His relations with his mother-in-law were, as might have been expected, unfavourable enough at first. She did not indeed live in the same house with them, as Mozart writes for his father's consolation (August 31, 1782);[ 17 ] but even at the second visit which he paid her with his wife, she scolded and disputed until Constanze was reduced to tears, and they resolved in consequence only to visit her on family fête-days. This state of affairs was afterwards improved, since we can well understand that it was impossible for a man of Mozart's genial and loving nature to keep up offence. "Mozart and our late mother became more and more attached to each other," writes Sophie Haibl. "He used often to come running to our house with little packets of coffee and sugar, saying as he handed them out: 'Here, mamma dear, take a little Jause' (afternoon coffee). He never came to us empty-handed." Constanze's youngest sister, Sophie, was in very frequent intercourse with them; her sister's constant illness rendered her help in nursing, which she was always most willing to bestow, quite invaluable; and during Mozart's last illness we find her constant in attendance at his bedside. Mozart's intercourse with Aloysia Lange and her husband[ 18 ] seems to have been friendly and unembarrassed. The Langes did not live happily together, and though Lange himself laid the blame upon backbiters,[ 19 ] it was notorious that their disunion arose from his unreasonable jealousy, a jealousy for which his wife had MOZART AND MADAME LANGE. far more cause than he.[ 20 ] But as far as Mozart was concerned Lange's jealousy must have been unprovoked, or he would hardly have taken the part of Pierrot in the pantomime already noticed (Vol. II., p. 304), allowing his wife to play Columbine to Mozart's Harlequin. She acknowledged later that, as a young girl, she had under-estimated Mozart's genius, and she learnt to look upon his music with admiration and reverence, and upon himself with friendship and esteem.[ 21 ] We find many indications in the letters of friendly intercourse between the Mozarts and the Langes. It was natural, therefore, that they should have afforded each other professional help whenever opportunity arose. On April 10, 1782, Mozart composed a song (383 K.)[ 22 ] for his sister-in-law, the words of which show it to have been intended for a benefit performance by way of farewell:—
Nehmt meinen
Dank, ihr holden Gonner
So feurig als mein
Herz ihn spricht.
Whether Madame Lange was about to leave Vienna on a tour, or had merely come to the end of an engagement, I cannot say. The composition (in G major) takes the form of a ballad in two verses, and is very simple, easy and pleasing. Original features are not wanting, as for instance, suspensions and transition notes on an organ point, which even modern musicians would find piquant. The accompaniment is easy, but delicate; the stringed instruments play pizzicato throughout, a device not often employed by Mozart; the flutes, oboe, and bassoon, employed as solo instruments, but without any bravura, enliven the simple design. In the following year (January 8) he composed a Rondo (416 K., part 1), "Mia speranza adorata," which she first sang at a concert at the Mehlgrube; the distinguishing qualities of this song are delicacy and tenderness; it depends for effect more upon a sympathetic delivery than on the compass and MOZART'S FAMILY AND FRIENDS. executive powers of the singer. In March of the same year, Madame Lange and Mozart mutually supported each other at their concerts.
After the revival of the Italian opera, it often happened that Mozart was requested to compose detached pieces for insertion. When, in 1783, Anfossi's opera of "Il Curioso Indiscreto," composed in 1778, was represented, Madame Lange and Adamberger, who, as German singers, had to contend with much opposition, knew that they could not fail to make an effect in music of Mozart's composition, and begged him to write two songs for their début. He was, as ever, quite ready to grant their request; but he had yet to learn that even in Italian opera he could not assert his claims without opposition. We have his own account in a letter to his father (July 2, 1783):—
The opera was given the day before yesterday, Monday; none of it pleased except my two songs, and the second, a bravura song, was encored. But you must know that my enemies were ill-natured enough to spread about beforehand that Mozart had undertaken to correct Anfossi's opera. I heard of this, and sent word to Count Rosenberg that
I would not produce the songs unless the following notice in German and Italian was printed in the opera-book: "Notice.—The two songs, page 36 and page 102, are composed, not by Signor Anfossi, but by Herr Mozart, at the desire of Madame Lange. This announcement is made out of respect and consideration for the fame of the celebrated Neapolitan composer." This was done, and I handed over the songs, which did as much credit to myself as to my sister-in-law.[ 23 ] So my enemies are caught in their own trap! Now I must tell you of one of Salieri's tricks, which did not hurt me so much as poor Adamberger. I think I wrote to you that I had also composed a rondo for Adamberger. At one of the early rehearsals, before the rondo was ready, Salieri called Adamberger aside, and told him that Count Rosenberg was not pleased at the idea of his inserting a song, and he should advise him as a friend to abandon it. Adamberger, exasperated against Rosenberg, answered with a stupid display of ill-timed pride: "I flatter myself that Adamberger's fame is so well established in Vienna that he has no need to seek the favour of the public by songs written on purpose for him; I shall sing what is in the ARIE FOR ALOYSIA LANGE. opera, and never insert any song as long as I live." And what was the consequence? Why, that he made no effect at all, and now repents, but too late; for, if he were to come to me to-day for the rondo, I would not give it to him. I can use it very well in one of my own operas. But what most provokes him is that my prophecy and his wife's turns out correct, viz., that neither Count Rosenberg nor the manager knew a word of the affair, so that he was simply tricked by Salieri.
Adamberger might certainly have made a brilliant display of his powers in the song (420 K., part 8) "Per pietä non ricercata."[ 24 ] It is broad in design, and affords the singer opportunities for a display of voice, delivery, and execution; it maintains a certain dignity of tone throughout. A very effective use is made of the wind instruments; and a comparison of their full satisfying sound with that of the wind instruments in the song quoted (Vol. II., pp. 232, 233) will show how closely connected in a true work of art are the tone-colouring of the instruments and the nature and development of the motifs.
The first of Madame Lange's two songs, "Vorrei spiegarvi, oh Dio!" (418 K.), was composed on June 20, and is broad in outline, the first slow movement in especial being delicately elaborated in detail. It expresses the painful hesitatation of a mourner who would fain express her grief, but dares not; and this idea is well expressed by the broken phrases of the voice part, leaving the thread of the music to be carried on by the accompanying orchestra. A simple accompaniment, delivered pizzicato by the second violins and tenors, forms the canvas for the design, in which the oboe supports the principal motif, sometimes accompanying the voice, sometimes relieving it; an easy figure twines round the chief subject, sustained throughout by the first violins muted; while the horns and bassoons in sustained chords give consistency and shading to the whole. The situation and subject of the song necessitate restless and varied modulation; and this opening movement affords an example of Mozart's art in projecting a design and maintaining it MOZART'S FAMILY AND FRIENDS. throughout with the utmost delicacy and variety of detail. The allegro which follows is more directly suggestive of opera buffa in its impulsive haste and in its dramatic characterisation; but the skill is worthy of note with which the elevated tone of the first movement is preserved and the bravura of the singer is placed in the most favourable light.[ 25 ] The second song, "No che non sei capace" (419 K.), which is allotted to the same character, Clorinda, is a bravura song, in the very fullest acceptation of the term. The passages of two allegro movements mount to the highest heights like rockets, bursting from a ground-work of declamatory and dignified melody. The orchestra, too, is tolerably noisy, but so managed as always to spare the voice.
Mozart was very much gratified when the Langes selected his "Entführung aus dem Serail" for their benefit performance prior to a month's leave of absence, and he takes care to acquaint his father with the fact (December 10, 1783).[ 26 ] The choice was of course made chiefly in their own interests, since the opera was a favourite, and the part of Constanze might have been written for Madame Lange. Kelly, who admired her as one of the first vocalists of the day, and repeats Stephen Storace's comparison of her voice and execution to those of the Bastardella, was of opinion that the part of Constanze was of "the exact compass" for her voice.[ 27 ] When she reappeared, after a severe illness, in the same opera, on the 25th of November, 1785,[ 28 ] she was "deservedly well received,"[ 29 ] and the part was one which she ARIE FOR ALOYSIA LANGE. frequently played later with the greatest applause, bestowed especially on the bravura songs.[ 30 ]
Mozart wrote another song for her on March 14, 1788 (538 K.), "Ah se in ciel benigne stelle" (from Metastasio's "Eroe Cinese,") apparently as a concert-piece. It is long and elaborate, well calculated to display great compass of voice, and more of bravura than the previous songs; but, as regards invention and mechanism, it is of less importance than those already noticed. It is not wanting in interesting harmonic details nor in expressive passages, but they stand apart, and are not blended into a harmonious whole in Mozart's usual manner.