Page:A Dictionary of Music and Musicians vol 2.djvu/394

382 Donaueschingen they spent twelve pleasant days with the Prince of Fürstenberg, who had music nearly every evening, and after remunerating them very handsomely, took leave of them with tears in his eyes. At Biberach Count Fugger of Babenhausen made Wolfgang compete on the organ with Sixtus Bachmann, a gifted boy two years older than himself; neither was able to obtain a decided advantage over the other. Passing through Munich, where the Elector was much pleased with Wolfgang's progress, they arrived in Salzburg in November 1766.

The father's first care was to carry on Wolfgang's interrupted studies; and as a solid foundation took him through Fux's 'Gradus ad Parnassum.' The Archbishop, not believing in the boy's powers, gave him the first part of a sacred cantata 'Die Schuldigkeit des ersten Gebotes' (35), to compose under strict surveillance. Quite within our own time it has been ascertained that this work was performed on March 12, and April 2, 1767, by the students in the University hall. To this period also belong a Passions-cantate or Grabmusik (42), his first P.F. concertos (37, 39–41), and a Latin comedy 'Apollo et Hyacinthus,' performed May 13, at the Aula, at which (according to Hammerle) he also played the harpsichord. In the beginning of September the family, attracted by the approaching betrothal of the Archduchess Josepha, went to Vienna; but they came in for a series of misfortunes. The Princess died of small-pox, the upper classes took flight for fear of infection, and the Mozarts also fled to Olmütz, where however both children took the disease, and Wolfgang was blind for nine days. Count Podstatzky generously gave them free quarters in the Deanery, and every care was lavished upon them. After their recovery they made a short stay at Brünn, where they were kindly welcomed by Count Schrattenbach, and other nobles.

They arrived in Vienna in January 1768, and were very kindly received at court; but the Empress was living in retirement after the death of her husband, the Emperor set an example of parsimony which was scrupulously followed by the aristocracy, and the general public had no feeling for art. But worse than all was the envy and jealousy shown by their professional brethren. In the midst of these various difficulties and trials the Emperor invited Wolfgang to compose an opera, and conduct it at the harpsichord. Coltellini's 'La finta Semplice' (51) was chosen, but a series of intrigues prevented its being produced. Wolfgang had however the satisfaction of producing his little German operetta 'Bastien und Bastienne' (50) in the private theatre of their friends the Messmers. He had also an opportunity of appearing in public as a composer, being commissioned to furnish a mass (49), an offertorium (47), and a trumpet-concerto, for the consecration of the new church at the Waisenhaus. The ceremony took place Dec. 7, and Wolfgang conducted in presence of the Emperor and the court.

A great pleasure awaited Wolfgang on his return to Salzburg; the Archbishop had his rejected opera performed in the palace. He also made him his Concertmeister, though without salary. Wolfgang again devoted himself to study, composing two masses (65, 66), and the charming Johannes Offertorium (72) for a priest in the monastery of Seeon. His father now resolved to take him to Italy for further cultivation, and also as a means of making his name known. The father and son left Salzburg in the beginning of December 1769, and travelling by Innspruck, where Wolfgang was greatly admired at a private concert given by Count Künigl, they visited Roveredo, Verona, Mantua, Milan, Lodi, where Wolfgang composed his first quartet (80), Bologna, Rome, Florence, Naples, and on their return, Bologna, Milan, and Venice. At Roveredo Wolfgang played at Baron Todeschi's, and the day after played the organ in the parish church to an immense crowd. At Verona one of his symphonies was performed, and his playing at sight, and composing and singing an air to given words, caused great astonishment. Pietro Lugiati had a picture taken of him, and poets celebrated his praises. In Mantua, at a concert of the Societa Filarmonica, nine out of twelve pieces were by Wolfgang. In Milan they were lodged in S. Marco, and Count Firmian, the Governor-General, who was a great connoisseur, introduced them to all the principal families. 'It is the same here as everywhere,' writes the father, 'so there is no need to describe it.' The foremost musician in the city, the aged Giambattista Sammartini subjected Wolfgang to severe tests. After a brilliant soirée at Count Firmian's, for which he composed three airs to words by Metastasio (77–79), he was commissioned to write an opera for the next 'stagione.' At Parma they admired the celebrated singer Agujari. At Bologna they were most hospitably received by Count Pallavicini, who gave a brilliant academy, at which even Padre Martini was present, although he had then given up attending concerts. The father writes that Wolfgang was more admired there than anywhere, and anticipates that from Bologna, the residence of so many artists and scientific musicians, his fame will soon spread over Italy. And he was right; for the recommendation of Padre Martini, the great church composer, and referee in all musical disputes, at once gave him a position in the eyes of the world. After each visit to the Padre, Wolfgang carried away a fugue to work out at home, and in every case acquitted himself to the satisfaction of the great contrapuntist. His acquaintance too with the great singer Farinelli was of service to him from an artistic point of view.

In Florence, where they arrived March 30, the Mozarts were graciously received by the Archduke Leopold, who had known them in Vienna. Wolfgang played at court, accompanied Nardini