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Updated: June 20, 2025
Aloysia Weber had been faithless to him, but there was another sister with no special beauty save that of bright eyes, a comely figure, and a cheerful, amiable disposition Constanze, whom he now hoped to make his wife. His father objected to all of the Weber family, and there was some difficulty in obtaining the paternal consent; but at last the marriage took place, on August 4, 1782.
Later, mother Weber seems to have reformed and to have become a welcome guest in Mozart's house, where Aloysia herself became also a cherished friend. Nothing could exceed the tenderness of the lovers for each other. It continued to the last. Constanze was so watchful of him that she cut up his meat at dinner when his mind was on his compositions, lest he might cut himself.
Taken in the entirety, in shine and shade, footlights and firelights, for poorer, for richer, for all that could torment or delight a sensitive artist, a great gentle-souled creative genius, as well as a tender and sympathetic woman, the married life of Wolfgang and Constanze Mozart must be placed among the most satisfactory in the catalogue of the relations of man and woman.
It is a curious coincidence that the name of the principal character of this opera was Constanze, and that she was a model of devotion through all trials. Once away from the wrangling mother-in-law, the young couple enjoyed domestic bliss to the height.
There are those who speak ill of this devoted wife, and even Mr. Krehbiel, whose book of essays I have quoted from with such pleasure, speaks of Constanze as "indifferent to the disposition of the mortal remains of her husband whose genius she never half appreciated." For this and other slighting allusions to Constanze in other biographies, there exists absolutely no supporting evidence.
It was some time before Constanze was strong enough to leave the house. She then went to the cemetery to find the grave. It could not be identified, and never since has it been found. No one had tipped the old sexton to strengthen his memory of the resting-place, and it was a new and ignorant sexton that greeted the anxious Constanze.
The original libretto was the work of C.F. Bretzner, but Mozart introduced so many alterations and improvements into the fabric of the story that, as it stands, much of it is practically his own work. The Pasha Selim has carried off a Christian damsel named Constanze, whom he keeps in close confinement in his seraglio, in the hope that she may consent to be his wife.
His letters are full of little domestic joys, such as a ball lasting from six o'clock in the evening until seven in the morning, a game of skittles of which Constanze was especially fond, a concert where Aloysia sang with great success an aria Mozart wrote for her, and financial troubles of the most petty and annoying sort.
The quaintness of this affair should not blind us to the unusual depth of affection it revealed. Constanze inspired even her new husband with such devotion to Mozart's fame that Nissen wrote a biography of his predecessor in her affections.
Poverty came with all its vicissitudes and settled upon the hearth, but we ought not to forget that both Wolfgang and Constanze had always been poor; that they were used to poverty, and were light-hearted in its presence. When they had no money to buy fuel, they were found dancing together to keep warm.
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