Letters by Wolfgang Amadeus Mozart

Author:Wolfgang Amadeus Mozart [Mozart, Wolfgang Amadeus]
Language: eng
Format: epub
ISBN: 9780307824219
Publisher: Knopf Doubleday Publishing Group
Published: 2012-08-22T03:00:00+00:00

After his mother’s death Mozart stayed on in Paris for a further three months but to little avail, and at the beginning of October, after an absence of a year, he started for home – though even then he was unable to resist dragging his heels for another month in Mannheim (much to Leopold’s fury). Back in Salzburg he took up the appointment of organist at the cathedral and settled into the old social routine, making up with a vigorous bout of compositional activity for the time that had been wasted in Mannheim and Paris. Then in the summer of 1780 came the commission to write an opera seria for the carnival season in Munich. This was Mozart’s biggest opportunity so far, both in itself and for where it might lead, and he seized it with enthusiasm. The subject, chosen by the Munich Court, was Idomeneo, rè di Creta, and Mozart asked the Court Chaplain of Salzburg, Gianbattista Varesco, to provide him with a libretto. Composition of the music was begun in Salzburg but at the beginning of November Mozart went to Munich and all further collaboration between the composer and his librettist was conducted by correspondence, with Leopold Mozart acting as the often rather crusty intermediary.

Mozart to his Father

Munich, 8 November 1780

Fortunate and pleasant was my arrival here – fortunate, because no mishap occurred during the journey; and pleasant, because we had scarcely patience to wait for the moment that was to end this short but disagreeable journey. I do assure you it was impossible for us to sleep for a moment the whole night. The carriage jolted our very souls out, and the seats were as hard as stone! From Wasserburg I thought I never could arrive in Munich with whole bones, and during two stages I held on by the straps, suspended in the air and not venturing to sit down. But no matter; it is past now, though it will serve me as a warning in future rather to go on foot than drive in a diligence.

Now as to Munich. We arrived here at one o’clock in the forenoon, and the same evening I called on Count Seeau [the Theatre Intendant], but as he was not at home I left a note for him. Next morning I went there with Becke. Seeau has been moulded like wax by the Mannheim people. I have a request to make of the Abbate [Gianbattista Varesco]. The aria of Ilia in the second act and second scene must be a little altered for what I require – ‘Se il padre perdei, in te lo ritrovo’. This verse could not be better; but now comes what always appeared unnatural to me – N.B. in an aria – I mean, to speak aside. In a dialogue these things are natural enough, for a few words can be hurriedly said aside, but in an aria where the words must be repeated it has a bad effect; and even were this not the case, I should prefer an uninterrupted aria.

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