Misfortune awaited them at Vienna. The charming and universally beloved Princess Josepha fell ill of the small-pox, which carried her off in less than a month. This, of course, put a stop to any appearance at court, or at the houses of the nobility.
Leopold Mozart had been advised when in Paris to follow the example of the Duke of Orleans, who had set the fashion THE FIRST OPERA IN VIENNA. of inoculation with his own children in 1756, and to "graft the small-pox" in his little boy. "But I prefer," he wrote (February 22, 1764), "to leave it all in God's hands; let Him, in His divine mercy, dispose as He will of the life of this wonder of nature." Now, however, he took instant flight to Olmütz with his children, but they did not escape; first Wolfgang sickened, then Marianne. Count Leopold Anton von Podstatzky, Dean of Olmütz and Canon of Salzburg (which would account for his acquaintance with Mozart), out of compassion to the distracted father, took the whole family into his house, making light of the risk of infection. In the deanery, well cared for, and skilfully doctored, the children passed through all stages of the disease, which, with Wolfgang at least, was so severe, that he lay blind for nine days.
"Again is the saying proved true," writes L. Mozart: "In Te Domine speravi, non confundar in æternum." "What extraordinary and unexpected good fortune it was that Count P. should have been willing to receive a child with the small-pox! I cannot tell you with what kindness and goodness we were treated; who else would have received a family under such circumstances, and that from an impulse of pure humanity? This good deed shall redound to the honour of the Count in the biography of our little one which I intend to publish some day, for I consider that it is the commencement of a new epoch in his life."
He endeavoured also to bring about an expression "of gratitude, or at all events of approbation" on the part of the Archbishop towards the Count. For several weeks after his recovery, Wolfgang was obliged to be very careful of his eyes, and his daily visitor, the Archbishop's chaplain, Hay, afterwards Bishop of Konigsgràz (brother to Frau von Sonnenfels),[2] strove to relieve the tedium of his enforced idleness by teaching him card-games, in which the boy soon became as great an adept as his instructor. He threw himself with the same zeal into the practice of fencing, IMPERIAL CONDESCENSION—VIENNA, 1768. having at all times a great love of exercises demanding bodily activity.[3] When his recovery was complete, he composed an aria for the little daughter of his physician, Wolf, of which her father reminded him in later years (May 28, 1778).
On their return journey to Vienna they stayed for a fortnight at Brunn, where they were received with great kindness by Count Franz Anton Schrattenbach, brother to Archbishop Sigismund, of Salzburg: all the nobility residing at Brünn treated them with the "highest distinction."
But at Vienna, which they re-entered at the beginning of January, 1768, difficulties crowded thick upon them. At court, indeed, their reception took place sooner than they had dared to hope. The Empress Maria Theresa had scarcely recovered from the small-pox, when she remembered her admiration of the children, and sent for the family.
The Emperor himself came into the ante-chamber, and conducted them to his mother, no other person being present but Duke Albert of Sachsen-Teschen, and the Archduchesses. They passed two hours in the midst of this family circle. The Empress, a motherly woman, conversed intimately with Frau Mozart, and questioned her on all details of the children's illness, pressing her hands and stroking her cheeks compassionately, while the Emperor discussed musical and other matters with Wolfgang and his father, and "made Nannerl blush very often."
This unusual condescension was gratifying to the patriotic feelings of the Mozart family, but it was not directly profitable. The Empress presented them with a pretty medal of small value; but as she had visited neither the opera nor the theatre since the death of her consort, and had discontinued all musical parties, a summons to play at court could only come from the Emperor. But Joseph showed little inclination to liberality in the cause of art, and others, besides L. Mozart, complained of his parsimony. THE FIRST OPERA IN VIENNA. The nobility followed the example of the court, and avoided any appearance of extravagance in order to ingratiate themselves with the Emperor. Dancing was the only amusement during the carnival, but, whereas, formerly the nobles vied with each other in costly entertainments, at which distinguished artists were nearly always present, they now gave their balls in public rooms and at small expense. L. Mozart suspects that the court made its advantage by this, contracting for all dances, masquerades, and balls, and sharing the profits with the contractor. Under these circumstances, the good recommendations Mozart had brought with him were of little use. He had letters to the Master of the Horse, Count von Dietrichstein, who was high in the Emperor's favour, to Fräulein Josepha Guttenberg, "the Empress's right hand," and to the court physician, L'Augier,[4] a travelled and accomplished man of considerable talent, and excellent judgment in music; all that was refined and cultivated in Viennese society flocked to his assemblies. Among Mozart's patrons was also Duke Joh. Carl v. Braganza, a man of the first importance, who had proved his spirit and courage at the earthquake of Lisbon, and as a volunteer in the Austrian army;[5] frequent travels had increased his knowledge and enlarged his views;[6] he was an excellent companion and a thorough musical connoisseur.[7]
Gluck dedicated to him his "Paride ed Elena" (1770), and in the well-known dedication explained that he sought in the Duke, not so much a patron as a judge, of thorough knowledge, fine taste, and unprejudiced opinions.
The Mozarts were further favourably noticed by Prince Kaunitz, an elegant connoisseur, but a man of such exaggerated anxiety on the subject of his health, that he would not admit Wolfgang into his presence as long as the traces of the small-pox remained on his face. MUSIC IN VIENNA, 1768. But the Viennese generally were not enthusiastic for art. Leopold Mozart gives the following account of them:—
