Naturally he thought at once of Da Ponte, and Da Ponte suggested the legend of Don Juan Tenorio y Salazar, Lord of Albarren and Count of Maraña. This story had already attracted the attention of mask-makers and comedy-writers innumerable, among them Molière, Shadwell, Goldoni; and Gluck and Righini, Tritto and Gazzaniga had set it to music, as ballet, _dramma tragicomico, or opera buffa_. Da Ponte had made his fortune by the text of "Figaro," and when he began the libretto for Mozart he was also at work on texts for Martin and Salieri. He went from one story to the other, with snuff-box and bottle of tokay before him, and the pretty daughter of his hostess by his side. "Don Giovanni" and Martin's "L'Arbore di Diana" were finished in sixty-three days. We know little or nothing of Mozart's methods in writing the music of the work. His thematic catalogue shows that from March till September few other important works were written, and the greatest of these are the string quintets in C major and G minor. His father died in May, and Mozart's grief may well be imagined. "Next to God is papa" showed the depth of his love. In September Mozart took his wife and boy to Prague. He worked in the vineyard of his old friend Duschek, and his friends talked or played at bowls. German essayists and novelists invented many stories, which reflect with discredit upon Mozart's morality during this visit to Prague, and these stories, without real foundation, were for a long time accepted as facts. He is said, for instance, to have been violently in love with the women who sang at the theatre; and continual intoxication is the mildest charge brought against him. Teresa Saporiti, the "Donna Anna," said when she first saw him, "This illustrious man has a most insignificant face," and yet their amorous adventures were long taken for granted. Nor do we know whether the many traditions are only traditions; such as his writing "_La ci darem_" five times before he could satisfy the singers; Bassi's anger, and other tales. The overture was unwritten the very evening before the day of performance. His wife mixed punch for him and told him stories, "Cinderella," "Aladdin" and tales of wonder and enchantment. Little by little, he grew sleepy as he worked. The head would droop in spite of the efforts of Scheherazade. At last he rested on the sofa, and at five o'clock Constanze aroused him. The copyist came at seven; and the orchestra played the overture at sight from wet sheets when October 29, 1787, "Don Giovanni" was first heard by an enthusiastic public. The opera was an unqualified success. Mozart stayed in Prague long enough to write a concert aria for Madame Duschek, although she was obliged to lock him in a summer-house to get it; shortly after his return to Vienna Gluck died, and December 7th he was appointed Chamber Musician by Joseph. "Don Giovanni" was not given in Vienna until May 7, 1788, and it was a failure. The Emperor is reported to have said,