Page:A Dictionary of Music and Musicians vol 2.djvu/403

MOZART. Don Curzio, writes with great spirit: 'Never was anything more complete than the triumph of Mozart, and his Nozze di Figaro, to which numerous overflowing audiences bore witness. Even at the first full band rehearsal, all present were roused to enthusiasm, and when Benucci came to the fine passage "Cherubino, alia vittoria, alla gloria militar," which he gave with stentorian lungs, the effect was electric, for the whole of the performers on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated "Bravo! Bravo, Maestro! Viva, viva, grande Mozart!" Those in the orchestra I thought would never have ceased applauding, by beating the bows of their violins against the music desks.' And Mozart? 'I never shall forget his little animated countenance, when lighted up with the glowing rays of genius; it is as impossible to describe it, as it would be to paint sunbeams.'

And yet, after all this success, nothing was done for him. Earning a living by giving lessons and playing in public was in every respect unsatisfactory. 'You lucky man,' he said to young Gyrowetz as he was starting to Italy, 'and I am still obliged to give lessons to earn a trifle.' Moreover he soon found himself eclipsed on the stage by two new pieces, which for a time absorbed the public entirely; these were Dittersdorf's Singspiel 'Der Apotheker und der Doctor' (July 11), and Martin's 'Cosa rara' (Nov. 17). Again he resolved to go to England, and was again dissuaded by his father. A gleam of light came however from Prague, whither he was invited to see for himself the immense success of his 'Figaro,' produced there first after Vienna, as had been the case with the 'Entführung.' Count Johann Jos. Thun, one of the greatest amateurs in Prague, placed his house at Mozart's disposal, and he joyfully accepted the invitation. His first letter states the condition in which he found Prague, 'the one subject of conversation here is—Figaro; nothing is played, sung, or whistled but—Figaro; nobody goes to any opera but—Figaro; everlastingly Figaro!' He was literally overwhelmed with attentions, and felt himself at the summit of bliss; at the opera, given quite to his satisfaction, he received a perfect ovation. Furthermore two concerts were brilliantly successful; at the first, his new symphony (504) having been loudly applauded, he sat down to the piano, and improvised for full half an hour, rousing the audience to the highest pitch of enthusiasm. Again, and yet once again he had to resume, till, obeying the general acclamation, he finished by extemporising variations on 'Non piu andrai,' which completed his triumph. The receipts also were thoroughly satisfactory. Having made the remark, that he should like to compose an opera for so intelligent and appreciative a public, the impresario Bondini took him at his word, and concluded a contract with him for an opera for the ensuing season, for which he was to receive the usual fee of 100 ducats, and the librettist 50. The distractions of society in Prague took up all his time, and his only compositions while there were nine contredanses for orchestra (510) written for Count Pachta, who locked him in for an hour before dinner for the purpose, and six Teutsche for full orchestra (509).

On his return to Vienna after this magnificent reception, he felt his position more galling than ever; and his desire to visit England was rekindled by the departure of his friends Nancy Storace, and her brother, Kelly, with his own pupil Attwood. They promised to endeavour to secure him some position there, so that he would be able to go without undue risk.

The libretto of 'Figaro' having proved so satisfactory, he applied again to Da Ponte, and this time their choice fell upon 'Don Giovanni.' In September 1787 he and his wife went to Prague, and took lodgings 'Bei den drei Löwen' No. 420 in the Kohlmarkt. But his favourite resort was the vineyard of his friend Duschek at Koschirz near the city, where are still shown his room, and the stone table at which he used to sit working at his score, often in the midst of conversation or skittle playing. Before the production of his new opera, Mozart conducted a festival performance of 'Figaro' on Oct. 14 in honour of the Archduchess Maria Theresia, bride of Prince Anton of Saxony. He was very anxious about the success of his opera, although, as he assured Kucharz the conductor of the orchestra, he had spared neither pains nor labour in order to produce something really good for Prague. On the evening before the representation the overture was still wanting, and he worked at it far into the night, while his wife kept him supplied with punch, and told him fairy-stories to keep him awake. Sleep however overcame him, and he was obliged to rest for a few hours, but at 7 in the morning the copyist received the score, and it was played at sight in the evening. This first performance of 'Don Giovanni' (527) took place on Oct. 29, 1787. On Mozart's appearance in the orchestra he was greeted with enthusiastic applause, and a triple flourish of trumpets, and the opera was accompanied from beginning to end with rapturous marks of approval. He had of course no time for other compositions, but his friend Mme. Duschek locked him into her summerhouse to ensure his writing an aria he had promised her. He revenged himself by making it difficult, and would only give it her on condition that she should sing it at sight. It is one of his finest airs (528).

About the time of his return to Vienna Gluck died (Nov. 15, 1787), and Mozart had reason to hope that some suitable position would now be open to him. But the Emperor was in no