[Footnote 69: L. Mozart writes to Breitkopf (February 7, 1772): "We arrived at home from Milan on the 15th of December, and my son, having gained great credit by the composition of his dramatic serenata, has been commissioned to write the first Carnival Opera for Milan next year, and the second opera for the same Carnival at the Theatre of S. Benedetto, in Venice. We shall, therefore, remain in Salzburg until the end of next September, and then for the third time repair to Italy."] [Footnote 70: Meissner, Biographie Naumanns, I., p. 279.] [Footnote 71: This is inferred from a statement made by his sister to Regierungsrath Sonnleithner (Salzburg, July 2, 1819) about a portrait of Mozart, that "it was painted when he returned from the Italian tour, at sixteen years of age; but as he was just recovering from severe illness, the picture is sickly and yellow."] [Footnote 72: [Koch-Sternfeldj Die letzten dreissig Jahre des Hochstifts und Erzbisthums Salzburg (1816), p. 36.] [Footnote 73: Leopold Mozart had ordered new oboes and bassoons from Dresden in a great hurry, when the election of an archbishop was imminent.] [Footnote 74: It would almost appear that it was performed a second time later on, at least the songs of the "Licenza" occur in a second composition, which may be referred to a later period, and is far superior to the first; but it might be that they were used for an altogether different composition.] [Footnote 75: Burney, Reise, III., p. 263.] [Footnote 76: Burney, Reise, II., pp. 93, no.] [Footnote 77: Naumann, also, in whose "Armida" he appeared in Padua, says of him, "he has every good quality, sings like an angel, and is an excellent actor." From the year 1778 he lived in England as a singer, and then as a teacher till 1810. Kelly, Remin., I., p. 10. Parke, Mus. Mem., II., p. 51. Rudhart, Gesch. d. Oper. zu München, I., p. 149.] [Footnote 78: Afterwards she sang only in private society. Berl. Musik. Wochenblatt, p. 4.] [Footnote 79: The Abbé Cardanelli, a contemporary of Mozart, relates that de Amicis required Wolfgang to submit the sketches of his songs for her approval, but that he brought her a finished song, which she found excellent; and he then composed the same words again twice over, and placed them at her disposal (Folchino, Elogio Stor. di W. A. Mozart. Cremona, 1817, p. 26). A. M. Z., XX., p. 93. Not very likely!] [Footnote 80: The result of the opera appears to have been the subject of great anxiety. Naomann notes in his Diary for January 2, 1773: "I went to Colloredo, to hear the news of the Milan opera."] ==== MOZART By David Widger CHAPTER VI. WORKS IN GERMANY. AT Salzburg during May, 1773, Wolfgang composed a symphony (181 K.), a concertone for two violins (190 K.), and a mass (167 K.) in June.