The opera "La Finta Giardiniera" is very rich in airs, and Mozart, finding a wealth of resources in Munich ready to hand, went to work more seriously, both with the voices and the orchestra, than was customary with an opera buffa. It is impossible to ascertain how much of the opera he brought with him, or how much was altered or composed in Munich. The first rehearsal did not take place till near the end of December, and the performance was consequently postponed to January 5, 1775, so that the singers might be more sure of their parts than could have been the case had they played, as intended, on December 29.
"You must know," writes L. Mozart, "that the maestro Tozi, who is this year writing the opera seria ('Orfeo ed Euridice'), wrote last year at this time an opera buffa, and exerted himself to the utmost in order that it might surpass the opera seria of Sales (of Trier): he succeeded in quite eclipsing Maestro Sales' opera.[6] Now it so turns out that Wolfgang's opera is ready just before Tozi's, and all those who heard the first rehearsal are saying that Tozi is paid back in his own coin, since Wolfgang's opera will "LA FINTA GIARDINIERA"—MUNICH, 1775. throw his quite into the shade.[7] I do not like this sort of thing, and have tried all I can to put an end to the gossip; but the whole orchestra, and all who heard the rehearsal, declare that they never heard more beautiful music; all the songs are beautiful." The performance on January 13,1775, was a brilliant success; the court and the public overwhelmed the composer with applause and honours, as he himself informs his mother.
The Secretary of Legation, Unger, notes in his journal (January 15, 1775): "Vendredi L.A.R.E., assistèrent à la première représentation de Vopera buffa, 'La Finta Giardiniera'; la musique fut applaudie généralement; elle est du jeune Mozart de Saltzbourg qui se trouve actuellement ici. C'est le même qui à l'äge de huit ans a été en Angleterre et ailleurs pour se faire entendre sur le clavecin, qu'il touche supérieurement bien."[8] And Schubart writes in the "Teutsche Chronik" (1775, p. 267): "I also heard an opera buffa by the wonderful genius Mozart; it is called "La Finta Giardiniera." Sparks of genius flash out here and there, but it is not yet the calm flame from the altar, rising to heaven in clouds of incense—a perfume meet for the gods. If Mozart does not turn out to be a hothouse-reared plant, he will undoubtedly be one of the greatest composers that has ever lived."
It was said of the performers that Rossi and Rosa Manservisi were specially suited for opera buffa. Rossi was as good as his brother in Stuttgart in merry, waggish parts; Manservisi was above the average of singers in voice, execution, and personal appearance.[9]
This time Wolfgang's sister enjoyed the pleasure of witnessing his triumph. During her visit to Munich she was placed under the care of a certain Frau v. Durst, a sensible well-educated widow, who provided Marianne with a room to herself and a piano, on which her father took care she should practise diligently. Other Salzburg friends arrived for the WORKS IN GERMANY. Carnival, Eberlin Waberl, Fräulein v. Schiedenhofen, And-retter, and young Molk, who went into such raptures over the opera seria, it was plain that he had heard nothing outside Salzburg and Inspruck.
Another involuntary witness of Mozart's triumph was the Archbishop of Salzburg. He had occasion to pay a visit to the Elector of Bavaria in January, 1775,[10] and though he arrived in Munich after the representation of the opera, and had left before its repetition, he was forced, as L. Mozart remarks with satisfaction, to listen to the eulogies pronounced by the electoral suite and all the nobility, and to receive the congratulations which were poured on him. He was so taken aback that he could only answer by shaking his head and shrugging his shoulders. It was little likely that such a scene should have raised Mozart in the favour of a man like Hieronymus.
The repetition of the opera, which could only be given on Fridays, brought difficulties, inasmuch as the seconda donna, who was wretched even at her best, fell seriously ill, and the opera had to be considerably curtailed, in order to dispense with her. It took place on Wolfgang's birthday, and he thought it indispensable that he should be present at the performance, as otherwise his opera might not be recognised. The orchestra was in great confusion, since it was shamefully neglected by the director Tozi, who was at that time enacting the romance in real life with the Countess Törring-Seefeld, of which L. Mozart writes to his wife:—
Signor Tozi has gone. He had an old-standing love intrigue with the Countess v. Seefeld, in which her brother, Count Sedlizky, was implicated, as well as a certain tenor, Signor Guerrieri. The Countess left Munich six weeks ago on pretence of visiting her estates, but she has quite deserted her husband and children, and carried off money and jewels. The complicity of her brother and the two Italians was discovered by a letter; Count Sedlizky was placed under arrest, Guerrieri thrown into prison, and Tozi took refuge with the Theatin monks. The Elector sent him an assurance that he should not be imprisoned if he would submit to an examination. He issued from his hiding-place, but MUNICH, 1775. immediately took flight to Italy. Count Sedlizky confessed everything; Guerrieri denied everything, but to little avail, since the jewels were found in Guerrieri's lodgings, sewed up in an old cushion. It is suspected that the Countess is in Holland; there she sits forlorn, since her projected escort has not joined her.
L. Mozart writes to his wife to tell this story, "just to show people that Italians are rascals all the world over."[11]
The opera did not put a stop to Wolfgang's church music. His Grand Litany (125 K.) in B major was performed at the court chapel on New Year's day, as well as one of his father's; and later on two small Masses, no doubt those in F and D major (192, 194 K.). A few days before their departure, as Wolfgang writes to Padre Martini, the Elector expressed a wish to hear an offertory, contrapuntally worked out, which was to be composed, copied, and practised before the following Sunday. It was the "Misericordias Domini," to which Padre Martini accorded great praise.[12] As a matter of course, Wolfgang made his mark also as a clavier-player; with this object he had taken his concerto with him, and his sister was to bring some of his sonatas and variations. Schubart writes in his "Teutsche Chronik" (1776, p. 267): "Only think, my friends, what a treat! Last winter, in Munich, I heard two of the greatest clavier-players, Herr Mozart and Herr v. Beecke. My host, Herr Albert, who is enthusiastic for all that is great and beautiful, has an excellent pianoforte in his house. So these two giants strove together. Mozart can play any difficulties, and whatever is laid before him at sight. But nevertheless, Beecke far surpasses him—winged speed, grace, melting sweetness, and a marvellous amount of taste, are weapons which none can wrest from the grasp of this Hercules."