The remaining compositions which fall authentically within this period are a symphony (124 K.), composed on February 21, and a litany, "De Venerabile" a very important work (125 K.), in March. January was lost by illness, and in April, Mozart was busy with his opera; but in May, a "Regina Coeli" (127 K.) and no fewer than three symphonies (128-130 K.) were ready; in June, a great divertimento (131 K); in July and August three more symphonies (132-135 K.); three quartets, or divertimenti (136-138 K.), fall also within the year 1772. These clearly identified compositions can scarcely be all that belong to this period. If the fact surprises us that Mozart, instead of {THE ITALIAN TOUR.} (140) making studies for the new opera which he was to produce in the autumn, employed this interval almost entirely on church and instrumental music, we must look for an explanation of it in his position at Salzburg, from which we cannot doubt that he felt an intense longing to free himself. A correspondent of Burney who was at Salzburg in the summer of 1772 informs him that he has visited Mozart the father, and heard Wolfgang and his sister play duets together; Wolfgang, he says, is undoubtedly a master of his instrument, but he appears to have reached his climax, and, judging from his orchestral music, he affords another proof that premature fruits are more rare than excellent.[75] It would be unreasonable to take this false prophecy amiss, for it no doubt reflects something of the state of opinion in Salzburg at the time. On October 24 they set forth once more on the journey to Milan, in order to be there in good time for the new opera. On the way, "to make time pass," Wolfgang composed a pianoforte duet; his fête-day was merrily kept with the brothers Piccini, in Ala (October 31); and after the usual stay with Luggiati in Verona, they arrived at Milan on November 4. L. Mozart, who had lately been very well, appeared to profit by the change and irregularity of a travelling life, but at Milan the old complaint reappeared. Giddiness and numbness in the head, attributable to a bad fall, seized him more especially when he had been composing, and he could not free himself from "Salzburg thoughts," in which he would be unconsciously plunged for some time, and only with an effort banish them from his mind "like the wicked thoughts with which the devil used to tempt him in his youth." They were no doubt the reflection of his almost unendurable relations with the new Archbishop. He foresaw a troubled future, unless he could succeed in extricating Wolfgang from his undefined position in Salzburg, and placing him on a secure footing; and to this end he bent all his endeavours. The opera which Wolfgang was to compose was "Lucio {"LUCIO SILLA"--MILAN, 1772.} (141)