November. Variations for the piano for four hands in G major (501 K.).
November 18. Terzet for piano, violin, and violoncello, in B flat major(502 K.).
Then follow three compositions intended for the winter concerts:—
1786. December 4. Pianoforte concerto in C major (503 K.).
December 6. Symphony in D major (504 K.).
December 27. Scena con rondo with pianoforte solo, for Mdlle. Storace and myself, in E flat major (505 K.).
We cannot wonder that he turned a willing ear to the entreaties of his English friends, that he would leave Vienna in the autumn of 1786 (his wife having presented him on October 27, 1786, with their third son, Leopold, who died the following spring) and visit England; this plan was seriously considered, and only abandoned upon his father's strong opposition to it (Vol. II., p. 274). There soon after reached him an invitation from another quarter, giving still greater prospect of success and encouragement. "Figaro" made its way but slowly to most of the other great towns of Europe,[ 2 ] but in Prague, where the "Entführung" had left a very pleasing impression, it was performed at once, and with the greatest success.
The national taste for music which early distinguished MUSIC IN BOHEMIA. the Bohemians, and which they retain to the present day, arrived at a high stage of development during the last century.[ 3 ] The zealous attention bestowed upon church music both in town and country, and the cultivated taste of the nobility, gave to talent an easy recognition, and no available forces, either vocal or instrumental, were suffered to remain in neglect. It was the "custom and obligation" for every head of a school to write at least one new mass during the year, and to perform it with his scholars. Any youth who distinguished himself was placed in an institution where he was able to continue his musical education; there was no lack of patrons ready to support him until he found a situation in the musical establishment of a prince, a prelate, or a monastery.[ 4 ] "The families of Morzini, Hartiggi, Czemini, Mannsfeldi, Netolizki, Pachta, &c., were the patrons of many young men; they took them from the village schools on their territories and brought them to the capital to swell the ranks of their private musical establishments; they wore a livery, and formed part of their retinue of servants. Riflemen were not allowed to wear a uniform until they could blow the bugle perfectly. Many noble families in Prague required their livery servants to have a knowledge of music before being considered competent for service." Under these circumstances, music and all connected with it must have been held in high estimation at Prague, where the aristocracy were wont to congregate during the winter. A permanent Italian opera, especially intended for opera buffa, was founded by Bustelli, who had also obtained a license in Dresden in 1765. From that time until 1776 he gave performances at both places with a select MOZART IN PRAGUE. company, and acquired great fame thereby.[ 5 ] His successor was Pasquale Bondini, who afterwards gave performances in Leipzig during the summer,[ 6 ] and who was able to uphold the ancient fame of the Italian opera in Prague. First-rate artists, such as Jos. Kucharz and Jos. Strobach were engaged as operatic conductors; and other distinguished musicians were engaged, as, for instance, Joh. Kozeluch (a relation of Mozart's opponent living in Vienna, Leopold Kozeluch), Wenzel Praupner, Vincenz Maschek, &c. There was, however, one artistic couple in Prague of peculiar interest from their influential position and their intimate friendship with Mozart. These were the Duscheks, whose name we have already had frequent occasion to mention.[ 7 ]
Franz Duschek (born 1736 in Chotinborek), while still a poor peasant lad, attracted the notice of his feudal lord, Count Joh. Karl von Spork, by his uncommon talent. He was first sent to study at the Jesuit seminary at Königgràtz, but being obliged to give up study owing to an unfortunate accident, he devoted himself entirely to music, and was sent by the Count to Vienna, where he was educated into an accomplished piano-forte-player by Wagenseil.[ 8 ] As such he had long held the first rank in Prague, and not only did much by his excellent teaching to advance the art of pianoforte-playing, but exercised a decided and beneficial influence on musical taste in general. He was universally esteemed as an honest and upright man, and his influence with distinguished connoisseurs made him a powerful patron of foreign artists visiting Prague. His hospitable house formed a meeting-point both for foreign and native talent, and concerts were regularly given there on certain days in the week. The animating spirit at all these meetings was Duschek's wife Josepha (neé Hambacher),[ 9 ] who had received her musical education from MADAME DUSCHEK. him. She played the pianoforte well enough to pass for a virtuoso, and made some not unsuccessful attempts as a composer; but her forte lay in singing. Her beautiful, full, round voice was admired equally with her delivery, which was especially fine in recitative; she accomplished the most difficult bravura passages with perfect ease, without neglecting the effect of a perfect portamento; she united fire and energy with grace and expression—in short, she maintained in every respect her claim to be ranked with the first Italian singers of her time. This claim was not, it is true, acknowledged by Leopold Mozart; when she was in Salzburg with her husband, in 1786, he wrote to his daughter (April)—
Madame Duschek sang; but how? I cannot but say that she shrieked out an air of Naumann's with exaggerated expression, just as she used to do, only worse. Her husband is answerable for this; he knows no better, and has taught her, and persuades her that she alone possesses true taste.