No doubt we shall have a good many corrections to make in the third act when on the stage; as for instance scene sixth, after Arbace’s aria, the personages are marked, “Idomeneo, Arbace, &c., &c.”  How can the latter so instantly reappear on the spot?  Fortunately he might stay away altogether.  In order to make the matter practicable, I have written a somewhat longer introduction to the High Priest’s recitative.  After the mourning chorus the King and his people all go away, and in the following scene the directions are, “Idomeneo kneels down in the Temple.”  This is impossible; he must come accompanied by his whole suite.  A march must necessarily be introduced here, so I have composed a very simple one for two violins, tenor, bass, and two hautboys, to be played a mezza voce, and during this time the King appears, and the Priests prepare the offerings for the sacrifice.  The King then kneels down and begins the prayer.

In Elettra’s recitative, after the underground voice has spoken, there ought to be marked exeunt.  I forgot to look at the copy written for the press to see whether it is there, and whereabouts it comes.  It seems to me very silly that they should hurry away so quickly merely to allow Madlle.  Elettra to be alone.

I have this moment received your few lines of January 1st.  When I opened the letter I chanced to hold it in such a manner that nothing but a blank sheet met my eyes.  At last I found the writing.  I am heartily glad that I have got an aria for Raaff, as he was quite resolved to introduce the air he had discovered, and I could not possibly (N.  B., with a Raaff) have arranged in any other way than by having Varesco’s air printed, but Raaff’s sung.  I must stop, or I shall waste too much time.  Thank my sister very much for her New-Year’s wishes, which I heartily return.  I hope we shall soon be right merry together.  Adieu!  Remembrances to friends, not forgetting Ruscherle.  Young Eck sends her a kiss, a sugar one of course.

139.

Munich, Jan. 10, 1780.

My greatest piece of news is that the opera is put off for a week.  The grand rehearsal is not to take place till the 27th—­N.  B., my birthday—­and the opera itself on the 29th.  Why?  Probably to save Count Seeau two hundred gulden.  I, indeed, am very glad, because we can now rehearse frequently and more carefully.  You should have seen the faces of the Robinigs when I told them this news.  Louisa and Sigmund are delighted to stay; but Lise, that sneaking misery, has such a spiteful Salzburg tongue that it really drives me distracted.  Perhaps they may still remain, and I hope so on Louisa’s account.  In addition to many other little altercations with Count Seeau, I have had a sharp contention with him about the trombones.  I call it so, because I was obliged to be downright rude, or I never should have carried my point.  Next Saturday the three acts are to be rehearsed in private.  I got your letter of the 8th, and read it with great pleasure; the burlesque, too, I like very much.  Excuse my writing more at this time; for, in the first place, as you see, my pen and ink are bad, and, in the second, I have still a couple of airs to write for the last ballet.  I hope you will send no more such letters as the last, of only three or four lines.