My compliments to dear Thresel: the maid who waits on me here is also named Thresel, but, heavens! how inferior to the Linz Thresel in beauty, virtue, charms—and a thousand other merits! You probably know that the worthy musico Marquesi, the Marquessius di Milano, has been poisoned in Naples, but how? He was enamored of a Duchess, whose rightful lover became jealous, and sent three or four fellows to give him his choice between drinking poison out of a cup and being assassinated. He chose the former, but being an Italian poltroon he died ALONE, and allowed his murderers to live on in peace and quiet. I would at least (in my own room) have taken a couple with me into the next world, if absolutely obliged to die myself. Such an admirable singer is a great loss. Adieu!
138.
Munich, Jan. 3, 1780.
MY head and my hands are so fully occupied with my third act, that it would not be wonderful if I turned into a third act myself, for it alone has cost me more trouble than the entire opera; there is scarcely a scene in it which is not interesting to the greatest degree. The accompaniment of the underground music consists merely of five instruments, namely, three trombones and two French horns, which are placed on the spot whence the voice proceeds. The whole orchestra is silent at this part.
The grand rehearsal positively takes place on the 20th, and the first performance on the 22d. All you will both require is to bring one black dress, and another for every-day wear, when you are only visiting intimate friends where there is no ceremony, and thus save your black dress a little; and if my sister likes, one pretty dress also, that she may go to the ball and the Academie Masquee.
Herr von Robinig is already here, and sends his regards to you. I hear that the two Barisanis are also coming to Munich; is this true? Heaven be praised that the cut on the finger of the Archbishop was of no consequence! Good heavens! how dreadfully I was alarmed at first! Cannabich thanks you for your charming letter, and all his family beg their remembrances. He told me you had written very humorously. You must have been in a happy mood.
No doubt we shall have a good many corrections to make in the third act when on the stage; as for instance scene sixth, after Arbace's aria, the personages are marked, "Idomeneo, Arbace, &c., &c." How can the latter so instantly reappear on the spot? Fortunately he might stay away altogether. In order to make the matter practicable, I have written a somewhat longer introduction to the High Priest's recitative. After the mourning chorus the King and his people all go away, and in the following scene the directions are, "Idomeneo kneels down in the Temple." This is impossible; he must come accompanied by his whole suite. A march must necessarily be introduced here, so I have composed a very simple one for two violins, tenor, bass, and two hautboys, to be played a mezza voce, and during this time the King appears, and the Priests prepare the offerings for the sacrifice. The King then kneels down and begins the prayer.
In Elettra's recitative, after the underground voice has spoken, there ought to be marked exeunt. I forgot to look at the copy written for the press to see whether it is there, and whereabouts it comes. It seems to me very silly that they should hurry away so quickly merely to allow Madlle. Elettra to be alone.
I have this moment received your few lines of January 1st. When I opened the letter I chanced to hold it in such a manner that nothing but a blank sheet met my eyes. At last I found the writing. I am heartily glad that I have got an aria for Raaff, as he was quite resolved to introduce the air he had discovered, and I could not possibly (N. B., with a Raaff) have arranged in any other way than by having Varesco's air printed, but Raaff's sung. I must stop, or I shall waste too much time. Thank my sister very much for her New-Year's wishes, which I heartily return. I hope we shall soon be right merry together. Adieu! Remembrances to friends, not forgetting Ruscherle. Young Eck sends her a kiss, a sugar one of course.
139.