SUCH was the condition of musical affairs at the time of Mozart's arrival in Paris. The successes on either side, and the violence of partisan controversy, had, as might have been expected, prevented any decisive conclusion of the dispute. We know now that Gluck remained master of the field, and that the influence of Lully and Rameau sinking henceforth into oblivion, Gluck determined the character of French opera in all its essential points as it still exists, in spite of its many Italian modifications. But at the time of UNFAVOURABLE PROSPECTS. which we are speaking the Gluckists and Piccinnists were carrying on the warfare with greater bitterness than ever, and the old national party, although pushed into the background, was seeking to free itself from both influences.[ 1 ]
The interest of the public was more eagerly excited than ever, but, as usual, more for the sake of the literary scandal and personal animosity than with any love of art, and when audiences flocked to the opera they desired not to enjoy but to participate in what was going on.
This was an unfortunate state of things for a young composer whose object was to acquire an honourable position for himself; he must, in order to be heard at all, attach himself to one or other party, and so lose his independence, the only true foundation of excellence. To put an end to the dispute by forcing the combatants to acknowledge a success greater than that of either was at this juncture beyond the power of even a transcendent genius; and Mozart brought nothing with him to Paris but his genius.
He had failed in obtaining an introduction to the Queen Marie Antoinette from Vienna, and access to the circle of the nobility was no easy matter. Mozart had little to expect from the support of his fellow-artists, for they were all ranged against each other, and had enough to do to fight their own battles. Gluck had left Paris when Mozart entered it; he renewed his acquaintance with Piccinni, whom he had known in Italy (Vol. I., p. 111), and was polite in his greetings when he met him at the Concert Spirituel and elsewhere; but there the intercourse ended. "I know my affairs, and he his, and that suffices" (July 9, 1778).
We find no traces of any acquaintance with Grétry, who never mentions Mozart in his "Mémoires." He was resigned to professional envy, and had already experienced his full share of it; but in Paris at that time the "gens de lettres" were the arbiters of taste and fashion. Pamphlets and critical articles, epigrams and bon mots, proceeding from PARIS, 1778. the literary circle, ruled public opinion, and a thorough knowledge of music was, as a rule, the last requirement thought of by those who strove to influence its progress.
It was a new world to Wolfgang, in which he would have found it difficult to move successfully and uprightly, even if he had gained access to its favour.
Grimm, who might have introduced him, was himself a partisan, and esteemed only by his own party; besides which, he could not fail soon to discover that Mozart was the last man in the world for this kind of intercourse. Nevertheless, he received him very kindly, and sought to make him known wherever he could; they were always quite of accord in their opinions of French music. "Baron Grimm and I," writes Mozart (April 5, 1778), "often pour out our wrath over the music of the present day, but in private, be it understood; in public, it is all 'bravo, bravissimo,' and clapping one's hands till the fingers burn." And in another letter he says: "What annoys me is that the French have improved their taste just enough to enable them to listen to good music. But their own is still very bad. Ay! upon my word, but it is! and their singing! oime! If they would only let Italian songs alone, I could forgive their Frenchified chirruping; but it is really unpardonable so to spoil good music."
Mozart's outward circumstances were not pleasant. In order to economise (for his mother found everything in Paris half as dear again as elsewhere) they took a dark, uncomfortable lodging, so small that Wolfgang could not get his clavier into it. But their life was rendered considerably more cheerful by the presence of their Mannheim friends. "Wendling," writes the mother (April 5) (there is no more talk of his irreligion), "has prepared Wolfgang's way for him, and has now introduced him to all his friends. He is a true benefactor, and M. von Grimm has promised him to use all his influence, which is greater than Wendling's, to make Wolfgang known." In Paris, too, Mozart became better acquainted with Raaff, and learned to value him as an artist and as a friend. This was greatly owing to the interest Raaff took in the Weber family; he appreciated WOLFGANG'S HOPES AND FEARS. Aloysia's talents, promised to give her lessons, and approved of Mozart's liking for her; this was all the greater consolation since he dared not speak openly on the subject to his father, although he did not attempt to conceal his correspondence with the Weber family. Nor could his wishes and feelings fail to be perceived when he wrote (July 3, 1778):—
I have never been backward, and never will be. I will always use my powers to the uttermost. God can make all things good. I have something in my mind, for which I pray to God daily; if it is His Divine will it will come to pass; if not, I am content. I have at least done my best. If all goes well, and things turn out as I wish, then you must do your share, or the whole business will fall through; I trust to your kindness to do it. Do not attempt to discover my meaning, for the immediate favour I have to beg of you is to let me keep my ideas to myself until the right time comes.
He does not seem to have been very hopeful (March 29, 1778)