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III.

Ich stelle hier drei gleichzeitige Berichte über Mozart aus Frankreich, England und Deutschland zusammen.

1.

Grimm berichtet in der correspondance littéraire (III p. 367ff.) über den ersten Aufenthalt der Familie Mozart folgendermaßen.

Paris, 1er Décembre 1763.

Les vrais prodiges sont assez rares pour qu'on en parle quand on a occasion d'en voir un. Un maître de chapelle de Salzbourg, nommé Mozart, vient d'arriver ici avec deux enfans de la plus jolie figure du monde. Sa fille, âgée de onze ans, touche le clavecin de la manière la plus brillante; elle exécute les plus grandes pièces et les plus difficiles avec une précision à étonner. Son frère, qui aura sept ans au mois de Février prochain, est un phénomène si extraordinaire qu'on a de la peine à croire ce qu'on voit de ses yeux et ce qu'on entend de ses oreilles. C'est peu pour cet enfant d'exécuter avec la plus grande précision les morceaux les plus difficiles avec des mains qui peuvent à peine atteindre la sixte; ce qui est incroyable, c'est de le voir jouer de tête pendant une heure de suite, et là s'abandonner à l'inspiration de son génie et à une foule d'idées ravissantes qu'il sait encore faire succéder les unes aux autres avec goût et sans confusion. Le maître de chapelle le plus consommé ne saurait être plus profond que lui dans la science de l'harmonie et des modulations qu'il sait conduire par les routes les moins connues, mais toujours exactes. Il a un si grand usage du clavier, qu'on le lui [152] dérobe par une serviette qu'on étend dessus, et il joue sur la serviette avec la même vitesse et la même précision. C'est peu pour lui de déchiffrer tout ce qu'on lui présente; il écrit et compose avec une facilité merveilleuse, sans avoir besoin d'approcher du clavecin et de chercher ses accords. Je lui ai écrit de ma main un menuet, et l'ai prié de me mettre la basse dessous; l'enfant a pris la plume et, sans approcher du clavecin, il a mis la basse à mon menuet. Vous jugez bien qu'il ne lui coûte rien de transporter et de jouer l'air qu'on lui présente, dans le ton qu'on exige; mais voici ce que j'ai encore vu, et qui n'en est pas moins incompréhensible. Une femme lui demanda l'autre jour s'il accompagnerait bien d'oreille et sans la voir, une cavatine italienne qu'elle savait par coeur; elle se mit à chanter. L'enfant essaya une basse que ne fut pas absolument exacte, parce qu'il est impossible de préparer d'avance l'accompagnement d'un chant qu'on ne connaît pas; mais l'air fini, il pria la dame de recommencer, et à cette reprise, il joua non seulement de la main droite tout le chant de l'air, mais il mit, de l'autre, la basse sans embarras; après quoi il pria dix fois de suite de recommencer, et à chaque reprise, il changea le caractère de son accompagnement; il l'aurait fait répéter vingt fois si on ne l'avait fait cesser. Je ne désespère pas que cet enfant ne me fasse tourner la tête, si je l'entends encore souvent; il me fait concevoir qu'il est difficile de se garantir de la folie en voyant des prodiges. Je ne suis plus étonné que S. Paul ait eu la tête perdue après son étrange vision. Les enfans de M. Mozart ont excité l'admiration de tous ceux qui les ont vus. L'empereur et l'impératrice-reine les ont comblés de bonté; ils ont reçu le même accueil à la cour de Munich et à la cour de Manheim. C'est dommage qu'on se connaisse si peu en musique en ce pays-ci. Le père se propose de passer d'ici en Angleterre, et de ramener ensuite ses enfans par la partie inférieure de l'Allemagne.

Nissen theilt auch den folgenden Brief aus Paris über den zweiten Aufenthalt daselbst mit, der nach seiner wahrscheinlichen Vermuthung ebenfalls von Grimm herrührt, obgleich er in dessen correspondance littéraire nicht gedruckt ist, auf den als auf eine »gelehrte Schrift« aus Paris L. Mozart sich in der Species facti (Beil. IV) beruft.

[153] Nous venons de voir ici les deux aimables enfans de Mr. Mozart, maître de chapelle du Prince Archevêque de Salzbourg, qui ont eu un si grand succès pendant leur séjour à Paris en 1764. Leur père après avoir passé prés de 18 mois en Angleterre et six mois en Hollande, vient de les reconduire ici, pour s'en retourner à Salzbourg. Partout où ces enfans ont fait quelque séjour, ils ont réuni tous les suffrages, et causé de l'étonnement aux connoisseurs. Mlle. Mozart âgée maintenant de 13 ans, d'ailleurs fort embellie, a la plus belle et la plus brillante exécution sur le clavecin: il n'y a que son frère, qui puisse lui enlever les suffrages. Cet enfant merveilleux a actuellement neuf ans: il n'a presque pas grandi; mais il a fait des progrès prodigieux dans la musique. Il était déjà compositeur et auteur de sonates il y a deux ans: il en a fait graver six depuis ce tems-là à Londres, pour la reine de la Grande-Bretagne; il en a publié six autres en Hollande pour Mme. la princesse de Nassau-Weilbourg; il a composé des simphonies à grand orchestre, qui ont été exécutées et généralement applaudiées; il a même écrit plusieurs airs italiens et je ne désespère pas qu'avant il ait atteint l'âge de douze ans, il n'ait déjà fait jouer un opéra sur quelque théâtre italien. Ayant entendu Manzuoli à Londres pendant tout un hiver, il en a si bien profité, que quoiqu'il ait la voix excessivement foible, il chante avec autant de goût que d'âme. Mais ce qu'il y a de plus incompréhensihle, c'est cette profonde science de l'harmonie et de ses passages les plus cachés, qu'il possède an suprême dégré, et qui a fait dire au prince heréditaire de Brounswick, juge très-compétent en cette matière, comme en beaucoup d'autres, que des maîtres de chapelle consommés dans leur art mouroient sans avoir appris ce que cet enfant fait à neuf ans. Nous lui avons vu soûtenir des assauts pendant une heure et demie de suite avec des musiciens, qui suoient à grosses gouttes, et avoient toute la peine du monde à se tirer d'affaire avec un enfant, qui quittoit le combat sans être fatigué. Je l'ai vu sur l'orgue dérouter et faire taire des organistes, qui se croyoient fort habiles à Londres. Bach le prenoit entre ses genoux, et ils jouoient ainsi de tête alternativement sur le même clavecin deux heures de suite, en présence du roi et de la reine. Ici il a subi la même épreuve avec Mr. Raupach, habile musicien, [154] qui a été longtems à Petersbourg, et qui improvise avec une grande supériorité. On pourroit s'entretenir longtems de ce phénomène singulier. C'est d'ailleurs une des plus aimables créatures, qu'on puisse voir, mettant à tout ce qu'il dit et ce qu'il fait de l'esprit et de l'âme avec la grace et la gentilesse de son âge. Il rassure même par sa gaieté contre la crainte qu'on a, qu'un fruit si précoce ne tombe avant sa maturité. Si ces enfans vivent, ils ne resteront pas à Salzbourg. Bientôt les souverains se disputeront, à qui les aura. Le père est non seulement habile musicien, mais homme de sens et d'un bon esprit, et je n'ai jamais vu un homme de sa profession réunir à son talent tant de mérite.

2.

Account of a very remarkable young Musician. In a letter from the Honourable Daines Barrington F.R.S. to Mathew Maly M.D. Sec. R.S.¹

Received Nov. 28. 1769.

Read Febr. 15. 1770.

Sir!

Il I was to send you a well attested account of a boy who measured seven feet in height, when he was not more than eight years of age, it might be considered as not undeserving the notice of the Royal Society.

The instance which I now desire you will communicate to that learned body, of as early an exertion of most extraordinary musical talents, seems perhaps equally to claim their attention.

Joannes Chrysostomus Wolfgangus Theophilus Mozart was born at Saltzbourg in Bavaria on the 17th of Jan. 1756².

[155] I have been informed by a most able musician and composer, that he frequently saw him at Vienna, when he was little more than four years old.

By this time he was not only capable of executing lessons on his favourite instrument the harpsichord, but composed some in an easy stile and taste, which were much approved of.

His extraordinary musical talents soon reached the ears of the present emperess dowager, who used to place him upon her knees, whilst he played on the harpsichord.

This notice taken of him by so great a personage, together with a certain consciousness of his most singular abilities, had much emboldened the little musician. Being therefore the next year at one of the German courts, where the elector encouraged him by saying, that he had nothing to fear from his august presence, little Mozart immediately sat down with great confidence to his harpsichord informing his highness, that he had played before the emperess.

At seven years of age his father carried him to Paris, where he so distinguished himself by his compositions, that an engraving was made of him.

The father and sister, who are introduced in this print are excessively like their portraits, as is also little Mozart, who is stiled »Compositeur et Maître de Musique, âgé pe sept ans.«

[156] After the name of the engraver follows the date, which is in 1764. Mozart was therefore at this time in the eighth year of his age.

Upon leaving Paris, he came over to England, where he continued more than a year. As during this time I was witness of his most extraordinary abilities as a musician, both at some publick concerts, and likewise by having been alone with him for a considerable time at his father's house; I send you the following account, amazing and incredible almost as it may appear.

I carried to him a manuscript duet, which was composed by an English gentleman to some favourite words in Metastasio's opera of Demofoonte.

The whole score was in five parts, viz. accompaniments for a first and second violin, the two vocal parts and a base.

I shall here likewise mention, that the parts for the first and second voice were written in what the Italians stile the Contralto cleff; the reason for taking notice of which particular will appear hereafter.

My intention in carrying with me this manuscript composition, was to have an irrefragable proof of his abilities as a player at sight, it being absolutely impossible, that he could have ever seen the musick before.

The score was no sooner put upon his desk, than he began to play the symphony in a most masterly manner, as well as in the time and stile which corresponded with the intention of the composer.

I mention this circumstance, because the greatest masters often fail in these particulars on the first trial.

The symphony ended, he took the upper part leaving the under one to his father.

His voice in the tone of it was thin and infantine but nothing could exceed the masterly manner in which he sung. His father, who took the under part in this duet, was once or twice out, though the passages were not more difficult than those in the upper one; on which occasion the son looked back with some anger, pointing out to him his mistakes, and setting him right.

He not only however did complete justice to the duet, by singing his own part in the truest taste, and with the greatest [157] precision: he also threw in the accompaniments of the two violins, wherever they were most necessary and produced the best effects.

It is well known, that none but the most capital musicians are capable of accompanying in this superior stile.

As many of those, who may be present, when this letter may have the honour of being read before the society, may not possibly be acquainted with the difficulty of playing thus from a musical score, I will endeavour to explain it by the most similar comparison I can think of.

I must at the same time admit, that the illustration will fail in one particular, as the voice in reading cannot comprehend more than what is contained in a single line. I must suppose however, that the reader's eye, by habit and quickness, may take in other lines, though the voice cannot articulate them, as the musician accompanies the words of an air by his harpsichord.

Let it be imagined therefore, that a child of eight years old was directed to read five lines³ at once, in four⁴ of which the letters of the alphabet were to have different powers.

For example, in the first line A, to have its common powers.

In the second that of B.

In the third that of C.

In the fourth of D.

Let it be conceived also, that the lines so composed of characters with different powers are not ranged so as to be read at all times one exactly under the other, but often in a desultory manner.

[158] Suppose then, a capital speech in Shakespeare⁵ never seen before and yet read by a child of eight years old, with all the pathetic energy of a Garrick.

Let it be conceived likewise, that the same child is reading with a glance of the eye, three different comments on this speech tending to its illustration: and that one comment is written in Greek, the second in Hebrew, and the third in Etruscan characters.

Let it be also supposed, that by different signs he could point out which comment is most material upon every word; and sometimes that perhaps all three are so, at others only two of them.

When all this is conceived, it will convey some idea of what the boy was capable of, in singing such a duet at sight in a masterly manner from the score, throwing in at the same time all its proper accompaniments.

When he had finished the duet, he expressed him self highly in its approbation, asking with some eagerness, whether I had brought any more such music.

Having been informed, however, that he was often visited with musical ideas, to which even in the midst of the night, he would give utterance on his harpsichord; I told his father, that I should be glad to hear some of his extemporary compositions.

The father shook his head at this, saying, that it depended entirely upon his being as it were musically inspired; but that I might ask him, whether he was in humour for such a composition.

Happening to know that little Mozart was much taken notice of by Manzoli, the famous singer who came over to England in 1764, I said to the boy, that I should be glad to hear an extemporary Love Song, such as his friend Manzoli might choose in an opera.

The boy on this (who continued to sit at his harpsichord) looked back with some archness, and immediately began five or six lines of a jargon recitative proper to introduce a love song.

[159] He then played a symphony, which might correspond with an air composed to the single word Affetto.

It had a first and second part, which, together with the symphonies, was of the length that opera songs generally last: if this extemporary composition was not amazingly capital, yet it was really above mediocrity, and shewed most extraordinary readiness of invention.

Finding that he was in humour and as it were inspired, I then desired him to compose a Song of Rage such as might be proper for the opera stage.

The boy again looked back with much archness, and began five or six lines of a jargon recitative proper to precede a Song of Anger.

This lasted also about the same time with the Song of Love; and in the middle of it, he had worked himself up to such a pitch, that he beat his harpsichord like a person possessed, rising sometimes in chair.

The word he pitched upon for this second extemporary composition was Perfido.

After this he played a difficult lesson, which he had finished a day or two before⁶: his execution was amazing, considering that his little fingers could scarcely reach a fifth on the harpsichord.

His astonishing readiness, however, did not arise merely from great practice; he had a thorough knowledge of the fundamental principles of composition, as, upon producing a treble, he immediately wrote a base under it, which, when tried, had a very good effect.

[160] He was also a great master of modulation, and his transitions from one key to another were excessively natural and judicious; he practiced in this manner for a considerable time with a handkerchief over the keys of the harpsichord.

The facts which I have been mentioning I was myself an eyewitness of; to which I must add, that I have been informed by two or three able musicians, when Bach the celebrated composer had begun a fugue and left off abruptly, that little Mozart hath immediately taken it up, and worked it after a most masterly manner.

Witness as I was myself of most of these extraordinary facts, I must own that I could not help suspecting his father imposed with regard to the real age of the boy, though he had not only a most childish appearance, but likewise all the actions of that stage of life.

For example, whilst he was playing to me, a favourite cat came in, upon which he immediately left his harpsichord, nor could we bring him back for a considerable time.

He would also sometimes run about the room with a stick between his legs by way of a horse.

I found likewise the most of the London musicians were of the same opinion with regard to his age, not believing it possible that a child of so tender years could surpass most of the masters in that science.

I have therefore for a considerable time made the best inquiries I was able from some of the German musicians resident in London, but could never receive any further information than that he was born near Saltzbourg, till I was so fortunate as to procure an extract from the register of that place, through his exellence count Haslang.

It appears from this extract, that Mozart's father did not impose with regard to his age when he was in England; for it was in June, 1765, that I was witness to what I have above related, when the boy was only eight years and five months old.

I have made frequent inquiries with regard to this very extraordinary genius since he left England, and was told last summer, that he was then at Saltzbourg, where he had composed several oratories, which were much admired.

I am also informed, that the prince of Saltzbourg, not crediting that such masterly compositions were really those of a [161] child, shut him up for a week, during which he was not permitted to see any one, and was left only with music-paper, and the words of an oratorio.

During this short time he composed a very capital oratorio, which was most highly approved of upon being performed.

Having stated the above mentioned proofs of Mozart's genius, when of almost an infantine age, it may not be improper perhaps to compare them with what hath been well attested with regard to other instances of the same sort.

Amongst these John Barratier hath been most particularly distinguished, who is said to have understood Latin when he was but four years old, Hebrew when six, and three other languages at the age of nine.

This same prodigy of philological learning also translated the travels of Rabbi Benjamin when eleven years old, accompanying his version with notes and dissertations. Before his death, which happened under the age of twenty, Barratier seems to have astonished Germany with his amazing extent of learning; and it need not be said, that its increase in such a soil, from year to year, is commonly amazing.

Mozart, however, is now not much more than thirteen years of age, and it is not therefore necessary to carry my comparison further.

The Rev. Mr. Manwaring (in his Memoirs of Handel) hath given us a still more apposite instance, and in the same science.

This great musician began to play on the clavichord, when he was but seven years of age, and is said to have composed some church services when he was only nine years old, as also the opera of Almeria, when he did not exceed fourteen.

Mr. Manwaring likewise mentions that Handel, when very young, was struck sometimes whilst in bed with musical ideas, and that, like Mozart, he used to try their effect immediately on a spinnet, which was in his bedchamber.

I am the more glad to state this short comparison between these two early prodigies in music, as it may be hoped that little Mozart may possibly attain to the same advanced years as Handel, contrary to the common observation that such – ingenia praecocia are generally short lived.

[162] I think I may say without prejudice to the memory of this great composer, that the scale most clearly preponderates on the side of Mozart in this comparison, as I have already stated that he was a composer when he did not much exceed the age of four.

His extemporary compositions also, of which I was a witness, prove his genius and invention to have been most astonishing; least however I should insensibly become too strongly his panegyrist permit me to subscribe myself, Sir

Your most faithful, humble servant

Daines Barrington.

3.

Historisch moralische Belustigungen des Geistes oder ermunternde Betrachtungen über die wunderbare Haushaltung Gottes in den neuesten Zeiten. Siebentes Stück. Hamburg 1765⁷.

§6. Ein Tonkünstler von 7 Jahren und seine Schwester von 11 Jahren.

»So merkwürdig das vorige Beispiel der Natur und Kunst war⁸, um so merkwürdiger sind folgende beyde. Im März 1764 befand sich seit etlichen Monaten Hr. Mozart, Musikdirector Sr. Hochfürstlichen Gnaden des Erzbischofs zu Salzburg zu Paris mit zween Kindern von der angenehmsten Bildung. Seine Tochter von 11 Jahren spielte das Clavier in Vollkommenheit. Sein Sohn in einem Alter von 7 Jahren, stellte ein wahres Wunder vor. Er hatte alle Kenntnisse und Fertigkeit eines Kapellmeisters. Er führte nicht allein die Concerte der berühmtesten Meister von Europa mit solcher Kunst aus, daß man darüber erstaunte, sondern er componirte auch selbst. Ganze Stunden lang extemporirte er, und vereinigte die ausgesuchtesten Gedanken mit der tiefsten [163] Wissenschaft der Harmonie. Alle die nur wissen was Tonkunst ist, waren gleichsam bezaubert, bei einem Kinde zu finden, was sie an dem vollkommensten Kapellmeister nicht ohne Verwunderung würden gesehen haben. Man mochte dieses Wunderkind versuchen auf welche Art man wollte; man legte ihm Stücke vor, ohne Baß, daß es denselben darunter schriebe, so that er es ohne Clavier und Violin zu gebrauchen, die doch wenige Compositores, wenn sie schreiben entbehren können. Gab man ihm eine Violinparthie, so spielte er sie auf dem Clavier und fügte den Baß sogleich bei, wie er sein mußte; ja er gab auch zuweilen sehr wohl angebrachte Zwischenparthien zu hören. Arien, die man ihm vorsang, accompagnirte er nach dem Gehör, und veränderte solche dabei auf gar mannigfaltige Weise. Seine Uebung auf dem Clavier war so stark, daß man auch ihm, wie der vorigen Tonkünstlerin, die Claves mit einer Serviette bedecken konnte, ohne daß dieses ihn hinderte, mit gleicher Richtigkeit und Geschwindigkeit zu spielen. Diese Kinder haben die Ehre gehabt verschiedene Tage hintereinander vor dem Dauphin, der Dauphine, den Prinzessinnen von Frankreich und vor vielen andern vornehmen Personen des Hofes und der Stadt zu spielen. Auch hatte der junge Mozart die Ehre bei anderthalb Stunden lang die königl. Orgel zu Versailles, in Gegenwart dieser erlauchten Versammlung zu schlagen. Sollte man aber auch wohl denken, daß ein Kind von 7 Jahren sich durch eine geschickte Zuschrift in öffentlichen Druck dürfe setzen lassen? Der junge Künstler hatte einige Sonaten verfertigt und solche selbst in Druck erscheinen lassen, und zwar mit einer unterthänigsten Zueignung an die Prinzessin Victoire, welche solche gnädigst aufzunehmen geruhet⁹.

Diese Kinder blieben darauf mit ihrem Vater noch bis aus Ende des Jahres in Frankreich und gingen darauf ins Engelland. Im Jahre 1765 hatte sonderlich der junge Tonkünstler die Ehre gehabt, dreimal vor dem König und der Königin zu spielen. Der Königin hat er sechs von ihm componirte Sonaten für das Clavier, nebst dem Aecompagnement einer Violine und eines Violoncells überreichet, die Ihro Majestät nicht allein sehr gnädig angenommen, sondern auch von dem jungen Componisten spielen [164] gehört, und mit dero besondern königl. Wohlgefallen begnädiget«¹⁰.

Fußnoten

1 Aus den Philosophical Transactions Vo. LX for the year 1770 n. 8 p. 54ff.

2 I here subjoin a copy of the translation from the register at Saltzbourg, as it was procured from his excellency count Haslang, envoy extraordinary and minister plenipotentiary of the electors of Bavaria and Palatine.

»I, the under - written, certify, that in the year 1756 the 17th of Jan. at eight o'clock in the evening, was born Joannes Chrisostomus Wolfgangus Theophilus, son of Mr. Leopold Mozart, organist of his highness the prince of Saltzbourg, and of Maria Ann, his lawful wife (whose maiden name was Pertlin) and christened the day following, at ten o' clock in the morning, at the prince's cathedral church here; his godfather being Gottlieb Pergmayr, merchant in this city. In truth whereof I have taken this certificate from the parochial register of christenings, and under the usual seal, signed the same with my own hand.

Saltzbourg Jan. 3. 1769.

Leopold Comprecht,

Chaplain to his Highness in this city.«

3 By this I mean

The two parts for the violins

The upper part for the voice

The words set to music

And lastly the base.

4 By this I mean

The violin parts in the common treble cleff

The upper part for the voice in the contralto cleff

as before mentioned

The words in common characters

And the base in its common cleff.

5 The words in Metastasio's duet, which little Mozart sung, are very pathetic.

6 He published six Sonatas for the harpsichord with an accompaniment for the violin, or German flute, which are sold by R. Bremner, in the Strand, and are intituled: Oeuvre Trois^me.

He is said in the little page to have been only eight years of age when he composed these sonatas.

The dedication is to the Queen and is dated at London Jan. 18. 1765. He subscribes himself, »très humble et très obéissant petit serviteur.«

These lessons are composed in a very original stile, and some of them are masterly.

7 Eine Abschrift dieses Berichtes, vielleicht von der Hand von Mozarts Mutter, jedenfalls aus seiner Familie herrührend, war im Besitz von Al. Fuchs.

8 Dies war Maria Magdalena Gräf aus Mainz, geb. 1754, welche sich im Jahr 1764 in Frankfurt auf dem Klavier, auf der Harfe und auf beiden Instrumenten zugleich spielend producirte.

9 Hier ist dann die Uebersetzung der S. 51f. abgedruckten Dedication mitgetheilt.

10 In Hillers wöchentl. Nachr. I (1766) S. 174 heißt es: »Vor einigen Jahren machte der hochfürstliche Kammermusicus Herr Mozart, der sich außer seinen Compositionen durch seine Violinschule viel Ruhm erworben, mit einer Tochter von neun und einem Sohn von sieben Jahren in England und Frankreich nicht wenig Aufsehen. Man hat sogar diese musikalische Familie in einem saubern Kupferstich vorgestellt und verewigt. Herr Mozart der Vater spielt die Violin, sein Sohn accompagnirt den Flügel, und die Tochter singt mit der Parthie in der Hand. Wir finden in der That dieses Beyspiel von jungen Musikern sehr außerordentlich; zumal da der Sohn, ein Kind von sieben Jahren, sich schon auf die Composition so verstanden, daß man in Paris ein halbes Dutzend Claviersonaten von ihm in Kupfer gestochen hat. Diese frühzeitigen Virtuosen machen ihrem Vater gewiß viel Ehre, da sie alles durch seinen Unterricht erlangt haben; und da er die bequemen Mittel zu finden gewußt hat, Kindern eine Sache begreiflich und leicht zu machen, die bisweilen älteren und erwachsenen Personen nicht recht in den Kopf will.«