The citizens of Salzburg entrusted their celebrated young fellow-townsman with the composition of the music for the occasion of their demonstration of respect to the new archbishop. It was the “Dream of Scipio.” Besides this, there was little in Salzburg to be done. In the capacity of _concertmeister_ to the archbishop, to which position he was appointed after his success in Italy, he had to write the music for the court and for the cathedral. In those days people were ever craving for something new in their favorite art; and while Mozart’s masses, yielding to the theatrical tendency of the time, like those of Haydn, have more of a pleasant play in them than of church gravity, and are therefore of less importance to posterity, the composition of symphonies carried him into a department which, created by Haydn, was destined, through Mozart, to lead to that mighty phenomenon, Beethoven. The form of the sonata, which is the basis of the symphony, also had originated in consequence of a more and more poetico-musical development from the suite which introduced a series of dances, the allemande being the first. And as the dance itself is a direct imitation of natural human movement and passion, the sonata and symphony, together with the quartette, became more and more, the expression of the personal experience and feelings of the composer, who, the more deeply and grandly he conceived the world, was able to give of it, in his music, a more beautiful and ravishing picture--an art which afterwards reached in Beethoven’s symphonies a height unsurpassed as yet. What poetry and prose were for the opera, the joy and the sorrow of life felt by the composer himself were for the piano and the orchestra--the impulse and poetical bait to musical composition. We shall soon find Mozart’s life reflected in his art, and it is this that makes the biography of the man so peculiarly attractive and so full of meaning.