But the principal receipts were in "bravos" and "bravissimos," which resounded from all sides. Prince Max of Zweibrücken, too, honoured the concert with his presence. I need scarcely say that every one was pleased. I should have left Strasburg immediately after this, but I was advised to stay until the following Saturday, and give a grand concert in the theatre. At this I made the identical same sum, to the amazement and indignation and shame of all Strasburg. I must say, however, that my ears ached as much from the applauding and hand-clapping as if the theatre had been crammed full. Every one present openly and loudly denounced the conduct of their fellow-townsmen; and I told them all that if I could have imagined that I should have so small an audience, I would gladly have given the concert gratis, for the pleasure of seeing the theatre full. Indeed, I should have preferred it; for nothing can be more dismal than to lay a table for eighty guests and receive only three—and then it was so cold! But I soon grew warm; and in order to show my gentlemen of Strasburg that I was not put out, I played a great deal for my own entertainment; I gave them a concerto more than I had promised, and improvised for a long time at the end. Well, it is over and done with, and at least I have gained the reputation and honour.
Besides the concerts, he played publicly on the two best of Silbermann's organs in the Neue Kirche and the Thomas Kirche, and the roads being flooded and his departure for the present impossible, he resolved to give another concert on his fête-day, October 31. This he did at the solicitation and for the gratification of his friends Frank, De Beyer, &c., and the result was—one louis-d'or. No wonder that he was obliged to raise money in order to continue his journey, a fact which he remembered years after with indignation.
By the advice of friends who had made the journey he continued his way by diligence via Mannheim; the better roads and more comfortable carriage amply compensating for the détour. At Mannheim he alighted on November 6, and was welcomed with acclamations by his friends. The journey viä Mannheim seemed to Leopold Mozart a most senseless proceeding on Wolfgang's part; the Weber family and all his best friends had migrated to Munich, and there was nothing to be gained by the visit.
He stayed with Madame Cannabich, who had not yet left, and who was never tired of hearing about himself; all his acquaintance tore him in pieces, for "as I love Mannheim, so Mannheim loves me." The old associations woke in him the old hopes and wishes. The Mannheim people were anxious to believe that the Elector could not stand the coarse manners of the Bavarians, and would soon be tired of Munich. It was reported that Madame Toscani and Madame Urban had been so hissed that the Elector had leant over his box and cried "Hush!" As this had no effect, Count Seeau had begged some officers not to make so much noise, since it displeased the Elector; but they answered, that they had paid for their admission to the theatre, and no one had any right to give them orders there. Every one was convinced that the Elector would soon bring the court back to Mannheim, and Wolfgang was only too ready to believe the assurances of his friends that when this took place, a fixed appointment would certainly be offered to him. Between Mannheim and Salzburg—what a difference! "The Archbishop," he wrote to his father (November 12, 1778), "cannot give me an equivalent for the slavery in Salzburg. I should feel nothing but delight were I only going to pay you a visit: but the idea of settling myself for good within that beggarly court is pain and grief to me." At Mannheim there were already prospects of immediate employment, besides—and what did he want more?—the opportunity for dramatic composition. Amid the universal desolation which was spread over Mannheim by the removal of the electoral court to Munich, patriotic men were not wanting who strove to resuscitate the intellectual and material prosperity of the town. Heribert von Dalberg failed indeed in his project for removing Heidelberg University to Mannheim, but he gained the express support of the Elector to the establishment of a theatre for carrying out the idea of an established national drama (Vol. I., p. 369).[ 1 ] Dalberg undertook the management with zeal and THE RETURN HOME. intelligence, and both the choice of pieces and the manner of representation were considered entirely from an artistic point of view.
The Mannheim theatre first attained its peculiar importance and celebrity in the autumn of 1779, when the principal members of the Gotha Court company, with Iffland among them, were engaged at Mannheim.[ 2 ] When Mozart was on his way back from Paris, Seyler was there with his company, which was only available for operetta and vaudeville. But higher notions were in the air; the idea of a German national opera had never been abandoned, and to enlist in its service such a composer as Mozart was a prospect not to be despised. How ready he was for the service we know. He had not been in Mannheim a week when he wrote, full of enthusiasm, to his father (November 12, 1778):—
I have a chance of earning forty louis-d'or here! I should be obliged to stay six weeks or, at the longest, two months. The Seyler troupe are here; no doubt you know them by reputation. Herr Dalberg is manager, and refuses to let me go until I have composed a duodrama for him. I have made no objection, for I have always wished to write a drama of this kind. I do not remember if I told you anything about these duodramas when I was here before. I have been present at the performance of one of them twice with the greatest pleasure. In fact, I never was more surprised! for I had always imagined such a piece would have no effect. You know that the performers do not sing, but declaim, and the music is like an obbligato recitative. Sometimes speaking is interposed with first-rate effect. What I saw was "Medea," by Benda. He wrote another, "Ariadne on Naxos," both excellent. You know that Benda was always my favourite among the Lutheran kapellmeisters. I like these two works so much that I carry them about with me. Now you may imagine my joy at having to do just what I wished. Do you know what I should like? To have recitatives of this kind in opera, and only sometimes, when the words are readily expressible in music, to have them sung.
The duodrama which he was thus burning to compose was "Semiramis," and the poet was his friend and patron, Herr von Gemmingen (Vol. I., p. 429). It was he probably who wished Mozart to remain to compose "Semiramis," for Dalberg A MONODRAMA OR AN OPERA. had other views for him. He had written an opera ("Cora")[ 3 ] which he much wished to have composed. He had already applied to Gluck and to Schweitzer,[ 4 ] but not feeling sure of either of them, he now sought to secure Mozart. The latter wrote to him (Mannheim, November 24, 1778):—
Monsieur le Baron,—I have already waited upon you twice without having had the honour of finding you at liberty; yesterday I believe you were at home, but I was not able to speak with you. I must therefore ask you to pardon me for troubling you with a few lines, for it is very important to me that I should explain myself fully to you. Monsieur le Baron, you know that I am not mercenary, especially when I am in a position to be of service to so great a lover and so true a connoisseur of music as yourself. On the other hand, I feel certain that you would not desire that I should be in any way injured by the transaction; I am therefore bold enough to make my final proposition on the matter, since I cannot possibly remain longer in uncertainty. I undertake, for twenty-five louis-d'or, to write a monodrama, to remain here two months longer, to arrange everything, attend the rehearsals, &c.; but with this proviso, that, let what will happen, I shall be paid by the end of January. That I shall be free of the theatre is a matter of course.[ 5 ] This, Monsieur le Baron, is the utmost I can offer; if you consider it, I think you will see that I am acting very moderately. As far as your opera is concerned, I assure you that I should like above all things to set it to music. That I could not undertake such a work as that for twenty-five louis-d'or, you will readily allow; for it would contain at the most moderate computation quite as much work again as a monodrama; the only thing that would make me hesitate to undertake it is that, as you tell me, Gluck and Schweitzer are already writing it. But even supposing that you offered me fifty louis-d'or for it, I would as an honest man dissuade you from it. What is to become of an opera without singers, either male or female? At the same time, if there were any prospect of its being well produced I would not refuse to undertake the work from regard for you; and it would be no trifle, I give you my word of honour. Now I have told you my ideas clearly and straightforwardly, and I must beg for a speedy decision. If I could have an answer to-day I should be all the better pleased, for I have heard that some one is going to travel alone to Munich next Thursday, and I would gladly profit by the opportunity.
