The primary motive-power was the father's earnest devotion to duty, and his example gave weight to his unsparing demands on the labour and industry of his children. He considered the accomplishments of an artist as no mere pastime for hours of recreation, no passing breath of visionary inspiration; but as the ripe food of ceaseless labour, of untiring progress in moral and artistic self-knowledge. He was not content to recognise in the wonderful receptive and productive powers of his son a passport to easy indolence, but strove to make him consider them as deposits to be turned to the best account by study and cultivation. He accustomed his children to work from their youth up, and made it his first object that their outer circumstances should afford them no excuse for idle hours. "Custom." said he, "is an iron path." For this reason he gave up every occupation (except the duties demanded by his official position) which might withdraw him from his children, especially all lessons, thereby entailing a considerable pecuniary sacrifice, for which the profits of his first professional journey could only partially compensate. But he had so firm a confidence in Wolfgang's future, and he kept this object so clearly and continually in view, that nothing could divert him from it. In the boy himself there was no cause for anxiety; his trust in his father was unbounded, his nature was pliable, and his zeal for his art so great that it was never necessary to incite him to industry; indeed, his father often praises his energy and laboriousness. A further proof of the father's beneficial influence is the fact that Wolfgang did not yield to the temptation common to talented and lively youth in following MOZART'S EDUCATION. momentary and one-sided impulses; but that he advanced step by step in a thorough and judicious cultivation of all his powers. The great number of his compositions of every kind which we have already noticed gives us no small idea of his industry; and we must remember that these performances were only possible as the result of continuous study and exercise, of which no outward sign remains. The father insisted on Wolfgang's making clear copies on quarto music paper, both of his own compositions and of examples of other composers. A long list of such exercise-books, in gray-blue covers, with every kind of composition in Mozart's handwriting, arranged and titled by his father, affords the most speaking proof of the industry and regard for order and neatness in which Wolfgang was trained.
Added to this was the continual hard practice on organ and clavier which made him the finished performer he was, then his official duties at court and church, his frequent engagements to play in private circles, and finally the lessons which he was obliged to give—one wonders in fact where he found time for it all in a day of only four-and-twenty hours. Nothing but the anomalous union of extraordinary genius with regularity and order could have produced so anomalous a result. Then again, L. Mozart was too far-seeing and cultivated a man to be satisfied with an exclusively musical education for his son. He took care that he should attain proficiency in foreign languages; he had learnt Latin in early youth (p. 61), and some knowledge of it was indispensable for sacred composition, on which account his father enjoins him (October 15, 1777) always to use a Latin prayer-book. He learnt to speak French and Italian fluently on his journeys, and his father was careful to keep up his knowledge of them. No opportunity was lost of acquiring "any kind of useful knowledge," as Leopold writes (December 18, 1777), "in order to cultivate the understanding by the reading of good books in different languages." Unfortunately we are not told what books Wolfgang read, nor in what direction his literary taste lay. It is characteristic of the father that both the children were obliged every evening to write a short account EARLY MANHOOD. in a journal of what they had learnt and done throughout the day, in order to cultivate their observation of themselves and the things around them.
L. Mozart knew well that hot-house plants fade quickly, and was careful not to overtax the powers of his son, but to preserve him in healthy freshness, both of mind and body, by means of due diversion and recreation. He sought also to render him self-possessed and unconstrained in his intercourse with all classes of men, which Wolfgang's natural amiability rendered an easy task; it was far more difficult to impress him with the necessity for prudence and reserve, which not even the bitter experiences of after-life could teach him. Tied and hampered, as L. Mozart was, in all these endeavours by the conditions of his life in Salzburg, one support remained of which he could not be deprived; this was the beauty of the surrounding scenery. True, he makes no mention of it in his letters, but the dwellers in beautiful neighbourhoods seldom express enthusiastic admiration unless it is called forth by the observation of strangers. Whether consciously or not, however, the influence of rich and beautiful scenery must be felt by a finely organised mind, and the good fortune of a youth passed amid such impressions of surrounding nature is not less to be prized than any other happy dispensation which wakens to life the slumbering powers of the soul.
Intercourse with cultivated and art-loving men, so indispensable to a liberal education, was not easy of attainment in Salzburg. Such men were few, and almost exclusively belonged to the higher nobility. Two Counts Firmian, brothers to the Governor-General of Lombardy (p. no), were men of a lively interest in and appreciation of science and art. While still at the university they had founded a literary society which had considerable influence in spite of the strong opposition which its free scientific tendencies drew upon it.[ 3 ] One of the brothers, Vigilius Maria, who was provost of the cathedral, possessed a carefully selected library, and was familiar with the literature of all the THE NOBILITY OF SALZBURG. European countries; the other, Franz Lactantius, Lord High Chamberlain to the Archbishop, was a connoisseur of painting and possessed an excellent collection of pictures. But he seems to have had little idea of music; for although he was extremely well disposed towards Wolfgang, the latter writes to his father (July 9, 1778) that nothing can be done for music in Salzburg until it is altogether left to the kapellmeister, so that the Lord High Chamberlain may have no power to interfere: "for you cannot make a kapellmeister out of a cavalier, although you may make a cavalier out of a kapellmeister." Canon Count Anton Wilibald Wolfegg had travelled extensively in order to make himself acquainted with manufactures and industries, and had specially studied architecture. The Master of the Horse, Count Leopold Joseph Küenberg, was a well-read and accomplished man; the Bishop of Chiemsee, Count Ferdinand von Zeil, was as distinguished for intellect and cultivation as for nobility of disposition.[ 4 ] We may gather that all these men were well disposed towards Mozart. The Chamberlain, Count George Anton Felix von Arco, the Court Marshal, Count Nicolaus Sebastian von Lodron, and the Captain of the Body-Guard, Count Leopold von Lodron, were also among his patrons. He had free entry into their houses, played at their entertainments, and gave lessons to their daughters, all the ladies, old and young, vying with each other in attentions to the distinguished virtuoso. Wolfgang sends a respectful kiss of the hand from Milan (February 17, 1770) to her Excellency Countess Arco, and thanks her for the kiss she had sent him, which he prized more highly than many a salute from a younger person. Differences of rank, however, and of personal circumstances rendered difficult any such friendly intercourse as would have been of advantage to Mozart both socially and professionally.
The circle was not an artistic one. Wolfgang praises Count Salem in Munich (October 2, 1777), and calls him a EARLY MANHOOD. true connoisseur. "He says 'Bravo!' when the other cavaliers take a pinch of snuff, or blow their noses, or cough, or begin a conversation."
The smaller or, as it was called, the "wilde" nobility lived for the most part on the numerous smaller court offices, the incomes of which did not enable them to make a show in proportion to their rank; they strove to indemnify themselves by pride and haughtiness, although there were some few cultivated families among them.[ 5 ] With some of these, and more particularly with their younger members, we find Wolfgang in close intercourse, but the friendship was in most instances a superficial one, which did not stand the test of years and absence. Herr von Mölk, son of the Court Chancellor, is mentioned as a friend of Wolfgang's, and an unsuccessful suitor of his sister Marianne; it was he who was so amazed and delighted with the performance of the opera at Munich that the Mozarts were ashamed of him, because it was evident that he had seen nothing all his life but Salzburg and Innspruck.[ 6 ] Mozart was more attached, at least in his early years, to Fräulein W. von Mölk, to whom he sends a message that he would like the same reward from her that he had for the last minuets; she knows what that is. That his heart was somewhat susceptible of impression in youth is evident from the mysterious allusions which Wolfgang makes in his letters to his sister; she is to visit—she knows whom—to give tender messages, &c. When he went to Italy in 1772, an expression in a letter from his father points to a daughter of Dr. Barisani as his reigning goddess. Other friends of Mozart's youth were Herr von Hefner, son of the town syndic; Herr von Aman, of whom he was very fond as a boy, though the intimacy afterwards died out, and Joachim von Schiedenhofen, who disgusted Mozart by marrying for money. Von Schiedenhofen kept in his youth a "diary of his own doings," extracts from which, relating to the years 1774-1777, take note of all the visits of SOCIETY IN SALZBURG. the Mozart family. These extracts prove that the Mozarts were on friendly terms with many other court officials. They visited each other in the afternoons and evenings, and either played cards or had music. Regular entertainments are mentioned, such as meetings for the bolt-shooting which we shall presently describe, and a card club; the friends also went to concerts and masquerades together.
Intercourse with families of the citizen class, which could not fail to result from the position held by the Mozarts, and from their many years residence in the place, was more of a recreation for idle hours than a means of intellectual improvement; occasional allusions to Salzburg society are not of a favourable nature.[ 7 ] Among their intimate friends was our old acquaintance Hagenauer, a merchant, and for many years their landlord. We may gather from the confidential letters addressed to him by L. Mozart on the first journey that he was not only sincerely attached to them and always ready with advice and help, but that he had cultivation and tastes in advance of his surroundings. His wife, judging from some remarks of L. Mozart, was somewhat bigoted and fond of priestly intercourse. The closest friend of the family, however, who possessed the confidence both of father and children, was Jos. Bullinger, a priest, who had been educated at the Jesuit seminary in Munich and was tutor in the family of Count Arco at Salzburg. "The faithful Bullinger" was "always a chief person" in the Mozarts' house; in Wolfgang's letters home he not only always sends messages to his "good friend Bullinger," but he begs that his letters may be read to him, and sometimes that important secrets may be told to no one but Nannerl and Bullinger. After the mother's death in Paris, Wolfgang intrusted him with the mournful task of breaking the news gently to his father, which Bullinger did EARLY MANHOOD. with equal tact and sympathy; and when Wolfgang was forced, much against his will, to return to Salzburg, it was to his friend Bullinger that he poured out his heavy laden heart (August 7, 1778). And the attachment was mutual. When Wolfgang was on his way home from Paris, and his father and sister, anxious for news of him, confessed and communicated with many prayers for the preservation of their dear one, "the faithful Bullinger" also "prayed for him daily in the holy mass" (October 19, 1778). The father, too, had good cause to declare that Bullinger was his best and truest friend, from whom he had received "much courtesy and kindness," and who, when he was in embarrassment during Wolfgang's journey, assisted him by a considerable loan.
He placed the fullest confidence in Bullinger, shared with him all his plans for Wolfgang, and took counsel with him on many occasions. The friendship between them was well known in Salzburg; and in the efforts that were made to recall Wolfgang from Vienna Bullinger was employed as a go-between. He seems to have had some taste for music; at least, we hear of his taking part in some private concerts, which were held every Sunday at eleven o'clock; and Wolfgang writes, after his departure (October 11, 1777), begging him to "hold an official discourse, and give his compliments to all the members of the Academy."
Opportunities for social gaiety were more freely afforded to pleasure-loving Salzburg under Archbishop Hieronymus than under his predecessor Sigismund, whose tastes were not nearly so cheerful nor so liberal.[ 8 ] Salzburg society was characterised as follows: "The country gentlemen hunt and go to church; those next below them go to church and hunt; the next lower rank eat, drink, and pray; and the lowest of all pray, drink, and eat. The two latter classes conduct their love affairs in public, and the two former in private; all alike live in sensual indulgence."
