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388 his disgust determined to leave Vienna. The household was to start first, but Mozart, 'the villain, the low fellow,' was turned out of the house before the others. He took lodgings with the Webers, who were living in the Petersplatz at a house called 'zum Auge Gottes,' reduced in number by the death of the father and the marriage of Aloysia. At his next audience he was greeted with 'Lump,' 'Lausbube,' and 'Fex' (untranslateable terms of abuse). 'None of his servants treated him so badly,' continued the Archbishop. 'Your Grace is dissatisfied with me then?' said Mozart. 'What! you dare to use threats? (using all the time the contemptuous 'Er') Fex! there is the door; I will have nothing more to do with such a vile wretch' ('elenden Buben'). 'Nor I with you,' retorted Mozart, and turned on his heel. Not having received an answer to his application for his discharge, Mozart drew up a fresh memorial, with which he presented himself in the antechamber of this Prince of the Church; but as if to culminate all the brutal treatment he had already received, Count Arco the high-steward, addressed him as 'Flegel' (clown), 'Bursch' (fellow) etc., and kicked him out of the room. This took place on the 8th of June. Mozart was now free, though he had not received his formal dismissal; 'I will never have anything more to do with Salzburg,' he wrote to his father, 'I hate the Archbishop almost to fury.' It was summer, the nobility were all going into the country, and there was no demand for either concerts or lessons. The Countess Rumbeck was his only pupil. Composition was of course his resource, and while thus employing his leisure, he fulfilled his long-cherished desire of writing an opera for the National Singspiel (German opera), founded by the Emperor in 1778. The Emperor interested himself in his favour, and he soon received a libretto to his taste. He was hurt however at finding himself passed over at the fêtes in honour of the Grand-duke Paul and his wife; even his 'Idomeneo' had to give way to two operas of Gluck's. His contest with Clementi, in the presence of the Emperor and the Grandduchess on Dec. 24, afforded him some slight compensation. He had previously (Nov. 16) played at the house of Archduke Maximilian, who was very fond of him, though under the circumstances unable to do anything for him. In spite of unremitting intrigues his 'Entführung aus dem Serail' (384), libretto by Bretzner, was produced by the Emperor's express command, with great success on July 16, 1782. Mozart was arranging it for a wind band when he received through his father a request for a serenade to be composed in all haste, for the Haffners of Salzburg. This is the well-known Symphony in D (385), at which, when looking over it long afterwards, he was 'quite surprised,' and thought 'it must have had a very good effect.' To this was added the fine Nachtmusik in C minor, for a wind-band, better known as a string-quintet (388).

On the Grand-duke's second visit to Vienna in October, he attended Mozart's opera, which was still attracting 'swarms of people'; the composer conducted in person, 'to show himself the father of his own child.' Prague soon produced it with great success; a foretaste of the many honours Mozart was to receive in that city.

He found his new abode with the Webers very comfortable; but the world soon began to enquire whether he were not intending to marry one of the daughters. The report reached his father, who admonished him seriously; but Wolfgang solemnly declared that he was thinking of nothing of the kind, and to prove his statement took another lodging, in the 'Graben.' Here however the want of the attentions to which he had been accustomed drove him to a new step, for which we soon find him preparing his father. 'To my mind a bachelor lives only half a life' he writes, and hesitatingly names the object of his love. 'But surely not a Weber? Yes, a Weber, Constanze, the third daughter.' All attempts at dissuasion were vain; his resolution was fixed, and on Aug. 16 [App. p.720 "Aug. 4"], scarcely a month after the production of his opera, he led Constanze to the altar, at St. Stephen's. Bringing home his bride was his 'Entführung aus dem Auge Gottes ' as he told his friends. 'As soon as we were married, my wife and I both began to weep; all present, even the priest, were touched at seeing us so moved, and wept too.'

His marriage involved Mozart in innumerable troubles. With many good qualities his wife was a thoroughly bad manager, and this was the worst defect possible, since Mozart was naturally careless in money matters, and of course his life as a busy artist was an unfavourable one for economy. They began housekeeping with next to nothing, and their resources were uncertain at the best. No wonder then that in six months they were in serious difficulties; and so it went on to the end. His friends, the worthy Puchberg especially, were always ready to come to his assistance, but they could not prevent his often being put to embarrassing and humiliating straits. Without even a prospect of a fixed appointment he was thrown back upon lessons and concerts. Pupils were scarce, but he was more fortunate as a virtuoso; and for the next few years he was constantly employed with concerts, his own and those of other artists, and still more in playing at the houses of the nobility. Lent and Advent were the regular concert seasons in Vienna. The Emperor was frequently present, and always had a loud 'bravo' for Mozart, speaking of him too at his own table 'in the highest terms' as 'un talent decidé.' This