But even if his father had been willing to take these hints, Wolfgang would have had no ear for them.
With the idea that a longer stay in Mannheim might yet result in a permanent engagement, L. Mozart wrote to the Padre Martini in December, 1777, sending him Wolfgang's promised portrait, and begging him to use all his influence with the Elector.[ 101 ] With his usual good nature, the Padre promised to write to Raaff authorising him to say to the Elector "in his name everything imaginable in Wolfgang's MANNHEIM. favour, and to praise him according to his deserts; even if the political situation should operate unfavourably at the moment, the appeal would certainly bear fruit at a future time." No such letter, however, reached Raaff from Padre Martini; but Wolfgang made it the occasion of forming a closer acquaintance with Raaff, and advancing his own claims. He writes (February 28, 1778):—
Yesterday I took Raaff a song which I had just written for him. The words are "Se al labro mio non credi, bella nemica mia," &c. I do not think they are Metastasio's. The song pleases him greatly. One has to go carefully to work with a man like this. I selected the words with care, because I knew that he had sung them before, and that they would come easier and more pleasantly to him. I asked him to tell me candidly if he did not care for them or like them, and I would alter the song to his pleasure, or write it over again. "Heaven forbid!" said he, "let the song remain as it is, for it is very fine; only I must beg you to shorten it a little, for I have lost the power now of sustaining my voice so long." "Willingly," said I; "as much as you please. I took care to make it long, for it is much easier to curtail than to lengthen a song." After he had sung the second part, he took off his spectacles, looked hard at me, and said, "Beautiful, beautiful! That is a charming second part," and he sang it three times. When I went away, he thanked me cordially, and I assured him in return that I would arrange the song to his satisfaction. I like a song to be fitted to the singer, like a well-made garment.[ 102 ]
The aria (295 K.), without the introductory recitative, has the following words:—
Se al labro mio non credi,
Bella nemica mia,
Aprimi il petto e vedi,
Quai sia 1' amante cor;
Il cor dolente e afflito
Ma d' ogni colpa privo,
Se pur non è delitto
Un innocente ardor.
The treatment is more strictly orthodox than had latterly been usual with Mozart, apparently out of consideration to the singer. The first part is an elaborate adagio, full of PREPARATIONS FOR PARIS. simple melody and fervent expression; the tone of deep sorrow given to the words "aprimi il petto" is very impressive, melodious and pleasing, with few passages, and those not florid. The second part (allegretto, 3-8, in G minor), is especially rhythmical and original in its harmonies, animated, and full of expression. Although the arrangement of this part is quite in the old style, it has decided individuality, and contrasts so effectively with the adagio that one can easily understand the delight with which it inspired the old singer. The song does not exceed the compass of—[See Page Image]
and keeps to the position of the tenor voice proper, full opportunity for effective display being afforded to the singer. The free and finely coloured accompaniment never obscures the voice,[ 103 ] and the whole song is not inferior to later and better known works.
The time had now arrived for the expedition to Paris, and Mozart's anxious father was unsparing in thought and wise counsel. He advised them to prepare in good time for the mother's journey from Mannheim to Augsburg at the beginning of March, and he impressed upon Wolfgang that his stay in Paris was not to be limited by weeks or months, but was to last until he had gained both fame and money; he must therefore wind up all his affairs in Mannheim before he left. His father also gave him circumstantial rules for his guidance in society; he was to avoid intimacies, especially with other composers, such as Gluck, Piccinni, and Grétry, whose rivalry might be feared, "de la politesse, et pas d'autre chose!" He was above all to observe the greatest prudence in his dealings with the female sex, who were always on the watch for young men of great talent whom they might dupe and entangle, or even marry; "that would be my death," says his father, and he sends him a long list MANNHEIM. of their patrons during their former stay, whom he was to seek out immediately on his arrival. He is especially assured of the tried friendship of Grimm, and of his own studies and duties: "Think daily what you owe to God, who has given you such extraordinary talents."
To L. Mozart's astonishment he received a letter from Wolfgang (February 4, 1778), informing him of his intention of giving up the journey to Paris, and of the reasons which had led to this determination:—
Mamma and I have talked it over, and agreed that the life which Wendling leads does not suit us. Wendling is a thoroughly honest, good man, but he and all his household are totally without religion; his daughter's relations to the Elector sufficiently prove this.[ 104 ] Ramm is good at heart, but a libertine. I know myself, and know that I have so much religion that I should never commit an action that I could not proclaim to the whole world; but the mere thought of travelling with people whose way of thinking is so opposed to mine (and to that of all honourable men) frightens me. They may do as they please, but I have no wish to accompany them; I should not have a happy hour, I should never know what I was saying; for, in one word, I have no confidence in them. Friendship without a religious basis is not lasting. I have already given them a little prægusto. I have told them that letters have reached me, of which I can say nothing further than that they interfere with my journey to Paris with them; I may be able to follow, but perhaps I shall have to go elsewhere, and they must not depend upon me.