played by Ramm of Mannheim, who used to call it his 'cheval de bataille.' The P.F. also reappears—variations (264, 265); 6 sonatas (279—284), ordered by Baron Dürnitz, who forgot to pay for them; a trio (254); 2 concertos (238, 246); and a concerto for 3 P.F.'s (242) for the three Countesses Lodrow, a favourite piece, often played on his next tour by Mozart himself. Of 17 sonatas for organ, generally with violin and bass, intended as graduales, 6 (241, 244, 245, 263, 274, 278) belong to this period.
Besides all this mass of music, Wolfgang studied the works of other masters, and even—an example well worth following—put into score from the parts a number of church-pieces in the strict style by Michael Haydn and Eberlin. He sent from Vienna for a note-book of this kind for van Swieten's benefit.
We have now before us a youth of 21, a skilled performer on three instruments, and at home in the most varied branches of composition. His father had given him a conscientious and systematic education, protected him from all injurious influences, and made him concentrate his whole powers on his artistic cultivation. All that teaching could do for him had been done in Salzburg; the time had now come for him to go out into the world, and let the discipline of life complete the work. His existence at Salzburg had long been intolerable to him; beyond a few intimate friends he had no society; he was disgusted at the want of appreciation for art, and his position with regard to Archbishop Hieronymus became daily more critical. On this point both he and his father became anxious. Something must be done. Not daring as yet to send his son alone into the world, the father asked leave to take a professional tour with him. It was refused, the Archbishop's reason being, as he said afterwards, that 'he could not bear people going about begging in that fashion.' The cup was now full, and Wolfgang applied for his discharge.[1] Irritated that any one should dare to leave him so abruptly, and quite aware of what he was losing, the Archbishop granted the request on Aug. 28, adding that, 'after the Gospel both father and son were free to seek their fortune wherever they pleased.' He relented, however, with regard to the father, who came to the painful resolve of sending his son away with his mother. It was true that she had little energy, and less intellectual power; but she was an experienced traveller, and could be useful to her son in many practical ways. The necessary preparations were accordingly made, even to the purchase of a carriage, that they might present a suitable appearance. On Sept. 23, 1777, mother and son left home. The father bore up bravely till they were really off, and then going to his room sank exhausted on a chair. Suddenly he remembered that in his distress he had forgotten to give his son his blessing. He rushed to the window with outstretched hand, but the carriage was already out of sight. His son, however, breathed freely when once fairly off; the deliverance from a position which he had long groaned under was delightful enough to mitigate even the pain of separation from his father and sister. Fortunately for him he could not foresee the life which lay before him,—a life full to its close of crosses and disappointments, and with so few joys!
Their first halting-place was Munich, but here they met with nothing but discouragement, and had to leave without accomplishing anything. At Augsburg Mozart visited G. Andreas Stein, the celebrated maker of organs and pianofortes, and both at his house and in the monastery of St. Ulrich charmed all hearers by his playing. A concert, however, produced but a small sum. On Oct. 30 they reached Mannheim, where they stayed much longer than they anticipated. The good prospects which at first seemed to open before them were not indeed realised; but the visit formed a decisive epoch in Mozart's life. Under the Elector Karl Theodor, Mannheim possessed a good opera, with an orchestra containing virtuosi of the first rank, and at that time considered the first in Europe for instrumental music.[2] Mozart made great friends with Cannabich, an excellent conductor and good teacher, and gave pianoforte lessons to his daughter Rose, who attracted him in spite of her youth. He also became intimate with the poets Wieland and Freiherr von Gemmingen, the composers Holzbauer and Schweitzer, Raaff the great tenor, Wendling, Ramm, and Ritter, excellent performers on the flute, oboe, and bassoon. Here also his playing, both on the pianoforte and the organ, was much admired, and he had opportunities of measuring himself with Sterkel and Vogler, neither of whom impressed him much. The latter, indeed, he positively disliked. While vainly endeavouring to gain admittance to the Elector's Chapel, Wendling, Ramm, and Ritter tried to persuade him to accompany them to Paris and give concerts there. He was inclined to the plan, and his father agreed, though with reluctance; but when it came to the point he allowed his friends to start without him. The truth was he had fallen in love. Aloysia, the second daughter of Fridolin Weber, prompter and copyist, was a gifted singer, with a fine voice and considerable beauty, and these qualities made a due impression upon Wolfgang, during an excursion to Kirchheim, in Poland, where the Princess of Orange kept a private orchestra, and had daily concerts. Aloysia returned his attachment, and allowed him to teach her singing; and he, touched by the poverty of the family, resolved to take her to Italy, and there write a new opera for her first appearance. So romantic a proposition drove his father nearly out of his senses. In such a case quick action was everything. Urging upon him the doubtful character of the plan, he used all his endeavours to tear him away from these
- ↑ This interesting document has lately been found in the archiepiscopal archives by Pirckmeyer the custodian, and published with other matter under the title of 'Zur Lebensgeschlchte Mozarts.' Salzburg 1876: also copied in the Preface to Noll's Mozartbriefe, 2nd ed., 1877.
- ↑ It was here that Mozart first learnt the value of the clarinet as an orchestral instrument.
