His compositions had already reached the number of eighty, including a number of symphonies. It was now late in the year 1771, and at Milan Wolfgang set seriously to work upon his opera, which was produced December 26 and repeated to full houses twenty times, the author himself conducting it. This was "Mitridate, Re di Ponto." The year following he composed two other operas for Italy, and several symphonies, so that when his new opera of "Lucio Silla" was performed in Milan October 24, 1772, the number of his works had reached 135. From 1773 to 1777 Mozart remained at Salzburg, with occasional journeys to Vienna and other cities, always pursuing a life of unflagging industry. The number of his works had increased by the end of this period to upwards of 250, including an immense variety of pieces of chamber music, symphonies, two or three operas, a number of masses, and the like. He was now twenty-one years old, and since the age of fourteen he had been assistant conductor at Salzburg in the service of the prince archbishop, who was a small-souled man, wholly unworthy the service which Mozart rendered him. There is at least a small satisfaction in remembering that the archbishop himself had a distinct impression of the dis-esteem in which he was held by his talented young musical conductor.
With the attainment of his majority the second period in the life of this great genius began. Unable to obtain permission from the shabby prelate for father and son to go together upon an artistic tour, the father at length decided to send the young man out with his mother, and in September, 1777, the two started for Paris, traveling in their own carriage with post horses. Their plan was to give a concert at every promising town, taking whatever time might be necessary for working it up in due form. In this way their journey was considerably prolonged by delays at Munich, Mannheim and Augsburg. At Mannheim, especially, the incidents of the tour were varied by Mozart's falling in love with the charming daughter of the theatrical prompter and copyist, a promising singer, who afterward married happily in quite a different quarter. At Paris things did not turn out quite so favorably as the father had anticipated. Most afflicting of all, the mother fell sick there, and died, so that the son left Paris in September for home with a far heavier heart than when he entered it. During the most of 1779 and 1780 he remained at Salzburg, fulfilling his duties as assistant conductor. Then came his first opera in Germany, "Idomeneo, Re di Creta," produced at Munich January 29, 1781. The success of this work was so decided that it determined Mozart's career as an operatic composer. A few months later he quarreled with the archbishop, and the unpleasant connection came to an end. His second opera, "Die Entführung aus dem Serail" ("The Elopement from the Seraglio"), was produced at Vienna July 16, 1782. This was his first opera in German. In August of this year he was married to Constance Weber, younger sister of her who had first enchanted him. The marriage was congenial in many ways, but as the wife was incapable in money matters and administration, and Mozart himself careless as a business man, and in receipt of a small and irregular income, they soon found themselves in a sea of little troubles, from which the struggling artist was nevermore free. Only at the last moment, when indeed his life was all but extinct, did the clouds disappear, and a prospect open before him, which if he had lived to enjoy it, would have placed his remaining days in easy circumstances. In 1785 the father visited his son in Vienna, and upon one of the first days of his stay, there was a little dinner party at Mozart's house, with Haydn and the two Barons Todi. In his letter home, Leopold Mozart says that Haydn said to him: "I declare to you, before God, as a man of honor, that your son is the greatest composer that I know, either personally or by reputation; he has taste, and beyond that the most consummate knowledge of composition." In return for this compliment Mozart dedicated to Haydn six string quartettes, with a laudatory preface, in which he says that it was "but his due, for from Haydn I first learned to compose a quartette." Mozart was an enthusiastic Freemason, and through his influence his father, who had always previously opposed the order, became a member, during this visit at Vienna. Soon afterward the father died. For the lodge Mozart wrote much music, both of a liturgical character and for concerts, and special entertainments, and in the "Magic Flute" there are many reminiscences of the order.
A year later he made the acquaintance of the celebrated librettist, Lorenzo da Ponte, who proposed to adapt Beaumarchais' comedy, "The Marriage of Figaro," which after some difficulty in obtaining the consent of the emperor, on account of the objectionable character of the story, was done, and the work produced at Vienna, May 1, 1786. The theater was crowded, and many airs were repeated, until at later performances the emperor prohibited encores. A pleasing scene took place at the last dress rehearsal. Kelly, who took the parts of Don Basilio and of Don Curzio, writes: "Never was anything more complete than the triumph of Mozart and his 'Marriage of Figaro,' to which numerous overflowing audiences bore witness. Even at the first full band rehearsal, all present were roused to enthusiasm, and when Benucci came to the fine passage 'Cherubino Alla Vittoria, Alla Gloria Militar,' which he gave with stentorian lungs, the effect was electric, for the whole of the performers on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated 'Bravo, Bravo, Maestro. Viva, Viva, grande Mozart.' Those in the orchestra I thought would never have ceased applauding, by beating the bows of their violins against their music desks. And Mozart, I never shall forget his little animated countenance. When lighted up with the glowing rays of genius, it is as impossible to describe it as it would be to paint sunbeams." Yet the success did not improve his position in money affairs. Soon afterward, however, he was invited to Prague, to see the success his beautiful work was making there. He was entertained handsomely, and found the town wild with delight, at the novelty, the spontaneity and charming quality of his music. He also gave two concerts there, which were brilliantly successful, and having been many times recalled he sat down at the piano and improvised for half an hour, the audience resisting every effort he made to stop. After returning to Vienna he obtained another libretto from Da Ponte, that of "Don Giovanni," which was produced at Prague, October 29, 1787. It is told, as a characteristic incident of Mozart's method of working, that the overture of this opera had not been written until the night before the performance. At every suggestion Mozart answered, tapping his forehead, "I have it all here." But not a line had been written. Late at night he set about writing it. His wife made him some punch, of which he was very fond, and sat with him telling him fairy stories, in order to keep him awake. Early in the morning the overture was finished, and after being copied it was played prima vista at night, with grand success. In response to repeated appeals for court recognition, Mozart was made chamber composer, with a salary of about $400, which he pronounced, "Too much for what I produce; too little for what I might produce." "Don Giovanni" was not given in Vienna until May, 1788.
Fig. 55.
MOZART, AT THE AGE OF THIRTY-THREE.
[From a drawing by Dora Stock, a friend of Schiller, 1789. (Grove.)]
His pecuniary circumstances continued desperate but there were certain incidents of an artistic kind which afforded the struggling genius a meager consolation. One Van Swieten, director of the royal library, who was a great amateur of classical chamber music, held meetings every Sunday for the rehearsal of works of this class. Mozart sat at the piano. For these occasions he arranged several of the fugues of Bach's "Well Tempered Clavier," for string quartette. The year following the practices took on larger proportions, a subscription having been made to provide for giving oratorios with chorus and orchestra. Mozart conducted, and Weigl took the pianoforte. It was for performances of this club, that Mozart added the wind parts to certain works of Händel. They gave "Acis and Galatea" (November, 1778), the "Messiah" (March, 1779), "Ode to St. Cæcilia's Day" and "Alexander's Feast" (July, 1790). Space forbids our following his later career beyond mentioning the chief incidents in a life where sadness had larger and larger place, when nevertheless the great master was pouring out his most noble and beautiful strains of melody and tonal delight. A visit to Berlin resulted in receptions at court, at Potsdam, where the truthful composer replied to the king's question, how he liked his band, that: "It contains great virtuosi, but if the gentlemen would play together they would make a better effect"—a remark which has been appropriate to many later orchestras. The king apparently laid the remark to heart, and offered Mozart the post of director, with a salary of 3,000 thalers, almost equal to the same number of our dollars. It would have been well for Mozart if he had accepted this liberal offer; but his answer was, "How can I abandon my good emperor?"—certainly an affection most misplaced.
Fig. 56.