Professional cares [55]did not engross all Mozart's time and attention. They became on intimate terms with the young VENICE—PADUA—SALZBURG, 1771. difficult concerto at sight. They had a trip to Turin, saw a splendid opera, and were back in Milan on January 31,[56] leaving again shortly for Venice, where they arrived on the Monday in Carnival week. They were hospitably received by a merchant, Wider, a business friend of Hagenauer's.
They enjoyed in all comfort the pleasures of a Venetian carnival, and, having introductions to all the nobility, splendidly appointed gondoliers were always at their service; one invitation followed another, and almost every evening was passed at the opera, or at some other place of amusement. A concert was given by Mozart with brilliant success.
On the return journey, undertaken on March 13, they stayed one day in Padua, visiting the musical celebrities Franc. Ant. Ballotti (1697-1780), one of the first organ-players in Italy, and almost as good a theorist and contrapuntist as Padre Martini himself,[57] and the composer and Munich kapellmeister, Giov. Ferrandini[58]—Tartini had died the year before. Wolfgang played on the excellent organ in Santa Giustina. At Padua, too, he received a commission to write an oratorio to be completed at home as opportunity offered. At Vicenza they remained some days at the request of the Bishop, a Cornero, who had made their acquaintance at Venice; and at Verona they stayed with their old friend Luggiati, who gave a brilliant reception in Wolfgang's honour.
On March 28, 1771, Wolfgang was in Salzburg again, enriched with many experiences and loaded with honours, his talents matured and his tastes improved; but his nature as simple, modest, and childlike as when he had set out. The most direct result of the great success of his opera was a commission from the impresario in Milan for the first opera of the Carnival of 1773, with an increased remuneration of 130 gigliati.
At Verona, L. Mozart had already heard rumours of a document on its way from Vienna to Salzburg, which was to bring his son "immortal honour." They had scarcely arrived in Salzburg, when Count Firmian commissioned Wolfgang, in the name of the Empress Maria Theresa, to compose a theatrical serenade or cantata in celebration of the marriage of the Archduke Ferdinand with the Princess Maria Ricciarda Beatrice, daughter of the hereditary Prince Ercole Rainaldo, of Modena. As the marriage was to take place in October of the year 1771, it follows that the stay in Salzburg was not of long duration. During this interval he composed, principally no doubt to satisfy the demands of his official position, a "Litany" (109 K.), and a "Regina Coeli" (108 K.) in May, and a Symphony (110 K.) in July. Leopold Mozart had little hope that even Wolfgang's success in Milan would serve to advance his cause with the Archbishop in case of any more lucrative post becoming vacant. Such considerations did not trouble Wolfgang himself so much as his father; he took advantage of this interval to fall in love for the first time. His letters to his sister are full of hints of a nameless beauty, of unspeakable emotions; and the fact that the young lady married about the same time makes the picture complete of the first love of a boy of sixteen, which had, as might be expected, no lasting effect on his natural good spirits.
On August 13 they left Salzburg, and after a short stay in Verona arrived at Milan on August 21. The marriage was fixed for October 15, but the libretto had not yet been returned from Vienna, where it had been sent on approbation; in those days it was considered that a maestro should be so sure of his art that it should stand him in stead at all times and seasons.[59] Wolfgang was under no apprehension on this score; he was delighted with his gracious reception by the royal bride, and enjoyed the delicious fruit, eating a double share of it, as he says, out of brotherly love to his MILAN, 1771—GABRIELLI. sister. When at last the book arrived at the end of August it was detained some days longer by the poet to make the numerous alterations required, and not until the beginning of September was it finally delivered over to Wolfgang. Then he set to work, composing so vigorously that on September 13 the recitatives and choruses were finished, and his father was of opinion that the whole opera with the ballet would be ready in twelve days, which indeed it was; and no wonder that Wolfgang complained that his fingers ached. In the room above that where he wrote was a violinist, in the room below another; a singing master lived next door, and an oboist opposite. "It is capital for composing," says Wolfgang; "it gives one new ideas."
During this visit to Milan they made the acquaintance of the great soprano, Catarina Gabrielli, famed for her intrigues no less than for her musical genius. The impression made by her on Wolfgang may be gathered from a letter to his father written later from Mannheim (February 19, 1778):—
Those who have heard Gabrielli must and will acknowledge that she is a mere executant; her peculiar style of delivery excites admiration, but only for the first three or four times of hearing her. In the long run she is not pleasing; one gets tired of passages, and she has the misfortune of not being able to sing. She cannot sustain a note in tune; she has no messa di voce; in a word, she sings with art, but no understanding.
The intercourse of the Mozarts with their fellow-artists, "really good and famous singers, and sensible people," was cordial, and undisturbed either by intrigues or cabals. Wolfgang's assured position with regard to the public, as well as the favour in which he was held at the imperial court, doubtless contributed to preserve harmony. The tenor Tibaldi and Manzuoli, who was really engaged this time, came almost daily at 11 o'clock, and remained sitting at the table till one; Wolfgang composing all the time.