The production of an opera being an incident of no toriety, to which many have an interest in calling the public attention, the date of other compositions is not so readily ascertained. Mozart wrote a number of pieces merely to gratify his friends, which were afterwards surreptitiously obtained by music-sellers for publica tion. But copyrights on the continent are less valuable than in Britain, where indifferent ballads are remune rated with ten guineas each, and the music for dramas with 10001. or 12001. Mozart received about fifty gui neas for the Magic Flute, one of his finest works, and the favourite composer of modern times, Rossini, does not reap more than 501. for a whole opera.
The Magic Flute was composed in 1792, and was per formed an hundred times at Vienna in the course of a year. But Mozart had frequently to contend with dis tressing opposition to his works, in the jealousies ex cited against him among those whom his celebrity eclipsed, and to which he himself believed• he at last fell a sacrifice. On the first representation of the Mar riage of Figaro at Vienna, some of the principal per formers endeavoured to diminish the effect of the finest airs ; which so much provoked the composer, very irri table, besides, in musical matters, that he loudly com plained to the emperor, then present, who threatened the offenders with his displeasure. In fact, the greater works of Mozart can admit of no diminutions. For the performance of Haydn's Creation, it has been remarked that " at least twenty-four voices and sixty instruments are required :" and of Mozart's operas it may be said, that not only the orchestra must be full, but the per formers excellent, conditions so rarely attainable, that it is not surprising if a manager, exhibiting his theatri cal library, exclaimed with a deep sigh, on pointing to the shelves bearing his name, " These have been my ruin." From this defect they have repeatqdly failed.
Independent of our inability to trace the progress of Mozart's works, all have been reproduced under such diversified forms, that it is no easy matter to discover either for what instruments, or for how many parts they were designed originally. But the fertility of his ge nius embraced every different department of the art; and the period when it was most active can be some times ascertained. The rapidity of his composition was astonishing, for La Clemenza di Tito, an opera de manded by the Bohemians for the coronation of Leopold II , was begun in his carriage, on a journey to Prague, and finished in 18 days. But already Mozart's health
was declining ; his anxieties became great, and his ap plication immoderate. Totally absorbed by enthusiasm, he neglected repose, and frequently he fainted from the excessive fatigue attending the ardent prosecution of his labours. At length he fell into a habitual melan choly, from which nothing could arouse him, and he was full of terror at his approaching- end. The fatal event, however, was accelerated by a circumstance well calculated to make a deep impression on the morbid sensibility of his mind. When plunged in a profound reverie, a stranger of dignified manners was announced, who communicated the wishes of some unknown person of exalted rank, that he should compose a solemn mass for the repose of the soul of one tenderly beloved, whom he had just lost. An air of mystery pervaded the in terview : the composer was exhorted to exercise all his genius ; and he engaged to finish his work in a month, when the stranger promised to return. He disappear ed, and Mozart instantly commenced writing. Day and night were uninterruptedly occupied : but he was con sumed by gloomy presages, and at length exclaimed abruptly to his wife, in great agitation, " Certainly I am composing this requiem for myself :—It will serve for my own funeral." Though his strength continued to fail, his assiduity was unabated; and at length he was obliged to suspend the undertaking. At the appointed time the stranger returned. " I have found it impossible to keep my word," said Mozart: to which the stranger answered, " Give yourself no uneasiness. What longer time do you require ?" Mozart replied, " Another month."- The stranger now insisted on doubling the covenanted price, which he had paid down at the outset, and retired. It was in vain that Mozart endeavoured to trace him ; which, conjoined with other circumstances, corroborat ed his belief that he was some supernatural being, sent to announce the close of his mortal career. Neverthe less, his labours were renewed; and the work at last was nearlycompleted within the stipulated period, when the mysterious stranger again returned ; but Mozart was no more. Ile died on the fifth of December, 119'1Z, aged thirty-five years.