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Updated: June 24, 2025
I have dined at least six times with Count von Sickingen, and always stay from one o'clock till ten. Time, however, flies so quickly in his house that it passes quite imperceptibly. He seems fond of me, and I like very much being with him, for he is a most friendly, sensible person, possessing excellent judgment and a true insight into music, I was there again to-day with Raaff.
Raaff at last said, smiling, "I can quite believe it, for M. Mozart is not WHOLLY here to admire the Parisian beauties; one half of him is elsewhere where I have just come from."
In bravura passages and roulades, Raaff is indeed a perfect master, and he has such a good and distinct articulation, which is a great charm; and, as I already said, his andantinus and canzonetti are delightful. He composed four German songs, which are lovely. He likes me much, and we are very intimate; he comes to us almost every day.
When you hear it, you will say that it is good and pretty, but had I written it for Zonca it would have suited the words better. Raaff likes everything according to rule, and does not regard expression. I have had a piece of work with him about the quartet.
He is on the best footing with the Oberststallmeister. Rely on it, he will not be beat; only you must let him go his own way to work." One thing more. Father Martini's letter to Raaff, praising me, must have been lost. Raaff had, some time since, a letter from him, but not a word about me in it.
I cannot write everything I wish. Raaff has just left me; he sends you his compliments, and so do the Cannabichs, and Wendlings, and Ramm. My sister must not be idle, but practise steadily, for every one is looking forward with pleasure to her coming here. Munich, Nov. 22, 1780. I SEND herewith, at last, the long-promised aria for Herr Schikaneder.
Then an andante for soprano, tenor, and bass Soli; "Cor mundum," and "Redde mihi," allegro to "ad se convertentur." I also composed a recitative for a bass air, "Libera me de sanguinibus," because a bass air of Holzbauer's follows. The "sacrificium Deo spiritus" being an aria andante for Raaff, with a hautboy and a bassoon solo obligato.
As for the two scenes to be curtailed, it was not my own suggestion, but one to which I consented my reason being that Raaff and Del Prato spoil the recitative by singing it quite devoid of all spirit and fire, and so monotonously. They are the most miserable actors that ever trod the stage.
I give you my honor I never conjectured anything else; indeed, I do not know who else could have got it; and what better prelate could we have for music? My friend Raaff leaves this to-morrow; he goes by Brussels to Aix-la-Chapelle and Spa, and thence to Mannheim, when he is to give me immediate notice of his arrival, for we mean to correspond. He sends numerous greetings to you and to my sister.
Had I known that this singer, Del Prato, was so bad, I should certainly have recommended Cecarelli. Munich, Nov. 15, 1780. The aria is now admirable, but there is still an alteration to be made recommended by Raaff; he is, however, right, and even were he not, some courtesy ought to be shown to his gray hairs.
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