considered next in importance to their religious duties,[50] and in this case the result was so striking that the Emperor intended employing them in his operatic company.[51] Parhammer sometimes invited the Mozarts; and when the foundation stone of a new chapel was laid in the summer they were present and met the Emperor, who conversed with Wolfgang about his opera. Soon after he was commissioned to prepare the music for the mass to celebrate the dedication of the chapel, with the addition of an offertory and a trumpet concerto, to be performed by one of the boys. The latter is not preserved; the Mass in G major (49 K.), the first which Mozart had written, betrays, as might be expected, the uncertainty of boyish workmanship more than any previous work. It is written for chorus and solos which do not merely alternate with the chorus in short phrases; "Et in Spiritum Sanctum" is an independent solo for the bass; Benedictus, a solo quartet. The plan, modelling, and execution of the music are quite of the conventional type of a Missa brevis; it is almost devoid of original invention, and bears no signs of those stirrings of genius which we have remarked in previous works. This want has not been without influence on the working-out of the music. The imitative phrasing is stiffer and less free than elsewhere; only the little regulation fugue "Et vitam" shows the result of study; and the impetuous Osanna-- {FIRST MASS IN G MAJOR.} (97) [See Page Image] is vigorous and well finished. The Offertory, "Veni, Sancte Spiritus" (47 K.), in C major is lively and brilliant, with trumpets and drums. The closing "Alleluia" is almost too gay, but it is pretty and fresh, reminding one of Caldara's easier pieces. The performance, which Wolfgang conducted, took place on December 7, 1768, in the presence of the imperial court, and confirmed, as the father writes home, that which their enemies by opposition to the opera had sought to disprove; convincing the court and the numerous audience assembled, of Wolfgang's right to a place of honour among composers. The following is the testimony of a contemporary journal:[52] On Wednesday, the 7th, his Imperial Majesty, with the Archdukes Ferdinand and Maximilian, and the Archduchesses Maria Elizabeth and Maria Amelia were pleased to repair to the Orphan Asylum on the Rennweg, in order to be present at the first festival service and dedication of the newly erected chapel. On either side of the entrance to the chapel were stationed the companies of body guards with their bands. The royal party were received by his Eminence the Cardinal Archbishop of this place with his attendant clergy, amid the flourish of trumpets and drums, and the discharge of guns and cannons. The service of the dedication was conducted by his Eminence, and the mass by the suffragan Bishop Marxer, with repeated discharge of fire-arms.