78. Maria Anna Mozart to her husband, 5 April 1778, Paris
My Dear Husband,
Praise and thanks be to God, we’re both well and hope that you and Nannerl are in good health, with God’s help all will be well, Wolfgang has lots to do, for Holy Week he has to write a Miserere1 for the Concert Spirituel, it has to have 3 choruses, a fugue, a duet and everything else, with lots of instruments, it’s supposed to be ready by next Wednesday so that it can be rehearsed, he’s writing it at the home of Monsieur Legros, 2 the director of the Concert, where he generally has his meals, he can also have lunch every day at Noverre’s3 and at Madame d’Épinay’s.4 After that he has to write 2 concertos for a duke, 5 one for the flute and one for the harp, 6 for the French theatre he has to write an act for an opera.7 He also has a female pupil, who pays him 6 livres a lesson, or 3 louis d’or for 12 lessons, though we shan’t be paid till he’s finished, and we shan’t receive a farthing before Easter. Our funds are already fairly low and won’t go very far, we’ll also have to take some other rooms as it’s too far to walk, we’ve already spent a lot of money on cabs, I’ll be very sorry to leave this house, there are some decent folk here with whom I can speak German. Madame d’Épinay has been looking round for some other rooms for us, so you should address the letters you send us just to Herr Mayer, who’ll pass them on to us until I let you have another address. We’ve not yet called on Herr Gschwendtner but if we need money and ours is no longer sufficient, we’ll ask him to advance us some, although it would be preferable and better if we didn’t need any. Wolfgang is again so famous and popular here that I can’t begin to describe it, Herr Wendling had already talked up his reputation even before he arrived and he’s now introduced him to his friends, he really is a true philanthropist. And Monsieur Grimm has also urged Herr Wendling to do his utmost to make Wolfgang better known because, as a musician, he enjoys a higher reputation.
As far as my own way of life is concerned, it’s not very pleasant as I spend the whole day sitting around alone in my room as if under arrest, as the room is so dark and looks out on a little courtyard so that I never see the sun and don’t even know what the weather is like. With great difficulty I’m able to do a little knitting by daylight, and for this room we have to pay 30 livres a month, the entrance and the stairs are so narrow that it would be impossible to bring up a keyboard instrument. And so Wolfgang has to compose away from home, at Monsieur Legros’, as there’s a keyboard there, so I don’t see him all day and shall forget how to speak. My food from the traiteur is superb, at midday I get 3 courses for 15 sous, first, some soup with herbs, which I don’t like, 2nd a scrap of poor-quality meat, 3rd a piece of calf’s foot in a dirty sauce or a piece of liver as hard as stone, but at night we don’t have any food delivered, instead Frau Mayer buys us a few pounds of veal and has it roasted at the baker’s, so we have it hot for the first meal, then cold for as long as it lasts, as is the custom in England, but we never have soup in the evening, the fast days are impossible to describe and are unbearable, everything here is half as expensive again as it was the last time we were here 12 years ago. Today, the 10th, I’ve spent the whole day packing as we’re moving to some other rooms where we have to pay only one louis d’or a month and where we’ll have 2 rooms overlooking the street and we’ll be nearer the aristocracy and the theatre, I’d have sent off this letter before now but we wanted to wait for one from you so that we could have replied to it, as we have to pay 17 sous for every letter we post and 24 sous for every one that we receive. Baron Grimm came to see me yesterday, he says you shouldn’t worry so much, everything will turn out all right in the end. One just needs to be a little patient, he’ll reply to your letter but has a lot to do at present;
[ Mozart’s postscript ]
Mama’s dark allusions need explaining more clearly. Kapellmeister Holzbauer has sent a Miserere here, but because the choirs in Mannheim are weak and underpowered, whereas here they’re good and strong, his choruses would be ineffectual. And so Monsieur Legros, the director of the Concert Spirituel, has asked me to write some new choruses.8 Holzbauer’s opening chorus will remain. The ‘Quoniam iniquitatem meam ego cognosco’ is my first one. Allegro. The 2nd, an adagio, is ‘Ecce enim in iniquitatibus’. Then an allegro. ‘Ecce enim veritatem dilexisti’ as far as ‘ossa humiliata’.
Then an andante for soprano, tenor and bass soloists. ‘Cor mundum crea’ and ‘Redde mihi laetitiam’, but allegro as far as ‘Ad te convertentur’. I’ve also written a recitative for a bass. ‘Libera me de sanguinibus’. Because a bass aria by Holzbauer follows. ‘Domine, labia mea.’
‘Sacrificium Deo spiritus’ is an andante aria for Raaff, with oboe and bassoon solo, and so I’ve added a brief recitative, ‘Quoniam si voluisses’, it too with concertante oboe and bassoon, as they now like recitatives here. ‘Benigne fac’to‘Muri Jerusalem’ andante moderato. Chorus. Then ‘Tunc acceptabis’to‘Super altare tuo vitulos’ allegro, and tenor solo – Legros – and chorus together. Finis.
I must say that I’m very pleased to have finished these scribblings, which are a damned nuisance when you can’t write at home and are pressed for time. But, praise and thanks be to God, I’ve now finished it. And I hope it’ll be effective. When he saw my first chorus, Monsieur Gossec, 9 whom you must know, told Monsieur Legros – I wasn’t there at the time – that it was charming and would undoubtedly be effective, adding that the words were well arranged and in general it was admirably set. He’s a very good friend of mine, and a very dry wit. I shan’t be writing a single act for an opera but a whole opera en deux actes. The poet has already finished the first act. Noverre – at whose home I dine as often as I want – has taken charge of the matter and provided the basic idea. I think it’ll be called Alexandre et Roxane.10 Mlle Jenamy11 is here, too. I’m now going to write a sinfonia concertante 12 for flute (Wendling), oboe (Ramm), Punto (horn)13 and Ritter (bassoon). Punto is a magnificent player. I’ve just got back from the Concert Spirituel. Baron Grimm and I often give vent to our musical anger at the orchestra here – between ourselves, of course. In public it’s bravo, bravissimo, and we clap till our hands hurt. Farewell, I kiss your hands 100 times and am
Wolfgang Amadè Mozart
[ Inside the cover ]
Monsieur Raaff is here and staying with Monsieur Legros so we see each other almost every day. My dearest Papa, I must ask you not to worry so much and not to be so anxious, as you’ve no cause for it. I’m now in a place where one can undoubtedly make money, even if this requires a frightful amount of effort and hard work; but I’m ready to do anything to please you. What annoys me most of all is that these French gentlemen have improved their goût only to the extent that they can now listen to good things too. But for them to realize that their own music is bad or at least to notice the difference – God preserve us! – And their singing! – Oimè – As long as I don’t hear a Frenchwoman singing Italian arias, I’d forgive her her French screechings, but to ruin good music! – It’s intolerable. Now for our new address.
Rue Gros Genêt, vis à vis celle du Croissant.
à l’hôtel des 4 fils emont.
You need to include the number 4 as that’s how it appears on the building.
79. Leopold Mozart to his wife and son, 12 April 1778, Salzburg
My Dear Wife and Son,
In the hope that with tomorrow’s post I shall hear from you with news that you’re both well, I’m writing today to say that the late Herr Adlgasser’s Litany was performed today and that Haydn’s will be performed tomorrow and Wolfgang’s on Tuesday. 1 In the last of them Sgr Ceccarelli will be singing all the solos and in the Golden Salve he’ll also sing the Regina Coeli that Wolfg. wrote for Frau Haydn.2 Except when there’s a big concert he comes to our house every evening and always brings an aria and a motet, I play the violin and Nannerl accompanies and plays the solos intended for the violas or winds. We then play a keyboard concerto or a violin trio in which Ceccarelli plays the second violin; we sometimes have to
laugh as it was here that he started to play the violin and he’s now been playing for 6 months. His time is up at the end of April. If he returns in the autumn or if he now decides he wants to stay, the archb. will pay him 800 florins a year for 6 years. He has declared that he’ll come back for this amount, but for only 2 years, if the archbishop will pay his travelling expenses.3 He’s now awaiting a reply. If he comes back, he’ll leave all his arias here in the meantime and take only a few with him, before returning on 1 November. He’s sorry not to have got to know you both and regrets that he wasn’t introduced to us right at the outset, as we’re the only people he sees. He joins us for target practice and on 2 occasions he’s won, and as Katherl Gilowsky is very free with him, as is her wont, he calls her La Mattarella, 4 which she doesn’t understand; we painted her on the targets holding a harp, with Ceccarelli, open-mouthed, beating time and holding his music in his other hand – just as he sings. – Count Czernin isn’t content with fiddling at court but would like to conduct as well, and so he’s set up an amateur orchestra that’s supposed to meet at Count Lodron’s rooms5 every Sunday just after 3. Count Sigerl Lodron6 called on us to invite Nannerl – as an amateur – to play the clavier and to ask me to keep the second violins in order. A week ago today, the 5th, we had our first session. Among those present were Count Czernin, primo violino, Baron Bapius, 7 Sigerl Lodron, young Weyrother, 8 Kolb, Kolb’s student from Nonnberg, and a few students whom I don’t know. Among the 2nd violins were me, Sigerl Robinig, Gussetti, Count Althan, 9 Cajetan von Antretter, a student and Ceccarelli, la coda dei secondi. 10 The 2 violas are the two ex-Jesuits Bullinger and Wieshofer. 2 oboes Weber the lackey and Schulz’s son who acted in the play in Linz. Two watchmen’s apprentices play the horn, and the doubles basses are Cassel, Count Wolfegg and occasionally Ränftl. The cellos were the new young canons, Count Zeil and Count Spaur, 11 Privy Councillor Mouml;lk, Sigerl Antretter and Ränftl. Nannerl accompanied all the symphonies, and as Ceccarelli sang an aria per l’appertura della Accademia di dilettanti, 12 she accompanied him as well. After the symphony Count Czernin played a beautifully written concerto by Sirmen 13 à la Brunetti and doppo un altra sinfonia 14 Count Althan played a terrible trio, although not a living soul can say whether it was scraped or fiddled – whether it was in 3/4 time or common time or even in some new and hitherto unknown tempo. Nannerl was supposed to play a concerto but the countess wouldn’t lend them her good harpsichord – which is Casus reservatus pro summo Pontifice, 15 only the Egedacher16 instrument with gilt legs was there, so she didn’t play. Finally the 2 Lodron girls 17 had to play. There hadn’t been the slightest indication beforehand that they were to do so, but ever since I’ve had them, they’ve been in a position to play at short notice, so they were both a credit to me.
Monday the 13th
We still haven’t had a letter from you today. Although the postman came, it was only with a letter from Mysliveček, who tells me that instead of the 25 or 30 ducats he was expecting to receive for the 6 concertones that he rewrote at the archb.’s behest, he received only 12 ducats a titolo per il Viaggio. 18 – He also says he’ll be leaving Munich on Maundy Thursday etc. and, having written to me many times to ask me to lend him a hand, always adding some ridiculous excuse about the scrittura that he claims he’s expecting with every post from Naples, he now writes: Finora da Napoli non ebbi la scrittura; ma spero di finir quest’ affare alla mia Venuta, per ove partirò Giovedì Santo; frattanto sono a pregarla d’una grazia 19– NB: otherwise he wouldn’t have written at all – cio è di mandarmi gli 6 Concerti di Bach etc. etc. io Sono stato pregato dal Sgr. Hamm per questa finezza etc etc.
– Non ardiscono loro stessi di Scriver a V.S. etc. 20 I can well believe that; Herr Hamm didn’t have the courtesy to reply to my letter of 5 months ago when I asked him for only 200 florins for his daughter’s full board and lodging, including teaching. – Now Mysliveček has had to ask for the concertos for him, – they’ll be waiting for them for a long time – I’ll write and tell Myslivecek the reason. The second amateur concert took place on Palm Sunday, the 12th: symphonies by Stamitz 21 were played at both the first and the second and were much liked as both are very noisy. Baron Bapius played a very simple violin concerto, but at least it was in tempo and in tune, he’s having lessons from Pinzger. – Herr Kolb then played your cassation22 to the most amazing applause. Count Czernin, who had never heard Kolb play before and didn’t know your piece, stood behind him and sometimes beside him, turning the pages for him and showing the greatest attention: he was amazingly fulsome in his praise and, hearing that it was by you, was all eagerness and asked me 3 or four times – when did he write it?––I can’t have been here – with his familiar bright red face and quivering voice he couldn’t help expressing his admiration for the piece and its execution. They all listened in total silence, and after each movement Count Wolfegg, Count Zeil, Count Spaur and the others all cried out bravo il Maestro e bravo il Sgr Kolb! Countess Lodron and Countess Lützow etc. all listened attentively and liked what they heard, only when she heard the variations, which you often had to play for her, did the countess realize that they were by you, she ran over to me in her delight and told me so – I was playing the 2nd violin, Kolb’s pupil the viola, Cassel the bass and the two watchmen, who’d often played it at Kolb’s, the horn. The concert ended with a wretched performance at the keyboard by the 2 Kletzl girls, the eldest was indescribably bad, enough to drive you away; it was simply unbearable, even worse than when they sang in Kuenburg’s play. On Easter Sunday the 2 Lodron girls are to sing or croak – I don’t know which, as I haven’t heard them for a long time. Nannerl has already been asked to accompany them.
The 16th. Still no letter from you. We hope you’re well and are fully aware that you’ll initially have a lot to do, calling on everyone, making new contacts and renewing old ones. Herr Mehofer’s son is here from the mountains, finally – after a great deal of trouble – he’s now managing a foundry in Lungau, at least he’s moved on from lead and sulphur to silver and gold and is earning 230 florins a year in addition to board and other emoluments. The architect Hagenauer has left and won’t be coming back. In our building the elder of the carpenter’s two daughters has died of dropsy, they used to sew clothes and their brother waxed Wolfgang’s boots and those of the pageboys. The assistant riding master 23 is getting married on Wednesday the 22nd. Herr von Mölk will pronounce them man and wife at Mirabell in the morning, after which they’re off to Altötting. The bride looks in a very poor way, 24 she’s very worried when she thinks of the past, present and future. There’s a cellist here with his wife. He plays extremely well. His name is Xaverio Pietragrua. He’s played at court for 10 ducats (the fee was agreed in advance) and is giving a concert on the 21st. He and his wife – she’s a singer but I don’t know how good she is – send you their best wishes even though they don’t know you. They’ve visited us 3 times and are coming to our target practice tomorrow, as I’m writing this on Sunday the 19th.
Monday the 20th
There was another amateur concert yesterday, but it was very short as it didn’t begin until after the Regina Coeli – admirably sung by the castrato – in the cathedral. I found your letter of the 5th inst. waiting for me when I got home from the service. I’m amazed that it took so long. It must have been posted later as letters normally take 9 days to get here from Paris. I recommend you to write par Strasbourg, Augsburg – on them as your first letter also arrived late, having come via Mannheim. There are several Salzburgs. These words must be written alongside the others: par Strasb. etc. Augsb. à Salzburg.
My dear Wolfgang, I’m heartily glad that you’ve already got some work and am only sorry that you had such a rush to complete the choruses, a task that needs time if it’s to do you credit. I wish and hope that they’re well received. With the opera you’ll no doubt have to be guided by the taste of the French. As long as you meet with approval and are well paid, the devil may take the rest! If people like your opera, there’ll s
oon be something in the newspapers. I’d like to see this in time, in order to spite the archbishop.
I’d like to hear the sinfonia concertante with these fine people. If you were able to track down a decent piano25 in Paris, similar to the one we’ve got here, I’m sure that you’d prefer it and that it would suit you better than a harpsichord. I’m sorry to hear that French taste remains largely the same: but, believe me, it’s bound to change in time, however hard it may be to remould an entire nation. For the present, it’s enough that they can also listen to good music; they’ll gradually notice the difference. Before you write for the theatre, you should listen to their operas and find out what they particularly like. You’ll now become a real Frenchman and I hope you’ll take steps to acquire a correct accent. Nannerl and I are well, thank God, and I’m no longer worried but am very happy to know that our very good friend Baron Grimm has taken you under his wing and that you’re now in a place which thanks to your innate industriousness can make you famous throughout the world. As long as I don’t have to worry so much about you, I’m well: and you know me, all that matters to me is honour and reputation. You acquired this as a child – this must continue. – This was always my aim, and so it remains; these are now the years that you must put to good use both for yourself and all of us. May God keep you both in good health. Best wishes from Nannerl and myself to Baron Grimm, Monsieur and Mme de Noverre, Mme Jenamy, Mme d’Épinay, Monsieur Wendling, Monsieur Raaff, Monsieur Gossec etc. etc. etc. etc. 100, 000 good wishes to you both from the whole house and the whole orchestra etc., also Herr Bullinger (who thanks you for drinking his health in Clermont), Sallerl, Katherl Gilowsky, Herr Hagenauer, Herr Deibl etc. etc. It’s target practice today, on the target is Katherl Gilowsky in her cradle as it was her birthday yesterday, with the castrato26 standing beside her, playing the lullaby on his violin. – The castrato is putting up the prize. My dear wife, I’m very sorry to hear that your food is so bad. Isn’t it possible to find someone who can cook in the German way? You really must look round for some better food and pay more. I’ve always been worried about this. Can’t you cook for yourself?––In the longer term you’ll have to think of some alternative as you’re not in Paris for just a few months, – – this is now the safest place to be, partly because you can make some money there, partly because you can live without fear of war. I really don’t like to think of Russia and Turkey being at lasting peace, still less do I like the idea of total peace being concluded between them. Otherwise I’m afraid that Russia
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