=Other Operas=—=Death=.—His succeeding operas were “Così fan Tutte,” performed at Vienna in 1790; “The Clemency of Titus,” given at Prague in 1791, for the coronation festivities of King Leopold II of Bohemia, and “The Magic Flute,” produced at Vienna in 1791, which, through its German subject and style, was a signal success, especially in his own country. Discouragements and hard work now told upon him; and in the midst of his labors upon a grand Requiem, he was stricken down, and died December 5, 1791. =Relations with Haydn=.—No one admired Mozart’s genius more than Haydn; and a proof of the latter’s freedom from the petty jealousies of lesser men is found in the fact that, while he was at first Mozart’s teacher, he was afterward glad to adopt many of the innovations which were the result of Mozart’s genius. The labors of the two men admirably supplemented each other; for Mozart assimilated and blended what Haydn had definitely stated, adorning the rugged outlines with the graceful draperies which his skill as a performer and his artistic nature dictated. =Italian Influences=.—Thus, while Mozart adopted the form of the Sonata practically as enunciated by Haydn, he was able to impart new elements to it, drawn from his own experience and individuality. His Italian journeys, for instance, had brought him into close touch with the highly-adorned Italian opera style, then everywhere popular; and this he introduced into his instrumental _themes_, making them at once _singing_ and _graceful_ in tone. In the Sonata Form, he made the _second theme_ more definite, _contrasting_ it with the _first_, and frequently casting it in the form of an Italian style of melody, in distinction from a more terse and thematic principal subject. =Mozart as Piano Virtuoso=.—As a virtuoso, Mozart immensely developed the resources of the piano. After the Bachs, J. S. and his son C. P. E., had established a rational scale fingering, and it was found possible to introduce passages at once quickly running and smooth upon the clavier, such scale passages became very frequent in the compositions of the time, and they were, moreover, well adapted to the light Viennese action found in the Stein pianos, which Mozart used. Hence we find _scale-runs_ as the _cornerstone of his virtuosity_, constantly employed in florid and transitional passages. =Classic Finish=.—But Mozart’s compositions were not simply an advance in brilliancy, since his slow movements and themes are full of much genuine sentiment, and give opportunity for that expressive song-style which he emphasized so strongly. Moreover, his feeling for artistic finish caused him, by rounding off every detail, to avoid abruptness, replacing them by little delicate turns of musical expression and graceful embellishments, which give an atmosphere of _classic repose_ and finish to the whole.