But the most satisfactory connection was that with Hasse, who was composing an opera on Metastasio's "Ruggiero," for the same festive occasion.[60] It was of no small significance THE ITALIAN TOUR. that men like Hasse and Metastasio, who had brought Italian opera to its highest point, and a famous poet, such as Gius. Parini, in Milan,[61] should have been content to place themselves on a level with young Mozart. It was momentous in the history of music, this handing over of the sceptre by the man who had ruled the Italian stage throughout his long career to the youth, who was not indeed destined to acquire equal fame living, but to whom posterity was to allot a far more glorious place. Hasse himself is said to have exclaimed: "This boy will throw us all into the shade."[62] It was like him to recognise without envy the artistic greatness of Mozart; all young artists[63] found him ready to appreciate and help forward their efforts,[64] and Mozart himself had been grateful for his support when fighting with the musical cabal in Vienna.[65]
The festivities[66] which had attracted a crowd of strangers to Milan began with the triumphant entry of the Duke, followed by the marriage ceremony in the cathedral; then came a concert and reception at court. On the 16th a public banquet was given to more than four hundred bridal couples, to whom the Empress had given dowries, and in the evening Hasse's opera "Ruggiero" was performed in the newly decorated theatre, with two gorgeous ballets in the entr'actes, "La Corona della gloria," by Pick, and "Pico e Canente," by Favier.
On the 17th, after a splendid procession on the Corso, Wolfgang's serenata "Ascanio in Alba" (111 K.), an allegorical pastoral play in two acts, with choruses and dances, (by Favier) was produced. After the first rehearsal, L. Mozart had been able to predict to his wife that the success of the work was assured. "Because, to begin with, "ASCANIO IN ALBA." not only are Signor Manzuoli and the other vocalists in the highest degree pleased with their songs, but they are as anxious as ourselves to hear the serenata with the full orchestra; secondly, because I know what he has written, and the effect it will have, and am quite convinced that it is excellent, both for the singers and the orchestra." He had not deceived himself, the applause was extraordinary; the serenata was repeated the next day, and until the close of the festivities was more frequently given than "Ruggiero." "I am sorry," writes L. Mozart, "that Wolfgang's serenata should have so entirely eclipsed Hasse's opera."
He refers his home circle to the judgment of a young Salzburg merchant, Kerschbaumer, "who, on the 24th, was a witness how the Archduke and Archduchess not only applauded two of the songs until they were repeated, but leaning from their box, both during and after the performance, they bowed towards Wolfgang, and testified their approval by cries of
'Bravissimo! maestro,' and clapping of hands, an example followed by all present." This time, too, Wolfgang received more substantial marks of favour; besides the stipulated fee, the Empress presented him with a gold watch set with diamonds, having on its back an admirably executed miniature of herself in enamel.[67]
Among the festivities, which lasted until the end of the month, were a splendidly appointed masked procession of facchini, in the costume of the surrounding peasantry, on the 19th; races for horses (barberi) on che 27th, for chariots (calessetti) on the 28th, and the cuccagna on the 24th, when masses of viands were given up to the plunder of the people, and fountains of wine were opened.[68] On this occasion the Mozarts narrowly escaped a great danger. One of the great scaffoldings erected for spectators fell, and more than fifty persons were killed or injured. It was only an accidental delay which had prevented Wolfgang and his father from taking the seats which had been allotted them on this THE ITALIAN TOUR. erection, and had caused them to seat themselves in the court gallery.
After the close of the opera, Mozart wrote a symphony (112 K.) and a divertimento (113 K.), probably for a concert, but at all events to order. During this stay in Milan a contract was entered into with the theatre of S. Benedetto in Venice, by which Wolfgang was commissioned to write the second opera of the Carnival of 1773. How this was possible, since the contract stipulates for residence in Venice at the same time as it had been already promised in Milan, it is not easy to see, unless some indulgence on the part of the Venetian impresario was looked for, perhaps even promised.[69] The contract, however, was never fulfilled; Nau-mann became Mozart's substitute, arriving in Vienna just in time to undertake the opera. He produced his "Soliman" with very remarkable success.[70]
The return of the Mozarts to Salzburg was delayed until the middle of December, on the 30th of which month Wolfgang composed a symphony (114 K,), and was soon after seized with severe illness.[71]
Their arrival at home coincided with the death of Archbishop Sigismund, which took place after a lingering illness on December 16,1771. His successor was elected on March 14, 1772, in the person of Hieronymus Joseph Franz v. Paula, Count of Colloredo, Bishop of Gurk; to the universal surprise and grief of the populace, who had little prosperity to hope for under his rule.[72] An opera was required to form "IL SOGNO DI SCIPIONE"—SALZBURG, 1772. part of the festivities accompanying his installation, and this Wolfgang was commissioned to compose.[73] The subject chosen was "Il Sogno di Scipione" (126 K.), an allegorical azione teatrale, by Metastasio, which had been performed with music by Predieri on the birthday of the Empress Elizabeth, October 1, 1735. It was written with reference to the unfortunate military events in Italy, and stress was laid on the bravery and steadfastness of a great general, even in defeat. How far this subject was applicable to the circumstances of Bishop Hieronymus does not seem to have been inquired; even the words of the Licenza were left unaltered, except that the name of Girolamo was substituted for Carlo. It is amusing to note that Mozart composing from his Metastasio, writes the words under his score: "Ma Scipio esalta il labbro e Carlo il cuore," then effaces the name and writes Girolamo.
We do not know how far indifference towards the person of the new Archbishop is responsible for the fact that this opera betrays more of the character of an occasional piece written to order than any other composition by Mozart. It was probably produced in the beginning of May, 1772.[74]