L.. Mozart considered that Wolfgang made a greater effect in Bologna than elsewhere, that city being the seat of so many artists and learned men. Here they met the celebrated Spagnoletta (Gius. Useda), from Milan, the kapellmeister, Vincenzo Manfredini, known also as an author, who had visited them at Salzburg, on his journey from St. Petersburg in 1769, and the famous alto, Gius. Aprile.[17] Bologna, the father thought, and thought rightly, was the best centre whence Wolfgang's fame could spread over Italy, since he had there to stand the severest tests from Padre Martini, the idol of the Italians, and the acknowledged arbiter in all matters of art. The Franciscan Giambattista Martini[18] THE ITALIAN TOUR. (born 1760) was esteemed not only as the composer of short, concise, artistically worked-out sacred pieces, but, from his thorough and comprehensive researches, as unquestionably the most learned theoretical musician of his day. Only one volume of his pedantic "Storia della Musica" had as yet appeared, and his classical work on counterpoint was only in preparation;[19] but he was already considered infallible on all musical questions, both in Italy and abroad. His possession of an unequalled musical library[20] placed him in correspondence with numerous musicians, scholars, and princes. Disputed points were submitted to his arbitration, and his advice was sought in the bestowal of official places. A recommendation from Padre Martini was the best possible key to success. His authority was the more readily acknowledged, since he united to his rare attainments a singular degree of modesty, and a ready alacrity to afford instruction, counsel, or assistance whenever required. He preserved, even in his learned disputes, invariable dignity and amiability,[21] with a certain amount of cautious reserve. L. Mozart might well be anxious to win the favour of such a man for his son. Whenever they visited him Padre Martini gave Wolfgang a fugue to work out, which was always done to the great contrapuntist's entire satisfaction.
The companion figure to this learned monk was a musical celebrity of quite another kind, whose acquaintance Mozart also made in Bologna. Farinelli (Carlo Broschi, b. 1705), a pupil of Porpora, first appeared in 1722 in Metastasio's "Angelica," and an intimacy resulted between the singer and the poet (who called him his caro gemello) which had an important effect on the development of Italian opera. Farinelli's career in Italy was an unbroken success, and he was enthusiastically received in Vienna and London.[22] Arriving in Spain in 1736, his singing had power to dispel the FARINELLI—FLORENCE, 1770. melancholy of Philip V.; he was summoned daily to the king's presence, and became his acknowledged favourite, a position which he retained under Ferdinand VI. and Queen Barbara. On the accession of Charles III., in 1761, Farinelli was obliged to leave Spain, and living in wealthy ease at Bologna, indulged his tastes for art and science. He practised the amiable and refined hospitality of a cultivated man of the world in his beautiful villa, and took peculiar interest in his fellow-artists, who never failed even in his old age to be charmed with his singing.[23]
The reports that have come down to us concerning the compass and beauty of his voice, concerning his way of taking breath, his portamento, his declamation,[24] are as wonderful as was the success of this king of artists both in public and at court. He appears almost as a personification of the greatness and power of song in the last century, of which we can scarcely form a true conception, and which cause the history of music in that age to be mainly a history of song and singers. The period of Mozart's musical education was still under this influence, and, although the absolute sovereignty of song was soon to decline, the impression made on him in his youth by Farinelli and other great singers was not likely to be forgotten.[25]
On March 30 the travellers reached Florence. Their Austrian introductions secured them a most favourable reception in this city. The imperial ambassador, Count Rosenberg, immediately made known their arrival at court, where they were very graciously received by the Archduke Leopold, He recollected their former stay at Vienna, and inquired after Nannerl. Wolfgang played at court on April 2, accompanied by Nardini, the celebrated violinist; the Marquis de Ligniville, director of music, laid the most difficult fugues before Wolfgang to work out; he accomplished everything "with as much ease as eating a piece of bread."
The Marquis de Ligniville, Duca di Conca, &c., was considered one of the most thorough masters of counterpoint in Italy. As a proof of his skill he had written a "Salve Regina"[26] and "Stabat Mater" for three parts, in the form of different kinds of canon. To the latter work is prefixed a long treatise (dated April 11, 1767) for the Philharmonic Society in Bologna, of which he was a member; the object of the treatise was to show that in accurate contrapuntal works the traditions of the old Roman school were preserved. In accordance with this view Ligniville apologises ironically to followers of the gusto moderno for the disuse of drums and trumpets, and for the simple old modulations to which he confines himself as being ignorant of the new lights. He allowed Wolfgang to study his works; and the latter copied neatly nine movements of the thirty canons of the "Stabat Mater." (Anh. 238 K.) Not satisfied with this, Wolfgang aimed at himself becoming a master of counterpoint. A "Kyrie a cinque con diversi canoni" in three five-part canons in unison was evidently an imitation of Ligniville's compositions, and was only one of many studies in the same difficult art.[27] A loose sheet contains besides the first canon of the Kyrie, a design for a four-part canon, and five close canons or riddle canons, the first part and the number of parts only being given, [See Page Image] expressly noted di Mozart:—
STUDIES IN CANON-WRITING, 1770.
2. Canon.—Ter temis canite vocibus. [See Page Image]
3. Canon.—Ad duodecimam: clama ne cesses.
Con - fi - te - bor ti bi Do - mi-ne in gen - ti -bus et no -mi - ni to - o can - ta -. - - - - - bo.