Wolfgang next paid his respects to the Prince Bishop of Chiemsee, Count Zeil, who was residing in Munich on a MUNICH AND AUGSBURG. diplomatic mission. He conversed freely on Mozart's plans, and promised to do his best for him with the Elector and his consort. But some days later the Bishop said to him, "very politely" (September 29,1777): "I do not think you will do much here. I spoke privately on the subject to the Elector at Nymphenburg, and he answered, 'It is too soon yet, let him travel in Italy, and make himself a name; I do not refuse anything, but it is too soon yet.'" The Electress promised to do what she could, but "shrugged her shoulders," and doubted of success.
These unfavourable prognostics were justified when Mozart, introduced by the influential violoncellist, Frz. Xav. Wo-schitka (b. 1730), presented himself to the Elector, who was on the point of going hunting with his court. He gives the following account of the interview to his father (September 30, 1777)—
When the Elector approached me I said: "I trust your highness will allow me to lay myself and my services at your highness's feet." "Indeed! have you left Salzburg altogether?" "Altogether, your highness." "Inded! Why? Were you kept too close?" "May it please your highness, I asked permission to travel, which was refused, whereupon I took a step which had long been in my mind, for Salzburg is no place for me, that is certain." "Mein Gott, young man! But your father is still at Salzburg?" "Yes, may it please your highness; he lays his humble duty, &c. I have been in Italy three times already, have written three operas, and been elected Member of the Academy at Bologna, after writing a trial composition in one hour which usually takes candidates four or five hours of hard labour; all this proves that I am in a position to serve any court. My greatest wish is to serve your highness, who is himself a great"—"Yes, my dear fellow, but I have no vacancy." "I assure your highness that I should do honour to Munich." "No doubt, no doubt; but there is no vacancy." This he said as he was going, and I could only take my humble leave.
The Elector being unable, as L. Mozart was aware, to engage any one unless there were a vacancy, no court office could be looked for at Munich, but there seemed fair prospects of an assured position in another direction. Count Seeau had interest enough to retain so distinguished a composer, whose energy and productiveness promised good services. He was not only manager, but also part MUSIC AT MUNICH, 1777. proprietor of the theatre; the Elector paid the band and the ballet, and gave a yearly contribution of 9,000 gulden to the expenses, which was received by Seeau. In return the latter provided the opera and the play, and engaged the members of the two companies, chiefly natives of Munich, who were to be had for eight to twelve gulden a month.[ 3 ] The Italian opera was only given during the carnival, and at great court festivals, and then generally without remuneration; German operas were the rule, that is, adaptations from the French or Italian, for as yet original German opera did not exist. What a brilliant success might be expected, from the lively interest of the Munich public in all matters theatrical, if a man of Mozart's genius were to devote himself to German opera! Seeau inquired of the Bishop of Chiemsee if Mozart did not receive enough from home to allow him to remain there on a small salary; he should like to keep him; the Bishop doubted this. Count Seeau preferred receiving a proposal, and remained silent; but Mozart could perceive that he was turning the matter over in his mind. He himself was all on fire at the idea of having operas to compose. He gives his father an animated account of the impression made upon him by the performance of a German opera, and by the vocalist (October 2, 1777):—
The prima donna is named Keiserin; she is the daughter of the cook of a nobleman here, a pleasant girl, and pretty on the stage; I have not seen her nearer yet. She is a native of Munich. I heard her the third time that she played, and thought she had a beautiful voice, not very strong, but not weak either, and a pure, good intonation. Valesi is her teacher, and her style shows that her master understands singing as well as teaching singing. When she had to sustain a note for a couple of bars, I was surprised at the beauty of her crescendo and decrescendo. She has a slow shake, which I like extremely; it is all the clearer and purer when she wants to make it quicker, and the quicker it is the easier it is. She is an immense favourite with the people here, and I agree with them. Mamma was in the body of the theatre; she went at half-past four, in order to secure a seat I did not go till half-past six, for I am well enough known to have the entrée to any of the boxes. I watched Mdlle. Keiserin with my glass, and she drew more than one tear from MUNICH AND AUGSBURG. me; I cried "Brava, bravissima," very often, remembering that this was only her third appearance. The piece was called "The Fisher-Girl" (La Pescatrice), a good translation, with Piccinni's music, but with nothing original in it. They want to have a German opera seria soon—and they wish me to compose it.
Among the "wishers" was a certain Professor Huber, whom Mozart had met at the Messmers' during his last visit to Vienna (1771); they renewed their acquaintance at Herr Albert's, where the professor was a frequent visitor. He was the deputy-manager of the theatre, and had, as Mozart expressed it, "to read all the pieces submitted for performance, to improve, spoil, accept, reject them." This censorship was necessary, since the management performed all that was sent in, and was bound to put in study every native production. And as at that time "almost every student and official in Munich was bitten with the mania for authorship,"[ 4 ] they were overwhelmed with trash. Huber must have felt it a matter of importance to retain such a remarkable genius as Mozart for the Munich theatre.
The wish, indeed, was generally felt; Baron Rumling paid Wolfgang the compliment of saying: "The theatre is my delight, with good actors and actresses, good singers, male and female, and such a capital composer as you are!" Of this Wolfgang says (October 2, 1777): "It is only talk, certainly—and talk does not go far—but he never spoke so to me before." Wolfgang played several days in succession before Count Jos. von Salem, the chief director of music and the opera (b. 1718);[ 5 ] he played a good deal "out of his head," then the two "cassatione" (247,287, K.) composed for the Countess Lodron, and the finalmusik (250 K.):—
You cannot think how delighted the Count was; he understands music, for he cried "Bravo!" every time that other fine gentlemen take a pinch of snuff, blow their noses, cough, or begin a conversation. I said to him that I wished the Elector were there, that he might hear what I could do, of which he knows nothing. All these great people believe whatever is told them, and refuse to judge for themselves. It is always the way. I offered him a trial; he was to get together all the artists in PROSPECTS OF SUCCESS IN MUNICH. Munich, and any he chose from Italy, France, Germany, England, and Spain; I would undertake to write against any of them. I told him what had happened in Italy, and begged him, if the talk turned upon me, to remember all this. He said: "I have very little influence; but what I can do I will, with all my heart."
He had some intercourse with musicians, too; Consoli had met him on his entrance into the town, and lost no time in visiting him, and his old friend Becke, the flautist, soon made his appearance. Albert arranged a little concert ("with a wretched clavier, alas! alas!"), and invited a clergyman, Dubreil, a pupil of Tartini, with the idea that he was a good judge, and a clever performer; but this turned out to be a mistake.
We first played Haydn's two quintets, but it was dreadful; I scarcely heard him; he could not play four bars without mistakes; his fingering was bad, and he left out all the sospiri.[ 6 ] He was very polite, and praised the quintets, but—Then I played my concerto (clavier) in C, in B flat, in E flat major (238, 246, 271, K.), and my trio (254 K.). The accompaniment was fine; in the adagio I had to play six bars of his part. Last of all, I played the last cassation in B (287 K.), and they all stared. I played as if I were the greatest fiddler in Europe (October 6, 1777).