in German churches and theatres, and found no contradiction in the national consciousness. This sway was undisputed in South Germany during Mozart's youth and period of artistic development. The musical atmosphere in which he grew up, the elements of culture which were offered to him, were thoroughly Italian; and Italian conceptions and fashions had become second nature to him as to all other German artists who took part in the development of Italian opera during the last century. The relation in which an artistic genius stands to his time and nation is difficult to grasp. Far from shunning the influences of either, his genius displays itself in his power of representing their significant MOZART'S USE OF ITALIAN FORMS. Although Mozart's training had so imbued him with the spirit of Italian music that its essence appeared to him as the essence of music itself, yet he transformed the elements which he had so absorbed with the whole force of his individuality. He did not consciously adopt them as national, neither did he oppose them from motives of patriotism, and seek to substitute a German style. His individuality joined issue with the elements of an art ready to hand in full development, and produced works of art which were genuinely Italian, and also genuinely Mozart. The fresh new life which had awakened in German poetry, and which first caused a consciousness of national existence to show itself in the realm of art, touched Mozart at a time when his musical education was already firmly grounded. He could therefore without self-contradiction continue along the trodden path, and carry on the development of the Italian opera as a settled form of art, which he had made his own in the truest sense. But the impulse of German art laid hold, as we shall see, of his innermost being, and gave him clear consciousness of his capabilities as a German artist. Granted that the German element of his nature—with which he could never dispense—remained latent and inactive while he appropriated Italian art as his own, yet all that he so took was treated as his own free property and turned to account with German thought and feeling. While thus the German school of music was partly founded, partly endued with new life by him, he brought Italian opera to a climax as far as its universal application was concerned; after Mozart it becomes more exclusively national. Like every genius who has made his mark in the history of art, he casts his IDOMENEO. Thus, in Idomeneo we recognise the genuinely Italian character of the opera seria, brought to its highest perfection by the force of Mozart's perfectly cultivated individuality; but in details we still perceive the ascendency of traditional form, to which the artist was obliged to yield. It is most unmistakably present in the two songs allotted to Arbace. The part of confidant was intended both musically and dramatically as a stop-gap; it served as a foil for the more important characters, and was a principal adjunct in the production of that chiaroscuro which was considered as essential to scenic effect. On this account Arbace's two songs (11, 22) are not woven into the dramatic web of the opera either in words or music. Some concessions were doubtless made to Panzacchi, a clever and accomplished singer of the old school, and there is no lack of runs, jumps, and similar feats for display of execution. The songs follow the old fashion in other ways also (except that they have only one tempo, and a structure modified accordingly), as, for instance, in the introduction of cadenzas; a very long ritornello of the second song is afterwards shortened at both ends. But in order to give them some musical interest, the accompaniment, although weak in instrumentation, is carefully worked out in counterpoint, especially in the second song. The preceding accompanied recitative, in composing which Mozart plainly had Panzacchi in view, is fine and expressive. Dal Prato also, for whom the part of Idamante was intended, had only the knowledge of an Italian singer, and that in no considerable degree. Mozart was again, therefore, fettered by tradition, and could venture little to render the song more original and lifelike. In all the three songs for this character (3, 8, 27), the old type is clearly to be recognised. The first, if the singer had had a powerful execution, MUSIC FOR DAL PRATO AND RAAFF. Raaff's advanced age would have prevented his satisfying any very great expectations; but he was also, as Mozart complained, "so wedded to his old jog-trot ideas that it was enough to drive one crazy." He was obliged therefore in the very important part of Idomeneo to submit to much that was against his convictions and inclinations. But Raaff was an accomplished and sensible singer, from whom much could be looked for in respect of delivery and expression. His first air (6) vividly expresses deep and painful feeling in two tolerably short and precise movements, an andantino sostenuto 3-4, and allegro di molto (5); it is dramatically quite in its place, and gives opportunity to the singer to display a well-trained voice. The detached, sharply defined motifs, united by interludes, remind us of the old style, but they are very cleverly arranged and carried out, and the treatment of the wind instruments gives a splendidly sonorous and yet subdued effect to the orchestra, which was then quite novel, and must have been remarkably impressive. The second air (13) is a long bravura song in one movement (allegro maestoso) in the grand style. Mozart calls it "the most splendid song" of the opera; and protests vigorously against the idea that it was not written "for the words"; but more was demanded from the singer than Raaff was able to give. It has the proper heroic character of the opera seria, and affords opportunity for the display of vocal art in IDOMENEO. The third air (30), which Mozart endeavoured to write to please his old friend, is on that very account quite after the old pattern; it has great resemblance to the song which Mozart had so accurately fitted to Raaff at Mannheim (p. 408). The chief movement is a broadly sustained adagio, simple and noble in tone, and giving opportunity to the singer to display sustained singing, the effect of which is enhanced by a figured accompaniment, shared between the strings and the wind instruments; the middle movement, allegretto 3-8, is of less importance. A sketch which has been preserved of this song affords a good example of Mozart's method of work; the ritornellos, the voice and the bass are ILIA—ELECTRA. In spite of the restrictions laid upon him in this far from inconsiderable part of the opera, Mozart's progress since the "Re Pastore" is very marked. What we now find is not the struggle of youthful genius against obsolete and hampering forms, but a conscious compliance with them, on definite grounds, by means of which the composer strives to extract all the good possible from his unfavourable circumstances, and knows exactly how far he can go. It is difficult, however, now that the tradition of these forms is wholly lost, to decide with certainty how much is due to the insensible effect of custom, and how much to the conscious labour of the artist. Those pieces in which Mozart could act without control make an entirely different impression. To these belong the parts of Ilia and Electra. Bravura has a decided place in the conception of the latter, but with an individual colouring of passion which Mozart has made free use of as the characterising element. The two great airs (5, 29) are the vivid expression of a glowing impulsive nature, which is raised by an admixture of haughty dignity above that vulgarity into which violent outbreaks of jealousy and revenge so readily fall. In spite of the text, which puts the traditional bombastic pathos into the mouth of Electra (29)— the composer has succeeded in infusing character and individuality into the song. The two songs are allied in subject, but their treatment is IDOMENEO. The orchestra has an altogether novel function as a means of musical characterisation. It goes its independent way ELECTRA—ILIA. Electra's middle song (14) is in strong contrast to the passionate outbursts of the other two; here her happy love seems to fill her very being. She breathes forth a calm serenity and tender sweetness, as if there could be no place in her heart for jealousy and revenge. The voice part with the exception of one ornamental passage resembling the string quartet accompaniment, is very simple; rightly delivered the expression of satisfied affection will be found quite in accord with Electra's character. In the character of Ilia, Mozart has followed his natural bent; it is full of sentiment, tender and graceful, without any violent passion. It was played by the excellent actress and singer, Dorothea Wendling; here Mozart had free scope, and in her songs (2, 12, 19) we find the finest expression of his manner as an artist. In the first air (2) we find the simplest means lying ready to hand employed to give dramatic effect; such, for instance, is the alternation of major and minor key for the principal subject, the climax produced by its repetition, the different ways in which the exclamation "Grecia!" is treated, &c. Not only are we affected by the charm of beautiful and graceful ideas, but the expedients of formal construction become the natural IDOMENEO. There can be no question as to his success. The first impression is one of the purest melody, filling the musical listener with perfect satisfaction. A nearer examination shows as much to admire in the simplicity of the artistic structure (the symmetry of which in reading the score is displayed as it were on a ground plan) and in the delicate use of sound effects, as in the tenderness and grace of the conception. Let us consider the situation. Ilia comes to thank Idomeneo for the kindness which she, as a captive, has received in Crete. She is embarrassed by the remembrance that she has lost her father and her fatherland, that Idomeneo is her ruler, and the father of Idamante, and, more than all, by the consciousness of her love for Idamante; and yet this very love sheds for her a rosy light on all around. She begins, then, with a composed, almost reverential address, and as her feelings grow more intense, the remembrance of her sorrows returns; but all gives way to the one feeling: "or gioja e contento," in which she altogether loses herself. Such a combination of different elements into a harmonious whole constitutes a true work of art, and it must needs be found beautiful as long as the principles of music remain what they are. The situation of the last air (19) is less striking; it is the longing sigh of a deserted lover; but the main features of Ilia's character have already been so clearly defined that her singular charm is as indelibly impressed here as elsewhere. It is only necessary to compare the air (14), in which Electra expresses her tenderest feelings, to perceive how the essential distinctions between the two women are characterised by the music. The duet for the two lovers (20 b) is interesting and pleasing, but not very striking; in form and change of tempo, ENSEMBLES. The terzet (17) is more striking, noble, and simple, and of fine musical effect, but the dramatic situation is not brought to expression in the full energy of which it is capable. It is certainly placed with design between a succession of pleasing situations and of more agitated ones; its calm and earnest mood fitly concludes what has gone before and prepares the mind for what is to follow, without unduly diminishing the effect of surprise. In the situation, as here presented, the three characters are all in a depressed and anxious mood, which restrains any lively outburst of emotion, and justifies the moderation of the musical rendering. The quartet (21) takes a higher place as regards invention and characterisation; Mozart himself preferred it, and rejected any interference from the singers in its composition as decidedly as he gave way to them in the songs. It is not an easy task to write a quartet for three sopranos and a tenor, but Mozart's accurate knowledge of the capabilities of the voices, and his skilful combinations, enabled him to command the most original and beautiful sound effects. We must admire, too, his genius in marking out a distinct plan, within the limits of which he moves at his ease, and in giving sharp touches of character without disturbing the unity of the piece. Ilia and Idamante stand in natural contrast to Idomeneo and Electra, and each individual is accurately characterised. This is most apparent where they all sing together, and gives life and significance to the music. Besides the independent treatment of the voices, the quartet is especially distinguished by harmonic beauties of an uncommon kind, and undeniably belongs to Mozart's finest performances. His wife relates that once, when singing in this quartet, he was so deeply affected that he was obliged to desist, and for a long time would not look at the composition again. 13 The IDOMENEO. The chorus forms a principal feature of "Idomeneo." There is an important difference, however, between those choruses which actually belong to the plot and express the meaning of the situation with emphasis, and those which are only superficially connected with the plot, and serve principally for ornament. These last are mostly in connection with the ballet, and should be placed side by side with the ballet music. Such are the first chorus (4), during which the Trojan captives are loosed from their fetters, the closing chorus during Idamante's coronation, and most especially the chorus at the end of the first act (10), in which we should not fail to recognise dance music, even without the superscription "Ciaconna" and the express indication of the libretto. The orchestra has a more independent part here than in the two other choruses. The character of them all is fresh and cheerful; as with a man rejoicing in the fulness of his health and strength, everything is stirring and full of sound and bustle, so it is with these choruses, which, without any striking qualities, are thoroughly effective where they stand. The charming chorus previous to the embarkation of Electra and Idamante is more characteristic, and seems to mirror the cheerful heavens and the calm sea, together with Electra's happy frame of mind. Very happy in expression are the verses which Electra sings between the choruses—simple, clear, and full of grace and delicacy. CHORUSES. But the remaining choruses, which are more properly dramatic, are incomparably more important, grand, and earnest. The first (5), representing the shipwreck of "Idomeneo," is a double chorus for male voices. One chorus in the distance is in four parts—the other, nearer, is in two parts; the former is mostly in unison, the latter imitative; each chorus is complete in itself, and quite independent of the other, but the two together form an artistic, clearly apprehended whole. The orchestra contrasts with it as a solid mass, the stringed instruments belonging more especially to the second, and the wind instruments to the first chorus. It falls to the orchestra to depict the storm, and there are plenty of chromatic scales for the purpose, but the effect depends chiefly on bold and forcible harmonies. How little Mozart shunned difficulties and obstacles may be proved by several parts of this scene, the following passage among others:—[See Page Image] Still more powerful are the choruses which close the second act. Again there arises a storm, the sea-monster appears, and horror seizes the people. While the orchestra is in constant agitation, the chorus interposes en masse, partly in full chords, partly in effective unison. The succession of striking harmonies reaches its height in the four-times repeated IDOMENEO. The chorus in the third act (24) expresses a totally different sentiment in equally grand style. When, after the effective appeal of the High Priest, Idomeneo discloses his obligation to sacrifice his son, the people, still discontented and murmuring, are struck with grief and horror. The intensity and almost over-wealth of beauty with which these emotions are expressed give the music, as we have already remarked, the national stamp of the Italian opera. We may learn from this chorus how in a true work of art the universal emotions of the human heart may be blended with the peculiarities of national and individual life and transported into the realm of pure art. The effect of unison at the words "giÄ rÉgna la morte," expressing the depressed murmur of the people, is wonderfully fine; the chromatic triplet passage of the accompaniment seeks meanwhile in vain to raise the fainting spirits higher. This motif passes finely into the calm confidence of the High Priest's prayer, and the touchingly beautiful orchestral conclusion lets a ray of light on to this dispirited mood. But the climax has not yet reached its highest point. After a simple but wonderfully effective march, there follows a prayer for Idomeneo and the Priest which is a complete masterpiece, whether we consider its truthful expression of emotion, its rich and original orchestral accompaniment, or the combination in it of the various elements which produce the CHORUSES—RECITATIVE. It is much to be regretted that after this chorus the opera follows the usual course of opera seria, and leaves important dramatic situations unused for the purposes of musical representation. If, according to the original design, the remaining chief situations had been wrought together into a duet for Ilia and Idamante and a quartet, we should then possess masterpieces of grand dramatic music at the close of the opera; instead of this separate songs have been detached from their context in order to satisfy the singers. The grandiose and free treatment of the choruses, both in the voice parts and the accompaniments, places them almost on a level with those of "KÖnig Thamos"; but a more condensed and pregnant style of music was required in the opera than in "KÖnig Thamos," where the connection with the drama was loose and superficial. Mindful of this consideration, Mozart, while giving the choruses free scope for musical execution, never allows them to stand independent of and apart from the words. A reminiscence of French opera is evident in the treatment of the recitatives as well as in the important part allotted to the chorus. The groundwork of the dialogue is, as usual, in secco recitative, but accompanied recitative is more often employed as introductory to the songs than formerly, and it is also made use of as the most fitting vehicle for passionate or agitated soliloquies, such as that of Idomeneo after the appearance of the monster (18), or for solemn and pathetic appeals, such as that of the High Priest (22); also at different points of the dialogue where the sentiment rises above the tone of ordinary speech, the accompanied recitative interrupts the secco for a longer or shorter interval, and gives the dialogue increased power and IDOMENEO. This brings us to one of the most remarkable features of "Idomeneo," which at the time rendered the work a true phenomenon, and which even now excites admiration and appears worthy of study: the treatment of the orchestra. It was to be expected that Mozart, having at his disposal a well-appointed and excellently trained orchestra, would develop with partiality the instrumental side of his great work. In point of fact, the orchestral portions of "Idomeneo" are richer, more brilliant, and more carefully carried out, even to the smallest details, than was ever again the case in his later works. The composition of the orchestra is quite the same as that which he employed in after-times, except that he occasionally has four horns, as on some former occasions (Vol. I., p. 304; II., p. 86), but not in Vienna. He disposed freely of all the forces at his command, not contenting himself any longer with accentuating different parts by means of richer instrumentation, but maintaining throughout a more brilliant and forcible instrumental colouring, and allowing the choice and use of means to be determined only by the particular subject which was to be represented. In this manner he kept himself within the bounds of moderation, and reserved certain resources for definite effects; for instance, flutes are employed only in the storm (18), trombones only for the oracle (28). In the choruses to "KÖnig Thamos," on the contrary, the trombones are in frequent use, as they were later with similar effect in the "ZauberflÖte." So decidedly had Mozart even at that time fixed the character of this instrument. But he was particularly careful so to distribute his effects that the ear should never be either over-excited or over-fatigued. For instance, in the two storm scenes (5, 18) there are no trumpets and drums; they first occur in the flight scene, which is quite different in character; and again in the dance choruses (10, 32), when festive brilliancy is required; also in the mourning chorus, where they are muffled, which modifies the effect in a very original manner. These observations might advantageously be carried into detail; but it will suffice here to point out that Mozart's IDOMENEO. Three marches are characteristic, each in its own way. The first (9) is a brilliant festival march, belonging by its style to the ballet which follows; the second (15), which is introduced in the charming way already noticed, is mainly effective by its gradual approach, new instruments falling in at each repetition and adding to its force and tone-colouring. At first the trumpets and drums are muted, as in the concluding chorus in "KÖnig Thamos." The simplest and most BALLET, The music to the ballet may most fitly be noticed here. It consists of the following numbers:— 1. Chaconne (D major), "Pas de deux de Madame Hartig et M. Antoine," "Pas de seul de Madame Falgera," an elaborate movement, with which is connected an equally elaborate Larghetto (B flat major). "Pas de seul pour Madame Hartig." To a tolerably long Annonce succeeds the Chaconne "pour le Ballet," partly repeated, and concluding with a crescendo. 2. "Pas de seul de M. Le Grand" (D major). This begins with a pathetic Intrade (Largo) leading to a neat and compact Allegretto, which was omitted in performance. This is followed by a very animated PiÙ allegro, and concluded by another PiÙ allegro "pour le Ballet," with a twice-repeated triplet passage in long-drawn crescendo rising from pp to ff. intensified by suspensions, and which is enough to make one giddy. 3. Passepied (B flat major) "pour Madame Redwen," short and simple, but very neat and graceful, and quite in dance form. 4. Gavotte (G major), not elaborated, delicate and graceful; a very good effect is produced by the simple imitation of the violoncello, which is carried out in harmony in the third part. 5. Passecaille (E flat major). This piece was intended for further elaboration with a Pas de seul "for M. Antoine," and a Pas de deux (Madame Falgera et M. Le Grand), but it was considered too long. Mozart only planned two longer portions without completing them, and in performance the whole Pas de deux was omitted. The traditional style of the different dances, as they are known to us from the suites of Handel and Bach, has been preserved in their rhythmical structure, and also in other IDOMENEO. Besides this, the whole of the ballet music in "Idomeneo" is similar to corresponding movements in the opera, fresh, melodious, and appropriate throughout. But it is easy to see that Mozart was aware that the delicate details and the orchestral treatment that are present throughout the opera would not be in place here. It is true that he has done justice to himself in the free and flowing arrangement of parts and the animated grouping of the instruments, and true also that delicate harmonious transitions constantly betray the hand of a master; but he was well aware that he must depend chiefly for light and shade on sharp pregnant rhythm and strong emphasis. With this view, trumpets and drums are not spared, but the orchestra, with the exception of some separate strong strokes, is seldom used en masse; there are few attempts after peculiar effects through unusual instrumental combinations, and only in the Gavotte does a solo violoncello occur, and that in very modest fashion. The influence of the ballet-master is apparent from the fact that there are many more erasures and alterations in this than in any other part of the opera. In the overture, a magnificent piece, Mozart altogether abandoned the old forms. It is in one lively movement, and maintains its character as an introduction by not coming to a proper conclusion, but passing immediately into the first scene. A certain typical tone of heroic solemnity is heard in the first bars, and reiterated more than once afterwards; but the whole is governed by a severe earnestness, expressed by the frequent occurrence of the minor key, and by the strong but beautiful dissonances. The middle subject, on the contrary, begins a gentle plaint in A minor, which is calmed and relieved by the wonderfully beautiful introduction of the key of C major, enhanced in effect by variety of tone-colouring. If we gather together the results of our observations of "Idomeneo," we cannot fail to discern in it the work of a master who has arrived at the maturity of his powers while still in the full bloom of youth. It was only his GLUCK'S INFLUENCE. Mozart's leave of absence was not extorted from the Archbishop without difficulty, and it was limited to six weeks. DREAD OF RECALL. The better satisfied he became with his life in Munich, where he found friends, appreciation, and enlightenment, the more appalling grew the prospect of returning to Salzburg, and he was in terror lest the Archbishop should recall him even before the performance of the opera. With this idea he writes to his father (December 16, 1780):— À propos! how about the Archbishop? Next Monday I shall have been absent from Salzburg for six weeks. You know, my dear father, that it is only for love of you that I remain in Salzburg, for, by heaven! if it rested with me I would have torn up the agreement and resigned my appointment before I left home this time. It is not Salzburg, but the prince and the proud nobility who become more insupportable to me every day. I should hail with delight a letter informing me that he no longer needed my services. The patronage I have here would assure me of present and future means of support, without taking into account the chances by death, which none ought to count upon, but which is no bad friend to a man in search of employment. But anything in the world to please you—and it would come all the easier to me if I could get away now and then for a little to take breath. You know how hard it was to get away this time, and that without some great cause there is no possibility of it again. Come to Munich and hear my opera, and then tell me if I am wrong to feel unhappy when I think of Salzburg. His father seeks to reassure him as to the leave of absence (December 25, 1780):— As regards the six weeks, I have decided not to take any steps in the matter, but if I hear anything on the subject I shall certainly answer that we understood you were to remain in Munich six weeks after the composition of the opera, for its rehearsal and production, but that I could not imagine that his highness would suppose that such an opera could be composed, copied, and performed in six weeks, &c. It would not, however, have been a matter of regret to L. Mozart if Wolfgang could have met with a good situation in Munich. Wolfgang himself had been rendered full of hope from the gracious reception of the Elector, and wrote to his father that if he succeeded in settling in Munich, he (the father) must not long remain in Salzburg, but must follow him thither. He was very anxious to demonstrate in Munich that he could write other things besides operas, and he turned his church music to account. With this object he wrote to his father (November 13, 1780):— IDOMENEO. Be so kind as to send me the scores of the two Masses that I have at home, and also the Mass in B flat major (275 K.), for Count Seeau has promised to speak of them to the Elector. I should like to make myself known in this style. I have just heard a Mass by Grua (kapellmeister in 1779, died 1826); it would be easy to compose half-a-dozen a day of that kind of thing. Mozart also appears to have tried to win favour with the Elector by a new church composition; at least a grand Kyrie in D minor (341 K.), judging by the character of the composition and the distribution of the orchestra, can only have been written during this stay in Munich. The orchestra consists of the usual string quartet, and in addition two flutes, two oboes, two clarinets, two bassoons, four horns (in D and F), two trumpets, and drums; there is no grouping of the kind that is found in "Idomeneo." Whether this is a fragment of a Mass which was never completed, or whether it was intended for insertion in another work, cannot now be decided. It is tolerably long, but elaborated without much thematic treatment, the elements of the construction and flow being more rhythmical and harmonic, and taking their principal charm from the independent and richly elaborated orchestral accompaniment. Among Mozart's sacred compositions his Kyries are specially distinguished by an originality of tone-colouring and peculiarly melodious treatment, which are extremely well suited to the melancholy tone of the movement before us. Much of it points to the Requiem, and opens the door to conjecture as to the path which Mozart would have pursued had he devoted himself specially to church music. Another great work, apparently written for the Munich Kapelle, is a grand serenata for wind instruments (361 K.), 16 with the date 1780, which he must have taken with him, since he would hardly have undertaken so important a work while engaged on "Idomeneo." The serenata is for two oboes, two clarinets, two viols, four horns, two bassoons, violoncello, and double-bass. The instruments, and the task appointed for them, point rather to the Munich orchestra SERENATA, 1780. In form the serenata resembles those written for the complete orchestra. It begins with a solemn Largo, which serves as introduction to a Molto allegro, worked out very like the first movement of a symphony. This is followed by a Minuet with two trios, than a broadly planned Adagio, and again a Minuet with three trios. To this is joined a Romanze (adagio), simple and lyrical, in two parts, interrupted by an Allegretto leading again to the Adagio, which is repeated and concluded by a coda. Then comes an Andante with six variations, and the finale, consisting of a cheerful Rondo. It is no easy task to write such a succession of pieces for wind instruments, for the tone-colouring, although striking and agreeable, must be moderately and carefully treated. People were certainly more accustomed to this kind of music at the time, but even at the present day the serenata does not produce a sense of fatigue. It has an interest as a proof of the minute study which Mozart bestowed on all instrumental forces, whereby he acquired that complete mastery of the orchestra which is displayed in "Idomeneo." But the work has a higher significance than that of a mere study of instrumentation, as is shown by the admiration it has excited in many places quite recently. The charm of the composition depends greatly upon the certainty with which the peculiar style of each instrument is made use of; but this forms only one side of the artistic construction of the idea, and the full force and beauty of the instrumental effects are only perceived when they are considered as a means of representing each part of the whole work in its due proportion. IDOMENEO. Great delicacy and diversity are shown in the grouping and treatment of the different instruments. The first players naturally undertake the chief parts, the accompaniment falling to the secondary players, but the disposition of parts is so free and independent that the difference is not always apparent. 18 All the movements are well planned and constructed, rich in delicate and interesting touches of harmonic or thematic elaboration, and in general fresh and tuneful. The crown of them is the Adagio, 19 in which the musical expression of deep and earnest feeling rises to a purity and height which is impossible to the specified representations of certain frames of mind now in fashion. We here attain, by means of artistic catharsis, as Aristotle calls it (purging, purifying), to an absolute freedom and satisfaction, which it is granted to man to feel only in the perfect harmony and beauty of art. The means by which this highest of all effects is reached are so simple that a dissection of them would only be a confirmation of the old scripture that the letter killeth and the spirit giveth life. 20 As long as Mozart was engaged on the composition and study of his opera he had no time for recreation, and his visits were confined to the Cannabich family. After the performance he refreshed himself by entering with his father and sister into the Carnival gaieties, and by cheerful intercourse with his friends. But the latter did not allow him to remain long in idleness. To please his good friend Ramm he wrote a quartet for oboe, violin, tenor, and violoncello (370 K.), obbligato throughout for the oboe, but otherwise easy and light in design and execution. For his patroness the Countess Baumgarten (Vol. II., p. 132) he composed, on March 8, PROLONGED STAY IN MUNICH. Mozart's longer stay in Munich was rendered possible by the Archbishop's journey to Vienna, which was probably occasioned by the death of the Empress. He wished to appear with all the pomp of a spiritual prince, and took with him a considerable retinue of courtiers and servants, as well as some of his most distinguished musicians. Wolfgang rejoiced at this fortunate circumstance, and enjoyed himself so much in Munich that he confessed later to his father (May 26, 1781):— In Munich, it is true, I was a little too gay, but I can assure you on my honour that before the opera was on the boards I went to no theatre and visited no one but Cannabich. I exceeded a little afterwards, I own, but it was through youthful folly. I thought to myself, "Where are you to go to? To Salzburg. Well, then, enjoy yourself while you can!" His father was full of thought for him even now; he wrote from Munich to Breitkopf (February 12, 1781):— I have long desired that you should publish some work by my son. You will not, I am sure, judge of him now by the clavier sonatas which he wrote while still a child. You cannot have seen a note of what he has written for some years past, unless it may be the six sonatas for clavier and violin which were engraved at Paris (Vol. I., p. 415). We have allowed very little to appear. You might make the experiment with a couple of symphonies or clavier sonatas, or else with quartets, trios, &c. You should only give us a few copies in return, as I am anxious that you should see my son's manner of work. But do not imagine that I wish to over-persuade you. The thought has frequently occurred to me, because I see so much published and in print that moves me to pity. Wolfgang did not return to Salzburg. His gay life in Munich was interrupted by a summons from the Archbishop to Vienna. There he accordingly arrived on March 12, and there his destiny was to be fulfilled.
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