Mozart's antipathy to Vogler shines through this description, and is equally apparent whenever he has occasion to mention him. Personally he had nothing to complain of in Vogler: "Herr Vogler positively insisted on making my acquaintance," he writes to his father (January 17, 1778); "after plaguing me very often to go to him, he put his pride in his pocket and paid me the first visit." No assurance will be needed that the rivalry of the two in composition, organ and clavier-playing, would not lead Mozart to disparage great merit where it existed. It might have contributed to sharpen his judgment, which, however, was essentially the same as that passed on Vogler by the whole orchestra, "from the highest to the lowest." He was regarded as an interloper, who had usurped an important position in Mannheim, and had intrigued against such men as Holzbauer for the purpose; the violet stockings which he wore as papal legate were thought absurd;[ 76 ] and his habit of taking a prayer-book into society, together with his music, and of frequently keeping visitors waiting while he performed his devotions, was considered mere affectation;[ 77 ] many complaints were made of his haughty and depreciatory manner; and his own performances fell far short of the expectations excited by himself.
But apart from all influence of partisanship or gossip, it is quite conceivable that two such diverse natures should exercise a mutual repulsion on each other. Vogler was no doubt an original and striking character; the very fact that his contemporaries were either his enthusiastic admirers or his sworn enemies affords proof of this. He possessed musical talent, intellect and shrewdness, together with much energy of character, so that his attainments were extensive both in the arts and sciences.
But these qualities, uncombined with creative genius, could not reach the highest beauty and truth, either in art or science. We find Vogler, therefore, in whom creative genius did not exist, seeking for effect in the technicalities of his art, and as a consequence, in something outside the art itself. He prided himself especially on his programme music,[ 78 ] which was full of purely sensuous effects, and on his playing, which was crowded with theoretical difficulties. The principal charm was in both cases imported from without, not an essential product of the art itself. Vogler was the first to give this direction to musical activity, striving to hide a deficiency in creative power under general cultivation of mind, and, as a necessary result, hampering the natural development of true art. His celebrated pupils Weber and Meyerbeer have rendered the same tendency fruitful in consequences to modern music. A consistent endeavour after what is true and beautiful in art presupposes a singleness of mind in the artist which cannot exist with inordinate ambition and a calculating spirit. In truth the contradictions in Vogler's moral nature, which were remarked even by his adherents,[ 79 ] were as striking as those in his artistic nature. If we consider the impression such a man must have made on Mozart, whose creative genius was its own measure and law, penetrating the very essence of his being, and elevating even the drudgery of his profession to the freedom of high art, we can comprehend how he would instinctively recoil from Vogler; and how his own severe education, which had elevated and refined his nature without injuring his healthy love of truth, would prevent his doing full justice to his rival's merits. There can be no doubt that Mozart's opinion of Vogler, which he took no pains to conceal, gave great offence to the latter; but there is no evidence that he "plotted against him," as the father conjectures, nor does Wolfgang himself make any such accusation. Among Vogler's adherents in Mannheim was Peter Winter (1755-1826) who was "almost the only MANNHEIM. friend, that is the only intimate friend, that Vogler had." His daily offerings to Vogler's vanity were much to be regretted;[ 80 ] he objected, however, in after-days to be called Vogler's pupil.[ 81 ] He seems to have taken a dislike to Mozart, which the latter had cause to feel very sensibly.
The remaining members of the orchestra, however, were only the more attracted to Mozart by the position which he assumed in regard to Vogler. Wendling and Ramm meditated a journey to Paris during Lent, and Ritter, the bassoonist, was to precede them thither; they intended to give concerts together, and Wendling proposed to Wolfgang to accompany them, since such a composer and virtuoso as he would immeasurably strengthen their company. Wolfgang was strongly inclined to consent, and wrote to his father (December 3, 1777):—
If I stay here until Lent, I shall accompany Wendling, Ramm the oboist (and a very fine one), and Lauchery, the ballet manager, to Paris. Herr Wendling assures me that I shall have no cause to repent it. He has been twice in Paris (has only lately returned), and says it is the only place where fame and money can be made. "You are a man," says he, "who can do anything. I will show you how to set about it: you must compose operas, serious and comic, oratorios, and everything." Whoever has written a couple of operas in Paris is a made man at once; then there are the Concerts Spirituels, and the Académie des Amateurs, where you get five louis d'ors for a symphony. If you give lessons, it is at the rate of three louis d'ors for twelve. Sonatas, trios, and quartets are printed by subscription. Cannabich and Toeschi send a great deal of their music to Paris. Wendling is a man who understands travelling. Pray write me your opinion on the subject. It seems to me a good idea. I shall travel with a man who knows the Paris of the present day thoroughly, for it has altered very much. I should spend little, indeed I think not half so much as now, for I should only have to pay for myself; mamma would remain here, and probably stay with the Wendlings. Herr Ritter, who plays the bassoon very well, sets out for Paris on the 12th inst. Ramm is a right honest, merry fellow of about thirty-five; he has travelled much, and knows the world well. The greatest and best musicians here like and esteem me. I am always called Herr Kapellmeister.
Wolfgang's mother was not opposed to the project; she writes to her husband (December 11, 1777):—
About Wolfgang and his journey to Paris you must consider what is right: nowadays Paris is the only place to get on. Herr Wendling is an honourable man, well known to all: he has travelled much, and been in Paris thirteen times, so that he knows it thoroughly; our friend Herr von Grimm is his best friend also, and has done much for him. So you must decide as you like—I shall be ready to agree. Herr Wendling has assured me that he would act as Wolfgang's father. He loves him as his own son, and will, I am sure, take as good care of him as I do. You can well imagine that I am averse to parting from him; and if I have to come home alone, the long journey will be a great trial to me: but what can be done? The journey to Paris would be more fatiguing and too expensive; for one does not spend a fourth part travelling alone.
If this plan was to be carried out, Wolfgang must remain at Mannheim through the winter. His first endeavour, therefore, was to obtain a situation in the band from the Elector, and his friends eagerly seconded his efforts. Holz-bauer had taken him soon after his arrival to the manager, Count Savioli (November 4, 1777),where Cannabich chanced to be present:—