Paris, March 24, 1778.
YESTERDAY (Monday, the 23d), at four o'clock in the afternoon, we arrived here, thank God! safely, having been nine days and a half on our journey. We thought we really could not have gone through with it; in my life I never was so wearied. You may easily imagine what it was to leave Mannheim and so many dear kind friends, and then to travel for ten days, not only without these friends, but without any human being—without a single soul whom we could associate with or even speak to. Now, thank Heaven! we are at our destination, and I trust that, with the help of God, all will go well. To-day we are to take a fiacre and go in quest of Grimm and Wendling. Early to-morrow I intend to call on the Minister of the Palatinate, Herr von Sickingen, (a great connoisseur and passionate lover of music, and for whom I have two letters from Herr von Gemmingen and M. Cannabich.) Before leaving Mannheim I had the quartet transcribed that I wrote at Lodi one evening in the inn there, and also the quintet and the Fischer variations for Herr von Gemmingen [author of the "Deutsche Hausvater">[, on which he wrote me a most polite note, expressing his pleasure at the souvenir I had left him, and sending me a letter to his intimate friend Herr von Sickingen, adding, "I feel sure that you will be a greater recommendation to the letter than the letter can possibly be to you;" and, to repay the expense of writing out the music, he sent me three louis-d'or; he also assured me of his friendship, and requested mine in return. I must say that all those who knew me, Hofrathe, Kammerrathe, and other high-class people, as well as all the court musicians, were very grieved and reluctant to see me go; and really and truly so.
We left on Saturday, the 14th, and on the previous Thursday there was an afternoon concert at Cannabich's, where my concerto for three pianos was given. Madlle. Rose Cannabich played the first, Madlle. Weber the second, and Madlle. Pierron Serrarius (our "house-nymph") the third. We had three rehearsals of the concerto, and it went off well. Madlle. Weber sang three arias of mine, the "Aer tranquillo" from the "Re Pastore," [Footnote: A festal opera that Mozart had composed in 1775, in honor of the visit of the Archduke Maximilian Francis to Salzburg.] and the new "Non so d' onde viene." With this last air my dear Madlle. Weber gained very great honor both for herself and for me. All present said that no aria had ever affected them like this one; and, indeed, she sang it as it ought to be sung. The moment it was finished, Cannabich exclaimed, "Bravo! bravissimo maestro! veramente scritta da maestro!" It was given for the first time on this occasion with instruments. I should like you to have heard it also, exactly as it was executed and sung there, with such precision in time and taste, and in the pianos and fortes. Who knows? you may perhaps still hear her. I earnestly hope so. The members of the orchestra never ceased praising the aria and talking about it.
I have many kind friends at Mannheim (both highly esteemed and rich) who wished very much to keep me there. Well! where I am properly paid, I am content to be. Who can tell? it may still come to pass. I wish it may; and thus it ever is with me—I live always in hope. Herr Cannabich is an honorable, worthy man, and a kind friend of mine. He has only one fault, which is, that although no longer very young, he is rather careless and absent,—if you are not constantly before his eyes, he is very apt to forget all about you. But where the interests of a real friend are in question, he works like a horse, and takes the deepest interest in the matter; and this is of great use, for he has influence. I cannot, however, say much in favor of his courtesy or gratitude; the Webers (for whom I have not done half so much), in spite of their poverty and obscurity, have shown themselves far more grateful. Madame Cannabich and her daughter never thanked me by one single word, much less thought of offering me some little remembrance, however trifling, merely as a proof of kindly feeling; but nothing of the sort, not even thanks, though I lost so much time in teaching the daughter, and took such pains with her. She can now perfectly well perform before any one; as a girl only fourteen, and an amateur, she plays remarkably well, and for this they have to thank me, which indeed is very well known to all in Mannheim. She has now neatness, time, and good fingering, as well as even shakes, which she had not formerly. They will find that they miss me much three months hence, for I fear she will again be spoiled, and spoil herself; unless she has a master constantly beside her, and one who thoroughly understands what he is about, she will do no good, for she is still too childish and giddy to practise steadily and carefully alone. [Footnote: Rosa Cannabich became, indeed, a remarkable virtuoso. C L. Junker mentions her, even in his musical almanac of 1783, among the most eminent living artists.]
Madlle. Weber paid me the compliment kindly to knit two pairs of mits for me, as a remembrance and slight acknowledgment. M. Weber wrote out whatever I required gratis, gave me the music-paper, and also made me a present of Moliere's Comedies (as he knew that I had never read them), with this inscription:—"Ricevi, amico, le opere di Moliere, in segno di gratitudine, e qualche volta ricordati di me." [Footnote: "Accept, my dear friend, Moliere's works as a token of my gratitude; and sometimes think of me.">[ And when alone with mamma he said, "Our best friend, our benefactor, is about to leave us. There can be no doubt that your son has done a great deal for my daughter, and interested himself much about her, and she cannot be too thankful to him." [Footnote: Aloysia Weber became afterwards Madame Lange. She had great fame as a singer. We shall hear more of her in the Vienna letters.] The day before I set off, they would insist on my supping with them, but I managed to give them two hours before supper instead. They never ceased thanking me, and saying they only wished they were in a position to testify their gratitude, and when I went away they all wept. Pray forgive me, but really tears come to my eyes when I think of it. Weber came down-stairs with me, and remained standing at the door till I turned the corner and called out Adieu!
In Paris he at once plunged into work, so that his love-affair was for a time driven into the background. Compositions for the Concert Spirituel, for the theatre, and for dilettanti, as well as teaching and visits to great people, occupied him. His mother writes: "I cannot describe to you how much Wolfgang is beloved and praised here. Herr Wendling had said much in his favor before he came, and has presented him to all his friends. He can dine daily, if he chooses, with Noverre [the famed ballet-master], and also with Madame d'Epinay" [Grimm's celebrated friend]. The mother herself scarcely saw him all day, for on account of their small close apartment, he was obliged to compose at Director Le Gros's house. She had (womanlike) written to the father about the composition of a Miserere. Wolfgang continues the letter, more fully explaining the matter.
101.
Paris, April 5, 1778.
I MUST now explain more, clearly what mamma alludes to, as she has written rather obscurely. Capellmeister Holzbauer has sent a Miserere here, but as the choruses at Mannheim are weak and poor, whereas here they are strong and good, his choruses would make no effect. M. Le Gros (Director of the Concert Spirituel) requested me therefore to compose others; Holzbauer's introductory chorus being retained. "Quoniam iniquitatem meam," an allegro, is the first air by me. The second an adagio, "Ecce enim in iniquitatibus." Then an allegro, "Ecce enim veritatem dilexisti" to the "ossa humiliata." Then an andante for soprano, tenor, and bass Soli; "Cor mundum," and "Redde mihi," allegro to "ad se convertentur." I also composed a recitative for a bass air, "Libera me de sanguinibus," because a bass air of Holzbauer's follows. The "sacrificium Deo spiritus" being an aria andante for Raaff, with a hautboy and a bassoon solo obligato. I have added a short recitative with hautboy and bassoon, for here recitative is much liked. "Benigne fac" to "muri Jerusalem" andante moderate. Chorus. Then "Tunc acceptabis" to "super altare," allegro and tenor solo (Le Gros) and chorus. Finis. [None of this music is known.]
I must say that I am right glad to have done with this task, for it is really detestable not to be able to write at home, and to be hurried into the bargain; but now, God be praised! it is finished, and I hope it will make some effect. M. Gussec, whom you no doubt know, when he saw my first chorus, said to Le Gros (I was not present) that it was charming, and could not fail to be successful, that the words were so well arranged, and, above all, admirably set to music. He is a kind friend of mine, but very reserved. I am not merely to write an act for an opera, but an entire one in two acts. The poet has already completed the first act. Noverre [ballet-master], with whom I dine as often as I please, managed this, and indeed suggested the idea. I think it is to be called "Alexander and Roxana." Madame Jenome is also here. I am about to compose a sinfonie concertante,—flute, Wendling; oboe, Ramm; French horn, Punto; and bassoon, Ritter. Punto plays splendidly. I have this moment returned from the Concert Spirituel. Baron Grimm and I often give vent to our wrath at the music here; N.B.—when tete-a-tete, for in public we call out "Bravo! bravissimo!" and clap our hands till our fingers tingle.