The first performance was fixed for January 11, and he hoped to obtain much honour for his "Rosamunde" in Mannheim, if only the illness of the Elector of Bavaria did not frustrate all his hopes. But this fear was unhappily realised. The Elector Maximilian died on December 30; the intelligence reached Mannheim as Karl Theodor was attending a religious service for the New Year, and the following evening he set out for Munich.[ 94 ] All the festivities came to an end. "The death of Maximilian Joseph," writes Wieland to Baron von Gebler (January 5, 1778), "has disappointed both myself and the public. My opera "Rosamunde," set to admirable music by Herr Schweitzer, was to have been given for the first time on the 11th, and repeated eight times during the carnival. I had every prospect of as great a success as perhaps an opera ever had, when the death of the Elector of Bavaria brought about an alteration on the stage of public events, the lugubrious decorations of which have quite suppressed mine."[ 95 ] The opera was rehearsed once more in his honour, and then he travelled back to Weimar, content with the result of his visit, though his main object was defeated.[ 96 ]
The change of government had more lasting effects for PROSPECTS OF WORK IN VIENNA. Mannheim, and especially for the musicians there, than a mere temporary suspension of gaiety. The patriotic inhabitants of the Palatinate could not indeed believe that their Elector would transfer his capital to Munich;[ 97 ] but the prospects of the future were uncertain and alarming, owing to the threatening turn taken by political events.
If Mozart had felt himself moved to write German operas in Munich, the impulse must have been vastly strengthened by his stay in Mannheim. He had offered his services to the Elector with this object. When the offer was declined, a new prospect was opened to him in Vienna, with which he acquaints his father (January 11, 1778):[ 98 ]—
I know for certain that the Emperor is thinking of establishing opera in Vienna, and that he is seeking everywhere for a young kapellmeister, a German and a genius, who is capable of producing something new.[ 99 ] Benda is seeking in Gotha, but Schweitzer has more influence. This would be just the thing for me; well paid, of course. If the Emperor gives me 1,000 florins I will write him an opera, and if he does not pay me it is all the same. Pray write to all imaginable friends in Vienna that I am in a position to serve the Emperor. If needs be, he may try me with an opera, and what he does after, I really do not care. Adieu. I hope you will put the affair in motion at once, or some one may be beforehand with me.
L. Mozart was not the man to let this opportunity slip. He applied at once to Heufeld, who had formerly been well disposed towards them, and whose knowledge and influence could be relied on, begging him to exert himself on Wolfgang's behalf. Letters from Messmer (pp. 86,145) had just arrived from Vienna, asking why Wolfgang did not come to Vienna, where there was "always room for true talent." He should have board and lodging with him as long as he liked, and his friends would see to his interests. But the prospects, so far as the opera was concerned, were not very promising. L. Mozart was of opinion (January 29, 1778) MANNHEIM. that the Emperor was like the Archbishop—"he wanted a good thing at a very cheap rate." A letter from Heufeld was definitive (January 23, 1778):—
It is true that His Majesty the Emperor, to whom his mother has quite resigned the care of the theatre, wishes to establish German opera. All orders come through the High Chamberlain, Count von Rosenberg, to the company, among whom there is a sort of council for the regulation of the pieces and parts. At the opera, which is now combined with the national company," the additional singers are Mdlle. Cavalieri, and Schindler's daughter, married to Langin, with a bass, whose name I forget (Fuchs). To-day was the first rehearsal of the first opera ("Die Bergknappen"), of which Herr Weidmann has furnished the words, and Herr Umlauf, who plays the viola in the orchestra, the music. The performance will take place shortly. All this is only an experiment to see if anything can be done with the Germans in this line. It is certain that no composer will be engaged at present, particularly as Gluck and Salieri are in the Emperor's service. To recommend any one at present would be the surest way to failure; and no advocate can be employed to reach the Emperor's ear, since he arranges everything himself according to his own ideas and inclinations. Every one knows this, and no one ventures on a proposal or recommendation. His Majesty has sought out Gluck and Salieri, and most of those who are now in his service, in the same way. I could give you several examples of people who have applied indirectly to His Majesty and have failed in their suit. The way in which you propose approaching him seems to me far from good, and the reason I decline presenting a petition is my certain conviction that it would be useless, and, indeed, prejudicial to your interests. There is another more creditable and more certain way open to first-rate talent, and that is the production of some work, for which there is every opportunity. Let your son take the trouble of setting any good German opera to music and submitting it to the supreme pleasure of the Emperor, and then let him wait the event, and follow in person if his work is well received. In this case, indeed, his presence will be necessary. Your son may be without any apprehension with regard to Benda and Schweitzer; I can answer for there being no trouble from that quarter. Their fame is not so great here as elsewhere. Perhaps even Wieland's great opinion of these gentlemen[ 100 ] has somewhat abated since his stay at Mannheim. I have a letter of the 5th inst. from him, in which he acknowledges to having received altogether new ideas upon music in Mannheim.
OVERTURES FROM THE ARCHBISHOP.
When this letter reached Mozart he was in a very excited state (the reason for which will be presently noted), and the effect it produced was greater than mere disappointment. His self-love, which had been raised to so high a pitch by the appreciation of his Mannheim admirers, was wounded by the proposal that he should write a comic opera on approval, like a beginner. Even the condescending good nature of Heufeld to his "dear Wolfgang" increased his annoyance.
His father was full of plans and cares for his son's advancement. An opportunity which offered for a settlement in Salzburg was little likely to please Wolfgang. The city had been thrown into consternation on December 21, 1777, by the paralytic seizure of Adlgasser while he was playing the organ. His death followed the same evening. It soon became clear that Wolfgang's return and application for the vacant post would not be unacceptable to the authorities; and his father informs him of several hints he had received to that effect (January 12, 1778):—
His Excellency the Lord High Steward apprised me that his Serene Highness had commanded him to inquire from Haydn and myself if we knew of a really good organist; he must also be an excellent clavier player, of good appearance and manners, and able to give lessons to the ladies of the court. "What!" said I, "did his Serene Highness mention me?" "Yes; you in particular," said he, and laughed. I said, "I know nobody with all these qualities." If there is such an one in Mannheim, he may make his fortune.