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DOUBLE-BLIND MUSIC
by Pierre Aramis of the Lycée Villiers
and Ralph Pattullo of Narkover College.
[In French: Musique en double aveugle]

[Behind the curtain, a harpsichordist performs Johann Schobert's sonata «Op.5 no.2» throughout (and beyond) the following narrations.]

NARRATOR [FLORA].
Leopold Mozart, the father of Wolfgang Amadeus, died on the 28th of May, 1787. Given the principal role which he played in his son's development and career — from childhood to full maturity — it is quite remarkable that Wolfgang showed no outward signs of grief when he learnt of his father's death on the 31st of May; merely a postscript to a letter to Herr Gottfried von Jacquin, which read as follows: ... "I inform you that on returning home today, I received the sad news of my father's death. You can imagine the state of my spirit." ... That's all! From then on, nothing: no mass; no elegy; no memorial. ... Nothing? Not necessarily, because there is an unexplained anomaly from this period: namely, the first composition that Wolfgang completed, following the sad death of his father, was Ein musikalischer Spass, or, in English, A Musical Joke.

NARRATOR [SALICE].
Dr. Stuart, a science teacher at Narkover, in England, has proposed that this composition might be an unusual, uniquely appropriate, and intensely personal lament; In Memoriam, so to speak. ... Indeed, such an agreeable parody has several historical precedents; for example, in 1747, Jean-Baptiste Forqueray published a harpsichord piece, La Forqueray, which appears to have been written as a homage to the exceptional talents of his father, Antoine, who died in 1745. ... The good doctor's suggestion is certainly more credible than the «received wisdom» — that is to say, a caustic parody of the works and the practices of the «minor-masters» — in part because this composition is sprinkled with the humor and the motifs of his father's music; exemplified by The Peasant Wedding, the Musical Sleigh-ride, and the Burlesque, Hunting and Pastoral Sinfonias. ... Nevertheless, there is a caveat to the suggestion indicated previously; that is, Wolfgang completed the first movement of this composition towards the end of 1786, from a preliminary score that he had probably started towards the end of 1785. That said, neither fact is damning because he often set aside compositions «in progress». Indeed, one should note that his extant works include many incomplete scores; two examples are the Great Mass of 1782 and the Requiem of 1791, both of which contain several passages from the most important liturgical work of its time — namely, the Requiem of François-Joseph Gossec, written in 1760. ... Be that as it may, unless fate decided otherwise, the enigma would remain. Serendipitously, this decision would never depend on the whims of destiny.

NARRATOR [FLORA].
Recently, a reclusive antiques' collector discovered, in a flea-market, some uncataloged documents from the end of the 18th century. These documents would appear to have emanated from the archives of The Institution for Blind Children; this small workshop, founded by Valentin Haüy in 1786, was the world's first created specifically for the blind. To date, sadly, this collector has not allowed these documents to be examined thoroughly in order to establish their authenticity. As such, given his attitude — whether it be prudent or philistine — we counsel you to exercise a measure of healthy skepticism about our partial reconstructions. ...

NARRATOR [SALICE].
Now, ... in the middle of the 18th century, a completely new form of expression began to take shape, which was destined to dominate musical and literary inspiration; Aufklärung, or rationalism, was followed by Empfindsamkeit, or sensibility, which drove the creators towards the innermost reaches of the soul and its irrepressible elation: thus truly being Romanticism in embryonic form. ... But, as the proverb goes: «one cannot live on love and fresh air»! Consequently, in France, and elsewhere, the precursors and pioneers of these movements sought the patronage that was available only in the most prestigious salons of the idle rich; for example, that of the Grand Prior of France, Louis-François de Bourbon, the Prince de Conti. And, at his residence in the Temple, around the 27th of June, 1766, there are reasons to believe that a soirée may have taken place with the following persons:

NARRATOR [FLORA].
Madame la comtesse de Boufflers and Mademoiselle la comtesse de Tessé, his two mistresses. — M. Barthélémy Ollivier, his official painter. — M. Michel Corrette, composer, author of 15 instrumental tutors, and the organist of the Temple. — M. Valentin Haüy. — M. François-Joseph Gossec of Hainaut, the conductor of the prince's orchestra, a composer of diverse talents, and tireless supporter of his contemporaries' music throughout the second half of the 18th century. — M. Jean-Claude Trial, violinist, M. François-Joseph Haina of Prague and M. Jean Rodolphe of Strasbourg, two horn players. — Herr Johann Schobert of Silesia, the composer-harpsichordist of the orchestra, who died a year later, in the prime of life, poisoned by forest mushrooms. — Herr Leopold Mozart of Augsburg, a composer and the author of the first tutor for the violin to achieve worldwide success. — And, finally, M. Joseph Boulogne of Guadaloupe, a mulatto, better known as the Chevalier de Saint-George[s], virtuoso swordsman, «lady-killer», and composer-violinist; incidentally, at least one of the main characters in several of the historical novels by Alexandre Dumas is a composite of the good chevalier and the author's mulatto father.

[Curtain rises. A lavishly furnished drawing room. After the soloist (Schobert) completes the sonata (about 17 mins. in total), the guests applaud politely and then circulate. Final arrangement ad lib., except front stage left, where Ollivier and Leopold Mozart stand and Mme de Boufflers is seated. Mme de B. is about to address Ollivier, who looks out of sorts.]

Mme de BOUFFLERS.
Dear Ollivier, ... do I sense that your delicate artistic temperament has been ruffled? [Her tone is teasing.]

OLLIVIER.
No, Madame; not exactly. [His tone is a touch haughty.] Nevertheless, Herr Mozart, here, has just informed me that his two children will not be with us this evening! [He sounds miffed.]

Mme de BOUFFLERS.
Oh! ... M. Mozart, is this true?

LEOPOLD MOZART.
Yes, Madame la comtesse.

Mme de BOUFFLERS.
What a pity, because my dear Ollivier had hoped to paint another picture of them both, so as to complement the one he has just painted. ... Oh! Upon my word, I was forgetting myself; I am sorry. ... Your dear children are not ill? [Her tone is one of genuine concern.]

LEOPOLD MOZART.
Happily, no, Madame. Merely that both of them are tired. As you know, little Wolfgang has a tendency to become over-excited. ...

Mme de BOUFFLERS.
Between ourselves, the absence of Wolfgang is particularly disappointing because M. Gossec has informed me that, since your last visit to Paris, he has written several orchestral works; sinfonias and that sort of thing.

LEOPOLD MOZART.
Yes, Madame; such pieces are very fashionable.

Mme de BOUFFLERS.
By whom, for example?

LEOPOLD MOZART.
Er, ... Aside from myself, there is: Herr Michael Haydn, my colleague in Salzburg; Herr Josef Haydn, his elder brother; Herr Christian Bach in London, my son's best friend; Herr Cannabich in Mannheim; and, of course, M. Gossec himself.

Mme de BOUFFLERS.
Ah well then, [She sighs in a resigned manner.] but I would have loved to hear to one of his recent compositions.

LEOPOLD MOZART.
Ah! That's no problem, Madame, because I have a piece in my luggage that he wrote last March in The Hague.

Mme de BOUFFLERS.
How splendid! ... Did he compose it all by himself?

LEOPOLD MOZART.
No, Madame; not completely. As one would expect, he makes a few infelicities; after all, he is still learning.

Mme de BOUFFLERS.
Yes, I understand. ... Monsieur, in order to listen to this morceau later, would you be so obliged as to fetch it?

LEOPOLD MOZART.
Yes, Madame; my pleasure. [He bows graciously; then moves towards a door.] ... ...

Mme de BOUFFLERS.
Now, my dear Ollivier, tell me: ... do you know where M. le prince and Mlle de Tessé are?

OLLIVIER.
Oh! ... ...

Mme de BOUFFLERS.
That's all!? ... An «Oh!»?

OLLIVIER.
Madame, I am the soul of discretion.

Mme de BOUFFLERS.
Yes, and «'tis better to be safe than sorry»: I know! [Her tone is slightly impatient; then it softens.] However, my dear Ollivier, I merely wish a simple answer to a simple question.

OLLIVIER.
Yes, Madame; pray forgive me. I believe they are taking the air in the garden.

Mme de BOUFFLERS.
Mmm? ... And I sense a storm is brewing! ...

[An orchestra and soloists (hurdy-gurdy; bagpipes) perform L. Mozart's sinfonia «The Peasant Wedding»; on completion, about 13 min. later, the guests applaud politely and then circulate. Final arrangement ad lib., except front stage right, where Gossec and Saint-George stand and Mme de Boufflers is seated. Gossec is about to address Mme de B.]

GOSSEC.
Madame la comtesse, allow me to present M. de Saint-George, one of the King's gendarmes.

Mme de BOUFFLERS.
Dear Gossec, at last! You have made me wait far too long to make the acquaintance of this celebrated equerry. [Her tone of mock reproach is coupled with a gentle smile. Then she turns to the equerry — who will become, a few years later, «le Chevalier».] Welcome, Monsieur.

SAINT-GEORGE.
Thank you so much, Madame; everyone knows that both Monsieur le prince and yourself are true music-lovers. My deepest respects. [He bows graciously.]

Mme de BOUFFLERS.
Charming and gallant; what an agreeable combination, Monsieur. ... I have heard your ravishing interpretations on the violin several times, chez the Duke of Orléans and La Popelinière, and I know that your first violin teacher was the late M. Leclair: but, I would like to know who aroused your interest in music. ...

SAINT-GEORGE.
I believe that it must have my mother's beautiful voice, then my father's encouragement; but, during these last five years, of course, M. de la Boëssière has supported me.

Mme de BOUFFLERS.
Oh! ... He is a Master of Arms, surely?

SAINT-GEORGE.
You are absolutely right, Madame; the best in France, in my opinion. Be that as it may, my beloved Master believes that the study of several subjects is indispensable to the young gentleman.

Mme de BOUFFLERS.
Such as ...?

SAINT-GEORGE.
Er, ... Mathematic, Geography, History, Modern Languages, Dance, Music, ... [Gossec coughs discreetly.] ...

GOSSEC.
Do please forgive the interruption, Madame, but the good equerry must soon play one of the first fruits of his muse.

Mme de BOUFFLERS.
And, I believe, also one of the first of his instruction in the art of composition by yourself. [Her tone is teasing but warm-hearted.]

GOSSEC.
That's true, Madame. Hence, although a mite impertinent, my impatience must seem understandable.

Mme de BOUFFLERS.
Mine too! [They both smile; then she turns to the equerry.] So, Monsieur, would you tune-up, please?

SAINT-GEORGE.
Yes, Madame. [He bows graciously; then he moves towards the other three members of a string quartet.] ... ...

Mme de BOUFFLERS.
Now, my dear Gossec, tell me: ... do you think that this equerry is talented enough to earn a living in music?

GOSSEC.
Without doubt, Madame; certainly, I do believe that his true vocation is music. [His tone is enigmatic.]

Mme de BOUFFLERS.
Mmm!? I sense a «but» in your reply. Perhaps you think that he will become a victim of jealously or of the color of his skin or ...?

GOSSEC.
No, Madame, although both of these things are in the realms of possibility. ... There are simply too many demands on his time.

Mme de BOUFFLERS.
Such as ...?

GOSSEC.
Er, ... Hunting, dancing and, in particular, fencing; he is the finest blade in the kingdom, as you know. Well, such fame spreads; and indeed, at this moment, the «gilded youth» are strongly advising him to measure himself against the best swordsman in Italy.

Mme de BOUFFLERS.
The celebrated Signore Faldoni, yes?

GOSSEC.
That is so, Madame. ...

Mme de BOUFFLERS.
Ah well then, [She sighs resignedly.] we will have to see what the future holds. ...

[A string quartet (Chevalier, 1st violin) perform Saint-George's string quartet «Op.1a no.1»; on completion, about 7 min. later, the guests applaud politely and then circulate. Final arrangement ad lib., except front stage left, where Corrette and Leopold Mozart stand and Mlle de Tessé is seated. Mlle de T. is about to address Corrette.]

Mlle de TESSÉ.
Ah! Monsieur Corrette and Herr Mozart, a little earlier I observed that you two were plunged in deep discussion: «a mischievous plot», no doubt! [Her tone is teasing.]

CORRETTE.
Oh!? Mademoiselle la comtesse, at my advanced age? Chance would be a fine thing! [All three share gentle laughter.] We were merely discussing the use of traditional tunes and folk instruments in music.

Mlle de TESSÉ.
I see. ... Such as, M. Mozart, if you please?

LEOPOLD MOZART.
As you heard in my piece of music a little earlier, Mademoiselle, the hurdy-gurdy and the bagpipes.

Mlle de TESSÉ.
Er,... But how is that you have this special interest in these instruments, M. Corrette?

CORRETTE.
No particular interest, at the present time, Mademoiselle. But, in my youth, they were fashionable; and so, for both of them, I wrote instrumental methods and several compositions for amateurs.

Mlle de TESSÉ.
Do you still compose?

CORRETTE.
Yes, Mademoiselle; but chiefly for the organ.

Mlle de TESSÉ.
And yourself, M. Mozart?

LEOPOLD MOZART.
A little, yes, Mademoiselle; but, increasingly, I dedicate myself to the education of my son, Wolfgang.

Mlle de TESSÉ.
Ah! By the way, two years ago, I was truly honored by his dedication of those two sonatas for harpsichord and violin. You will thank him for me?

LEOPOLD MOZART.
But of course, Mademoiselle; I know he will be very happy. And now, sadly, I must abandon you.

Mlle de TESSÉ.
Why so, Monsieur, if you please?

LEOPOLD MOZART.
Because I have just seen, Mademoiselle, out of the corner of my eye, Mme de Boufflers indicate her desire that I direct the next piece of music; which, incidentally, includes some Dutch folk tunes.

Mlle de TESSÉ.
That's good! ... And, the composer?

LEOPOLD MOZART.
Ah! My son, Wolfgang. ... Your servant, Mademoiselle. [He bows graciously; then advances towards the orchestra.]

[An orchestra performs W. Mozart's serenade «Galimathias musicum»; on completion, about 5 min. later, the guests applaud politely and then circulate. Final arrangement ad lib., except front stage right, where the Prince de Conti and V. Haüy stand and Mlle de Tessé is seated. The prince is about to address Mlle de T.]

PRINCE DE CONTI.
My dear Mademoiselle, Mme de Boufflers has decided to widen our circle of acquaintances. And so, it is my pleasure to present to you this fine young man, ... er, ... [He turns towards V. H.] ... M. Valentin Haüy, yes?

VALENTIN HAÜY.
That is correct, Monsieur le prince. [Then he turns towards Mlle de T.] Mademoiselle la comtesse, it is truly an honor for me to make your acquaintance.

Mlle de TESSÉ.
How charming! Thank you, Monsieur. ... And now, please tell me a little about yourself.

VALENTIN HAÜY.
Yes, Mademoiselle; I was born into a family of weavers in a small town in Picardy. ... Er, ... Because they were rather well off, they allowed me to complete my education in Paris at the university, like René, my older brother. ... ...

Mlle de TESSÉ.
Yes, Monsieur, and there?

VALENTIN HAÜY.
Ah! ... I studied Classics; and acquired fluency in Latin, Greek, Hebrew, and several modern languages. ... ...

Mlle de TESSÉ.
So, I presume you make a living as a translator?

VALENTIN HAÜY.
Yes, Mademoiselle. ...

Mlle de TESSÉ.
Such as?

VALENTIN HAÜY.
The documents of businessmen; that sort of thing. ...

Mlle de TESSÉ.
Monsieur, I praise you unreservedly for your most becoming modesty — it is such a sure sign of a well brought up gentleman — but, trying to obtain your life's story, ... well, it's like trying to get a mute to speak! [Her tone of gentle reproach is coupled one with of encouragement.]

VALENTIN HAÜY.
I am sorry, Mademoiselle. But, as they say, ... we simple bourgeoisie ... [He breathes a sigh and makes a gesture of mock innocence; then he smiles.]

Mlle de TESSÉ.
But, I see, not a simple wit! [Both laugh softly.] Now, Monsieur, what do you for leisure?

VALENTIN HAÜY.
Inevitably, I suppose, my leisure time is somewhat limited. However, I'm interested above all in deaf-mutes and the work of M. l'abbé Michel de l'Épée, in particular.

Mlle de TESSÉ.
Why so, Monsieur?

VALENTIN HAÜY.
As you are perhaps aware, about ten years ago, this generous philanthropist founded the first school in France for these disadvantaged; namely, The Institution for Deaf-Mutes. ... Well, I help... [She interrupts.]

Mlle de TESSÉ.
Please forgive my interruption, Monsieur, but, all of a sudden, I have realized that my remark about the mutes was in poor taste; I do apologize.

VALENTIN HAÜY.
No matter, Mademoiselle. [His tone is benevolent; then he sighs.] Sadly, each language is liberally sprinkled with maladroit expressions. ... ...

Mlle de TESSÉ.
Excuse me, but you were saying, ... that you helped there?

VALENTIN HAÜY.
Ah! ... Yes! By teaching the hand alphabet to pupils; by encouraging them to speak; and ... [He observes the prince looking at his pocket-watch.] ... Oh dear! ... Monsieur, I see that you were looking at your watch; if I have bored you, I apologize profusely. [His tone is contrite.]

PRINCE DE CONTI.
Not at all, my good fellow. [His tone is jovial.] Merely that time passes; and I believe that Mlle la comtesse has another rendezvous in a shepherd's barn.

VALENTIN HAÜY.
Oh! So, Mademoiselle, you interest yourself in pastoral affairs?

Mlle de TESSÉ.
Upon my word! The simple innocence of youth. [She smiles.]

PRINCE DE CONTI.
Mmm!? ... Or, perhaps, the mock innocence of youth? [Then he nods to a servant, who starts to extinguish the candles on stage. Curtain falls.]

Entracte (obligato)

[Behind the curtain, a fortepianist performs J. C. Bach's sonata «Op.17 no.5» throughout (and beyond) the following narrations.]

NARRATOR [SALICE].
As this century progressed, these salons were host to an increasingly eclectic mixture of libertines, dilettantes, and professionals. For example, around the 20th of August, 1778, at the Château Villers-Cotterêtes of the Duke of Orléans and his morganatic wife, the Marchioness of Montesson, there are reasons to believe that a soirée may have taken place with the following persons:

NARRATOR [FLORA].
M. Gossec. — M. Trial. — Herr Wolfgang Mozart. — Herr Baron Friedrich Grimm of Regensburg, the most important patron of Wolfgang Mozart during the first two-thirds of his short life. — M. Valentin Haüy. — M. l'abbé René-Just Haüy, savant and founder of the science of crystallography. — M. de Saint George[s]. — M. le capitaine Choderlos de Laclos, the co-librettist of the Chevalier's first opera; and, later, in 1782, the author of Dangerous Liaisons, written whilst he supervised the construction of improved fortifications on the Île d'Aix, near La Rochelle, ... against the English: who else!? — Signore Giuseppe Cambini of Livorno, one of the most highly appreciated composer-violinists of his time; as one would expect, it was Gossec who facilitated his entry into Parisian musical life. — Herr Johann Christian Bach of Leipzig, Johann Sebastian's youngest son, and one of the most highly appreciated composer-harpsichordists of his time; incidentally, the judgement in a law suit against an unauthorized publisher, in favor of Christian, established the concept of the composer's rights in English law. — Dr. Benjamin Franklin of Philadelphia, the pre-eminent polymath of the New World in the 18th century, author and editor, «lady's man», co-drafter of The Declaration of Independence of the United States of America in 1776, and the inventor of the stove, bifocal glasses, the lightening conductor, the glass harmonica, and so much more besides. — Mr. John Adams of Massachusetts, another co-drafter of The Declaration and, later, in 1797, the second president of the United States. — Herr Doktor Mesmer of Vienna, the controversial physician; incidentally, a little later, in 1784, his «theory of animal magnetism» would be rejected by a royal commission headed by Franklin and whose savants included Antoine Lavoisier, the chemist, and Joseph Guillotin, the physician. — And finally, Miss Cecilia Davies and Miss Marianne Davies of London, two English nieces of Franklin; the former, a talented singer and care-worker for Marianne, her blind sister; and this latter, a harpsichordist and a glass harmonica virtuoso.

[Curtain rises. Another lavishly furnished drawing room. After the soloist (J.C. Bach) completes the sonata (about 9 mins. in total), the guests applaud politely and then circulate. Final arrangement ad lib., except front stage left, where V. Haüy and R. Haüy stand and Marianne Davies is seated. Marianne is about to address R. Haüy.]

MARIANNE DAVIES.
Monsieur l'abbé, tell me: ... is it true that Doctor Mesmer is a guest here this evening? [Her tone is edgy.]

RENÉ-JUST HAÜY.
Yes, Mlle Marianne. Er, ... Because there's a catch in your otherwise beautiful voice, would I be correct in believing that you hold him in low regard? ...

MARIANNE DAVIES.
Between ourselves? [She whispers.]

RENÉ-JUST HAÜY.
Yes, Mademoiselle. [His tone is conspiratorial.] I assure you of the absolute discretion of both my brother and myself. [Then he addresses V.H.] Valentin, agreed?

VALENTIN HAÜY.
Yes, René; of course. ... ... Mademoiselle, ... and?

MARIANNE DAVIES.
Ah! Well, in my opinion, he's little more than a charlatan. [Her tone is both waspish and disdainful.]

RENÉ-JUST HAÜY.
That is surprising, because his excellent reputation... [She interjects.]

MARIANNE DAVIES.
Humph! ... Oh! I am so sorry, Monsieur. Please do forgive my interruption?

RENÉ-JUST HAÜY.
Your servant, Mademoiselle. ... However, there was no need for you to apologize; for myself, I see that you hold strong views about the doctor, yes?

MARIANNE DAVIES.
That's correct, Monsieur. ... Earlier this year, in Vienna, he was totally unsuccessful in treating my good friend, Mlle Paradies. ... Certainly, one can take his «theory of animal magnetism» with a pinch of salt. ...

VALENTIN HAÜY.
Er, ... Mademoiselle, please forgive my curiosity, but from what illness does your friend suffer?

MARIANNE DAVIES.
Not an illness: but, like myself, she is blind.

VALENTIN HAÜY.
And, how long have you known her?

MARIANNE DAVIES.
From a very young age. ... It was about nine years ago that we played harpsichord duets for the first time; I suppose that she would have been ten years old.

VALENTIN HAÜY.
Ah! You were her teacher, then?

MARIANNE DAVIES.
Upon my word! [She giggles; then composes herself.] No, not at all; that would be a true case of «the blind leading the blind». [Both brothers look mildly astonished.] In fact, she has had several good teachers; including, quite recently, the highly esteemed Signore Salieri. ...

RENÉ-JUST HAÜY.
Excuse me, Mademoiselle, but, shortly before, would that be an example of the English sense of whimsical humor?

MARIANNE DAVIES.
No, not particularly; although we do have a tendency to make fun of ourselves; and, ... Shush! ... Ah, yes! I do believe the orchestra is almost ready?

RENÉ-JUST HAÜY.
Eh? [He looks nonplussed; then he looks around him.] Ah! You are absolutely right: bravo! ... You must have very fine hearing; at this moment, M. de Saint-George is discussing the score with the leader of the orchestra.

MARIANNE DAVIES.
That must be the much talked-about Chevalier?

RENÉ-JUST HAÜY.
Yes, Mademosielle; the one and the same.

MARIANNE DAVIES.
Splendid! [Then she addresses V. H.] Would you describe him for me, please?

VALENTIN HAÜY.
My pleasure, Mademoiselle. [He looks in the direction of Saint-George near the orchestra.] Let me see now: ... he's going on forty; he's tall, I'd say close on six foot; ... he's slim, but has the bearing of an athlete; and ... he's brown, like a Creole. ... ...

MARIANNE DAVIES.
That's all?

VALENTIN HAÜY.
Yes, Mademoiselle.

MARIANNE DAVIES.
And, Monsieur, that would be an example of the French sense of whimsical humor? [Her tone is dead-pan.] ...

VALENTIN HAÜY.
Oh! Mademoiselle, what do you mean by that, if you please? [His tone is slightly aggrieved.] Perhaps you are making fun of me or... [R. H. interjects.]

RENÉ-JUST HAÜY.
My dear brother, ... where is your sense of humor!? [This gently reproving question is followed immediately by warm-spirited laughter from R. H. and Marianne.] ... Or, perhaps, more pertinently, your sense of shame. You've merely drawn a sketch for our charming young lady: you have not painted a picture for her. ...

VALENTIN HAÜY.
I apologize profusely, Mademoiselle.  Nevertheless, after the next piece of music, I do assure you that I will be paying the closest attention to my brother's description of the good chevalier: with his powers of observation, as a scientist, he will undoubtedly paint a picture for us.

MARIANNE DAVIES.
Touché, Monsieur: bravo! [All three share laughter.] ...

[An orchestra and soloist (Chevalier, violin) perform Saint-George's violin concerto «Op.3 no.1»; on completion, about 17 min. later, the guests applaud politely and then circulate. Final arrangement ad lib., except front stage right, where Laclos, Adams, and Franklin stand; the latter, as was his custom throughout his stay in France, is wearing a fur trapper's hat. Laclos is about to address Franklin.]

LACLOS.
My dear Franklin, as you know, several years ago, your two charming nieces — [In a graceful manner, he waves his silk handkerchief in the direction of Cecilia and then Marianne.] — excelled themselves at the wedding of the Duke of Parma and the Archduchess of Austria, with their interpretation of a cantata by Signore Hasse; L'Armonica, yes?

FRANKLIN.
Yes, my dear Laclos; that's so.

LACLOS.
Well, during... [Adams interrupts.]

ADAMS.
Forgive this interruption, my friend, but that would have been at Schönbrunn, in Vienna, ... er, ... in 1769?

LACLOS.
Yes, my dear Adams; that would be about right. ... [Then he addresses Franklin again.] Well, during this time, because you were occupied with affairs of state and... [Adams interjects.]

ADAMS.
Passionate liaisons? [His tone is mischievous.]

LACLOS.
Monsieur, no! [His tone is embarrassed.] Nothing could be further from my mind. Now, where was I? ... ... Good grief! I've lost my train of thought! [His tone is flustered.]

ADAMS.
Dear friend, pray forgive me. [His tone is contrite.]

LACLOS.
No matter, my friend; I remember the heart of the matter. [Then he addresses Franklin again.] Our gracious hostess has persuaded your nieces to give a performance tonight of this very same cantata. [Franklin looks chuffed.]

FRANKLIN.
How marvelous! ... She is very generous by nature.

LACLOS.
That's so true. ... Indeed, a little earlier this evening, she was pleased to listen to a simple quatrain which I had written for her. ...

FRANKLIN.
Er, ... Dear Laclos, would you repeat it for us?

LACLOS.
I am sorry; but, modesty forbids it.

FRANKLIN.
On the contrary, dear friend, false modesty is such an unbecoming virtue, no? [His tone is encouraging.] ...

LACLOS.
Very well. [His tone is resigned.] Into the lion's den! ...
«Be it in her heart, or be it in love:
Our charming hostess is the soul of finesse.
Without fear, every year:
She dispenses such acuteness.» ...

FRANKLIN.
Dear friend, I accuse you of a faux pas! [His tone is teasing.]

LACLOS.
By writing doggerel? [He laughs softly.]

FRANKLIN.
That goes without saying! ... Not «in gelding a thorough-bred»: but «in gilding the Sun King».

ADAMS.
Humph! ... The other way round, surely?

FRANKLIN.
Absolutely not! ... Mmm? ... Ah! There's a thought, ... or ... would have been!

LACLOS.
Shush, Messieurs, shush! ... There are spies everywhere. [He whispers; then, discreetly, he looks around him.]

FRANKLIN.
But, my dear Laclos, we must stand together?

ADAMS.
Or, surely, we will hang separately! [Franklin and Adams burst out laughing simultaneously.] ...

LACLOS.
What!? ... [He tut-tuts.] ... I will never understand you Americans. [Then, he looks around him again.] Ah! [He sighs with relief.] We are saved. [He waves his silk handkerchief in the orchestra's direction.] The orchestra is about to play. ...

[An orchestra and two soloists (Marianne, glass harmonica; and Cecilia, soprano) perform Hasse's cantata «L'Armonica»; on completion, about 27 min. later, the guests applaud politely and then circulate. Final arrangement ad lib., except front stage right, where Saint-George, J.C. Bach, and W. Mozart stand. Wolfgang is about to address Saint-George.]

WOLFGANG MOZART.
Monsieur de Saint-George, allow me to present my oldest friend, M. Chrétian Bach.

SAINT-GEORGE.
Delighted to me you. ... I'd heard you were here, in Paris, to confirm the soloists for your new opera, Amadis des Gauls, ... intended for the Royal Academy of Music?

J. C. BACH.
The Opéra, yes; next year. ... Now, before I completely forget, Mr. Henry Angelo in London has asked me to convey to you his very best respects.

SAINT-GEORGE.
But that's extraordinary! You're a fencer too?

J. C. BACH.
No, not at all! [His tone is jovial.] Indeed, with my ample figure, you must joking! [All three share audible laughter.] No, this generous gentleman man keeps «open house»; and I'm a frequent guest. ...

SAINT-GEORGE.
Are you staying long in Paris?

J. C. BACH.
Sadly, no. I must return to London because I have several pressing engagements; in particular, my beloved brother, Johann Christoph, has entrusted me with the tutoring of his son, Wilhelm Friedrich. ...

WOLFGANG MOZART.
My dear Chevalier, ... Baron Grimm has told me that, about three years ago, the authorities envisaged your good self as the Director of the Opéra.

SAINT-GEORGE.
That's correct; indeed, I had the support of Her Majesty the Queen, herself. [His tone becomes sad.] I believe that the lady singers of the venerable Royal Academy of Music invoked «their honor» to dissuade the authorities from conferring a mulatto to direct them. [He shrugs his shoulders and sighs in a resigned manner.]

WOLFGANG MOZART.
You're not involved in opera, then?

SAINT-GEORGE.
Oh, yes; I direct many performances in the theater of our gracious hostess, the marchioness; for example, last March, M. Grétry's Le Jugement de Midas.

J. C. BACH.
Have you composed any operas?

SAINT-GEORGE.
Yes; just the one to date, Ernestine, last year: but, most unfortunately, it was a lamentable disaster!

WOLFGANG MOZART.
Why so?

SAINT-GEORGE.
I don't know, exactly; it's been suggested that those parts of the libretto which had been written by M. Laclos were, perhaps, ... How can I put this delicately? ... er, ... not particularly suitable. ... Be that as it may, for my next opera, La Chasse, I have the exclusive services of M. l'abbé Desfontaines. And, naturally, my dear Mozart, I hope you will be present as its première this October.

WOLFGANG MOZART.
I am sorry, but I doubt whether I'll still be in Paris.

SAINT-GEORGE.
What? I had the impression from our mutual friend, the Count de Guines, that the position of organist at Versailles had been offered to your good self?

WOLFGANG MOZART.
That's true; but, between ourselves, I've no wish to work in that hamlet of the living dead. [His tone is disdainful.]

SAINT-GEORGE.
Yes; I understand. Nevertheless, I do know that every music lover in Paris has been captivated by the performances of your exquisite music at the Concert Spirituel. Without doubt, the light will be dimmer without your good self.

WOLFGANG MOZART.
Thank you, my dear Chevalier; you are most kind.

J. C. BACH.
Oh! My dear friend, I had a different impression; that's to say, you were looking for a position in Mannheim or Munich?

WOLFGANG MOZART.
Yes; you're right too. [His tone becomes bitter.] Although the Elector was «sympathetic», he informed me that there was «no room»! [Then his tone becomes warm.] Yet, despite my disappointments, I spent a nice time in Mannheim, chez Herr Cannabich; and his pretty daughter, Rosa, was a most attentive pupil.

SAINT-GEORGE.
Er, ... What do you think of Herr Cannabich?

WOLFGANG MOZART.
Ah! I'm full of praise for him! He's the best conductor I that I've ever met, ... saving your presence, of course, ... and... [J.C. Bach interrupts.]

J. C. BACH.
Forgive the interruption, my friend, but Signore Cambini is about to play your violin concerto. ...

[An orchestra and soloist (Cambini, violin) perform W. Mozart's violin concerto «no.2 ; KV218»; on completion, about 21 min. later, the guests applaud politely and then circulate. Final arrangement ad lib., except front stage right, where V. Haüy and R. Haüy stand and the Marchioness of Montasson is seated. Mme de M. is about to address V. Haüy.]

Mme de MONTASSON.
Monsieur Haüy, your reputation as a translator is well merited, naturally, but a little bird has told me that you interest yourself above all in the disadvantaged?

VALENTIN HAÜY.
You are absolutely correct, Madame de Montesson; your little bird is well informed! [His tone is mischievous. She laughs softly; then she composes herself.] ...

Mme de MONTASSON.
But, all pleasantries aside, when did you interest yourself in their predicament for the first time?

VALENTIN HAÜY.
I'm not sure; ... I suppose at the beginning of the '60s, after I had studied several of M. Diderot's early works. ... However, my deeper involvement resulted from a most singular performance that I witnessed about seven years ago at the Saint-Ovide Fair; one, indeed, which both saddened and outraged me!

Mme de MONTASSON.
What happened? [Her emollient tone is coupled with one of concerned interest.]

VALENTIN HAÜY.
Well, about a dozen blind pensioners from The Hospice for the Three Hundred — dressed in grotesque clothes and wearing opaque spectacles — were playing a discordant piece of music, with all manner of instruments, which appeared to excite the pleasure of the spectators.

Mme de MONTASSON.
What a disgrace! [Her voice quivers.]

VALENTIN HAÜY.
That's so true, Madame. From that moment, I swore to myself that I would teach the blind to read and write so as to give them back their dignity!

Mme de MONTASSON.
What passion ! Monsieur, I wish you well. [She acknowledges V. H.'s gracious bow, then she addresses R. H.] And now, M. l'abbé, how do you occupy your leisure time?

RENÉ-JUST HAÜY.
My dear Madame, me? [He gestures with his hands in mock horror.] I'm surely too occupied with my flock?

Mme de MONTASSON.
Monsieur, are you teasing me? [She looks quizzically at R. H. through her monocle.]

RENÉ-JUST HAÜY.
Just a little, Madame. [His tone is warm-hearted.] In fact, I have conducted several experiments on some crystals which have been discovered by M. Seignette, an apothecary in La Rochelle; indeed, I hope to be able to discuss my most recent results with Dr. Franklin.

Mme de MONTASSON.
For what reason, Monsieur?

RENÉ-JUST HAÜY.
Er, ... Because this very eminent man is well informed of such affairs. ...

Mme de MONTASSON.
And now, Monsieur, are you teasing me with a play on words? [She smiles.]

RENÉ-JUST HAÜY.
Just so, Madame; a little, yes. [She laughs softly; then she sighs.]

Mme de MONTASSON.
Ah well then, ... perhaps I have become a figure of fun?

RENÉ-JUST HAÜY.
Not at all, dear Madame: perish the thought! ... Everybody knows that your pretty smile is akin to a waft of the finest perfume. [He bows graciously.]

Mme de MONTASSON.
Upon my word, M. l'abbé, you are very gallant. Thank you. ... Alas, I do believe you discussions must await until another day.

RENÉ-JUST HAÜY.
And why so, Madame, if you please!? [His tone is mock severe. She laughs softly; then she points her fan in the direction of Franklin.]

Mme de MONTASSON.
Because the good doctor is fast asleep! Oh!? What time is it? [She glances at a clock.] Ah, yes! It's late. And, as Lord Bacon once said: «one cannot stop time». [Then she nods to a servant, who starts to extinguish the candles on stage. Curtain falls.]

Entracte (obligato)

[From behind the curtain, a fortepianist performs W. Mozart's Rondo «KV511» throughout (and beyond) the following narrations.]

NARRATOR [SALICE].
Although the purpose of our divertissement is not to give even a bird's-eye-view of this century's music, we would be being decidedly negligent not to draw your attention to the following notable asides. ...

NARRATOR [FLORA].
During the 18th century, Georg Telemann, Johann Hasse, and Josef Haydn were the composers who were held in the greatest esteem by their contemporaries; furthermore, the neutral appellation of «minor masters» was limited — for the most part — to village schoolmasters. By contrast, throughout the 19th and 20th centuries, a constant succession of self-appointed arbiters of «high culture» and «good taste» have asserted Johann Sebastian Bach and Wolfgang Mozart were the best composers; some others could be accorded an honorable mention; and the vast majority must be designated, with pejorative overtones, as «minor masters». Such assertions, which have oft been accompanied by the expression «History has judged», are philistine because they are founded on an erroneous premise; namely, that the tendentious selection of facts leads to a balanced perspective, or the acquisition of enlightenment, or knowledge. Whereas, such a premise surely could never lead to quenching a «thirst for knowledge», or, as one says in German, Wissensdrang.

NARRATOR [SALICE].
Because there are truly an incalculable number of examples that one could cite to illustrate the iniquitous nature of this erroneous premise, we will limit ourselves to a quite extraordinary one. To wit, in comparison with Mozart, few people have accorded more than a footnote to the works of Saint-George. But, why is this so? Is it that blind tests of their comparable works in the same genre — the string quartet, the violin concerto, and the sinfonia concertante — during the same period — from 1766 to 1778 — would reveal Saint-George to be found wanting or, perhaps, in a much more disconcerting manner, quite the reverse?

NARRATOR [FLORA].
Be that as it may, being that much younger than Saint-George, Mozart inevitably reached his full artistic maturity at a later date. Certainly, following his last stays in Mannheim and in Paris — and coincident with the change of Europe's cultural capital from Paris to Vienna — the last dozen or so years of his brief life were witness to an unparalleled period of intense creativity, as well as the unreserved admiration of his professional peers; but also, sadly, coupled with severe financial hardship and several personal tragedies. ... ...

[Curtain rises. A barely furnished drawing room. After the soloist (Wolfgang) completes the rondo (about 10 min. in total), Constanze, his wife (about 7 or 8 months pregnant), enters noisily and excitedly; she is holding a letter sealed with wax.]

CONSTANZE.
Wolfgang! [She pauses for breath. ...] The post rider has brought a letter from Paris.

WOLFGANG MOZART.
How extraordinary! Constanze, who's the letter from?

CONSTANZE.
I don't know. A moment, please; I'll have a quick look. [She removes the seal, and scans the letter.] Ah! ... The letter is written in French; from ... M. Valentin Haüy!

WOLFGANG MOZART.
Please read the letter out loud to me, my darling?

CONSTANZE.
With pleasure, my beloved. [She sits down; then starts to read aloud. ...]

The Institution for Blind Children, Paris. 21st August, 1786. My dear Mozart, Do you remember me? ... Yes? ... I hope so! For my part, I remember you well; particularly your splendid music at the Concert Spirituel and chez Mme de Montasson — in August? 1778, shortly before you had to return home following the sad death of your beloved mother. It goes with out saying that my brother, René-Just, said a mass for her. Because a mutual friend, Baron Grimm, has informed me that you are busily occupied with your new opera — Don Giovanni, no? — I will go directly to the heart of the matter. I have waited fifteen long years to open a workshop for the blind and, this February, my prayers have been answered! Thus, with the inspiration of M. Lesueur — my most conscientious student — and of Mlle Paradies — whose interpretations, about two years, of the concerto which you wrote for her, have ravished the ears of all music-lovers here, and who has granted me the salutary privilege of several discussions tête-à-tête — as well as the support of several philanthropists and the Academy of Science, we have opened the first workshop for these disadvantaged; namely, The Institution for Blind Children. The supreme consecration of this institution will take place at Versailles in front of their gracious Majesties and the Court on the 26th of December. Naturally, such a presentation must be embellished by an appropriate piece of music; and, another mutual friend, M. de Saint-George, has recommended that I give the commission to your good self. Incidentally, at this moment, Parisian society is intrigued by the repeated absences of the good chevalier from the salons. One hears odd stories about town; for example, he makes clandestine visits to London, perhaps in the company of the Chevalier d'Éon — or the «Chevalière»? d'Éon. But, for my part, of course, I hope that he will return to his music: the sooner the better! In anticipation of your reply, my dear friend, I beg you to accept my very best wishes. Valentin Haüy. P.-S. M. Gossec has asked me to forward his respects and his best wishes.

CONSTANZE.
That's all, my beloved.

WOLFGANG MOZART.
Thank you, my darling. [He looks pensive; ... then, on the fortepiano, starts to play some motifs reminiscent of Ein musikalischer Spass; then he improvises a few discordant variations. Curtain falls.]

NARRATOR [SALICE].
Sadly, and most disappointingly, the documents discovered recently — at least those that were placed at our disposal — do not allow us to reconstruct any further, from this date forward. Admittedly, the aforementioned recluse has alluded to the existence of pertinent fragments: but, prudence is called for. Nevertheless, the indirect evidence is in agreement with this working hypothesis: «The piece of music called A Musical Joke, in English, was commissioned from Wolfgang Mozart by Valentin Haüy, in mid-August, 1786, for the consecration of The Institution for Blind Students. On receiving this commission, Wolfgang developed a fragment from 1785 into a complete first movement, but set it aside, shortly thereafter, probably because he had more pressing engagements; moreover, his new-born son, Johann, died that November. When he learnt of the sad death of his father, on the 31st of May, 1787, perhaps remembering Valentin Haüy's commission, as well as conservations overheard in Paris in 1778, he restarted this composition; and he completed it on the 28th of June.» We assert that this hypothesis is not controversial: though, equally, we do accept that widespread acceptance of its implicit summary of events, real or otherwise, will depend on the discovery and dissemination of further evidence from the period.

NARRATOR [FLORA].
Be that as it may, few people would disagree as to the suitability of this «discordant» composition to both occasions? Thus: firstly, Wolfgang honoring and reflecting upon the musical achievements of his most beloved father whilst he composed this music; and secondly, six blind pensioners of The Institution — dressed like some beggars — honoring and identifying themselves with the blind at the Saint-Ovide Fair and elsewhere whilst they played this same music in front of King Louis XVI's extravagant court: truly, both In Memoriam. ... ... However, «gentle listener», what do you think of this Sextet for village musicians? ...

[Curtain rises. Suspended from the stage ceiling is an electronically operated mobile, which is switched off. On the bare stage are chairs, occupied by Year 12 students (i.e., two horn players, two violinists, one viola player, one double bassist) dressed as blind beggars in late 18th century France; before each student is a music stand and a musical score illuminated by an electric candle. They perform Wolfgang Mozart's «Ein musikalischer Spass»; on its completion, about 18 min. later, the candles of the musicians are extinguished, one by one; immediately the final one is extinguished, the mobile is switched on, to reveal, from right to left, the scarlet letters T A G; then there is total silence for one minute. Curtain falls.]

NARRATOR [SALICE].
We would like to close with our paraphrase of verses 8 to 10 of chapter 7 in the Book of Zechariah. ...

NARRATOR [FLORA].
The word of Our Lord appeared to Zechariah: «Execute true judgment, and show clemency and compassion to each one of your peers; and, do not oppress the stranger, or a minority, or the disadvantaged; and, allow nobody to have a single ill thought about their peers».

........................................................................................

...

...

...


Selected References
[In DNA, three codons serve as stop signals to indicate the end of the linear sequence of amino acids (protein); namely, TAA, TAG, and TGA.]
Anon.: Recueils des documents non catalogués (2e tome), Éditions du Lycée Villiers, La Rochelle, n.d.
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Bach, J. C.: Sonata for Fpn. in A major (Op.17 no.5, London, 1774); Chandos CHAN0543.
Bach, J. C.: Amadis des Gaules (opera; 1st performance in Paris on 14th December 1779); Hänssler-Verlag CD98963.
Bauer, W. A., et al. (Eds.): Wolfgang Amadeus Mozart: Briefe [no. 547] und Aufzeichnungen (Gesamtaugabe), Kassel, 1962-75.
Boulogne, J. (1739-1799): Quartet for 2Vn., Va., and Vc. in C major (1765-6?, à M. ... Robecq; Op.1a no.1, Paris, 1773); Arion ARN55425.
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Boulogne, J.: Ernestine & La Chasse (operas; 1st performances in Paris on 18th July 1777 & 12th of October 1778, respectively); the overture to La Chasse maybe the sinfonia in D major, Op.9 no.2 (recorded by Arion; ARN55434).
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