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<?xml version="1.0" encoding="UTF-8"?><TEI.2><teiHeader><fileDesc> <titleStmt><title>In Mozart's Words (The letters from Italy): Letter 266</title> <respStmt> <resp>Annotations: Cliff Eisen, King's College, London</resp> <resp>XML-tagging of citations in the text: Claudia Pignato e Patrizia Rebulla, Castaliamusic</resp> <resp>Conversion to TEI XML: Michael Pidd, Humanities Research Institute, University of Sheffield</resp> <resp>Full credits available at: http://letters.mozartways.com</resp> </respStmt> </titleStmt> <publicationStmt> <publisher>Humanities Research Institute, University of Sheffield</publisher> <pubPlace>Sheffield, United Kingdom</pubPlace> <date>2011</date> <availability><p>This transcription can be freely distributed for non-commercial purposes on condition that it is accompanied by this header information identifying its origin and authors. Permission must be received for subsequent distribution in print or for commercial uses. Please go to https://www.dhi.ac.uk for more information.</p></availability> </publicationStmt> </fileDesc> <encodingDesc> <projectDesc> <p>Funder: EU Culture Programme (2007-2013)</p> <p>Project Team: Maria Majno (Europaische Mozart Way Ee.V); Cliff Eisen (King's College London - Dept of Music); Patrizia Rebulla (Comune di Milano - Settore Cultura) Stadt Augsburg - Kulturburo; HRI Digital, Humanities Research Institute (Univ. of Sheffield)</p> <p>Annotations: Cliff Eisen, King's College, London</p> <p>XML-tagging of citations in the text: Claudia Pignato e Patrizia Rebulla, Castaliamusic</p> <p>Conversion to TEI XML: Michael Pidd, Humanities Research Institute, University of Sheffield</p> <p>Full project credits available at: http://letters.mozartways.com</p> </projectDesc> </encodingDesc> <profileDesc> <langUsage id="eng"> <language>eng</language> </langUsage> </profileDesc></teiHeader><text><body><div type="letter"><div type="header"><hi rend="bold">266. <name type="person" id="1838" ref="3751">LEOPOLD MOZART</name> TO HIS <name type="person" id="1839" ref="3753">WIFE</name> IN <name type="place" id="1840" ref="47">SALZBURG</name></hi></div><div type="date-and-place"><lb/>À Madame / Madame <name type="person" id="1841" ref="3753">Marie Anne Mozart</name> / à / <hi rend="underline"><name type="place" id="1842" ref="47">Salzbourg</name></hi></div><lb/> <name type="place" id="1843" ref="89">Milan</name> 14 Nov. <hi rend="underline">1772</hi><lb/><lb/>You`ll have received our letter <ref type="footnote" id="fn0" n="1"></ref> from <name type="place" id="1844" ref="89">Milan</name>. Today we received 2 letters and a missive from H von <name type="person" id="1845" ref="1095">Chiusoli</name> all at once: in other words, 3 letters. <ref type="footnote" id="fn1" n="2"></ref> Wolfg. and I would like to thank everyone for their kind congratulations, <ref type="footnote" id="fn2" n="3"></ref> and both of us send our cordial best wishes to all our good friends. <name type="person" id="4485" ref="3752">Nannerl</name> translated <name type="person" id="1846" ref="3948">Mart</name>`s Ital letter of congratulations into excellent German. I`m extremely happy with the diary <ref type="footnote" id="fn3" n="4"></ref> and would ask you only to continue with it. After 3 days of travelling, my health is surprisingly good, considering our irregular habits, especially on the road from <name type="place" id="1847" ref="75">Verona</name> to <name type="place" id="1848" ref="89">Milan</name>. But now that I`ve been in <name type="place" id="1849" ref="89">Milan</name> for almost a fortnight, a few trifling disorders are again making themselves felt, and there are times when I start to think about <name type="place" id="1850" ref="47">Salzburg</name>, thoughts that - without my noticing it - preoccupy me for quite some time but which I then banish, or at least attempt to banish, more quickly than all the wicked thoughts that the devil inspired in me in my youth. <ref type="footnote" id="fn4" n="5"></ref> I`m sorry to hear about poor <hi rend="underline"><name type="person" id="1851" ref="4224">Winter</name></hi>. We`ll now need less wood in <name type="place" id="1852" ref="47">Salzb</name>., with the result that things may become less expensive. H <name type="person" id="1853" ref="2848">Hornung</name> can now catch something if he`s not prescribed a bass from the West Indies . <ref type="footnote" id="fn5" n="6"></ref> None of the singers <ref type="footnote" id="fn6" n="7"></ref> has arrived yet apart from Sgra <name type="person" id="1854" ref="4225">Suarti</name>, who`s singing the 2do uomo, and the <name type="person" id="1855" ref="4226">ultimo tenore</name>. The primo uomo, Sgr <name type="person" id="1856" ref="297">Rauzzini</name>, is expected any day now, but <name type="person" id="1857" ref="812">De Amicis</name> won`t be arriving until the end of the month or early next month. Meanwhile Wolfg. has amused himself by writing the choruses, of which there are 3, <ref type="footnote" id="fn7" n="8"></ref> and by altering and partly rewriting the few recitatives that he had composed in <name type="place" id="1858" ref="47">Salzb</name>. as the <name type="person" id="4593" ref="4215">poet</name> had sent the <name type="work" id="4594" ref="311">poem</name> to Abbate <name type="person" id="1859" ref="4093">Metastasio</name> in <name type="place" id="1860" ref="52">Vienna</name> for his approval, and the latter had improved and changed a great deal, while also adding a whole new scene in the 2nd act; <ref type="footnote" id="fn8" n="9"></ref> he`s now written all the recits and the overture. So H <name type="person" id="1861" ref="3565">Leutgeb</name> is planning to go to <name type="place" id="1862" ref="129">Rome</name>? - - Am I to write to him to tell him that something can be done for him here? - - That`s a tall order! - - If he were here at the beginning of December, in other words, during the first few days of the month, he could be asked to accompany an aria at the <name type="work" id="4486" ref="311">opera</name>. But once the arias are written, it`ll be too late. He ought to go via <hi rend="underline"><name type="place" id="1863" ref="91">Bescia</name></hi>, where he could call straightaway on <hi rend="underline"><name type="person" id="1864" ref="3499">Count Lecchi</name></hi>, who`s an excellent violinist with a profound knowledge and love of music and with whom we`ve promised to stay on our return journey. It`s not so easy to give a public concert here, and without special patronage it`s not really profitable, and even then we`d be cheated of our takings. But he`d lose nothing and can lodge with us, so that he`d not have to spend anything on light & wood. I hear that Mr <name type="person" id="1865" ref="4204">Baudace</name>, the Frenchman, will soon be here with his French horn. Basta! He won`t lose anything. But he needs to be here in good time if he wants to be used in the <name type="work" id="311" ref="">opera</name>. As a result, he`ll need to leave by the mail coach during the first 2 days of December in order to be here as soon as he can as the opera is to be staged on 26 Dec. But what about his leave of absence? - - - - Is there no one from the band in <name type="place" id="1866" ref="293">Lauffen</name>? - - - Next time you write, address the envelope to Madame Marie Anne <name type="person" id="1867" ref="834">D`Aste d`Astiburg</name> née Troger<lb/> à<lb/> <hi rend="underline"><name type="place" id="1868" ref="89">Milan</name></hi>.<lb/>Keep well, we kiss you many 100000 times, & I am your old<lb/> LMzt<lb/>Write out the prescription for the hand cream and send it to me. The variations <ref type="footnote" id="fn9" n="10"></ref> are in my writing case, where I write. But <name type="person" id="1869" ref="3752">Nannerl</name> mustn`t give them to anyone else as they contain mistakes.</div><div type="footnotes"><div type="footnotetext" id="fn0"> Letter 265</div> <div type="footnotetext" id="fn1"> All of these letters are lost</div> <div type="footnotetext" id="fn2"> Wolfgang celebrated his name day on 31 October; Leopold celebrated his name day and birthday on 14/15 November</div> <div type="footnotetext" id="fn3"> See letter 264</div> <div type="footnotetext" id="fn4"> According to Bauer-Deutsch, v.317-318, Leopold may refer here to his dissatisfaction with the newly-elected Archbishop of Salzburg, <name type="person" id="001191" ref="000000">Hieronymus Colloredo</name>, or more specifically to the recent appointment of <name type="person" id="001866" ref="000000">Domenico Fischietti</name>, another ‘foreign’ musician, as Kapellmeister. In his youth Leopold was sometimes known as a hot-head; in September 1739, for example, he was expelled from the Salzburg Benedictine University for poor attendance and insubordinate behavior</div> <div type="footnotetext" id="fn5"> Apparently this is an ironic comment by Leopold, referring to the frequent employment in Salzburg of foreign, rather than local, singers</div> <div type="footnotetext" id="fn6"> For <hi rend="italic"><name type="work" id="000311" ref="000000">Lucio Silla</name></hi></div> <div type="footnotetext" id="fn7"> ‘Fuor di queste urne’ (nr. 6), ‘Se gloria il cinse’ (nr. 17) and ‘Il gran Silla che a Roma in seno’ (nr. 23)</div> <div type="footnotetext" id="fn8"> Accordingly, Wolfgang had received an earlier version of the libretto in October, before his departure for <name type="place" id="000089" ref="000000">Milan</name>, and before the libretto had been revised by <name type="person" id="004093" ref="000000">Metastasio</name> (or at least before <name type="person" id="004093" ref="000000">Metastasio</name> changes were sent to Mozart). No sources survive to document the extent of <name type="person" id="004093" ref="000000">Metastasio</name> intervention in the text</div> <div type="footnotetext" id="fn9"> It seems likely that Leopold here refers here to one of his own compositions that is now lost; see Eisen, Leopold-Mozart-Werkverzeichnis (LMV), LMV XIII:7</div></div></body></text></TEI.2>
In Mozart's Words. Version 1.0, published by HRI Online, 2011. ISBN 9780955787676.