On the wedding-day of the Salzburg citizen F. X. Spath with Elise Haffher, daughter of the worthy merchant and Bürgermeister Sigmund Haffner[15] (July 22,1776), a serenata by Mozart was performed, afterwards known as the "Haffner-musik" (249, 250, K.). Another opportunity offered in the fête-day of the Countess Antonia Lodron, for whom in 1776 and 1777 Wolfgang wrote several specified nocturnes;[16] Schiedenhofen was present at the rehearsal of one of them, and he tells us also that on July 25, 1777, there was a {OPERA SERIA.} (154) rehearsal of a serenata at the house of the grocer Gusetti, composed by Wolfgang for his sister's fête-day; it consisted of a symphony, a violin concerto played by himself, and a flute concerto played by Cosel. Probably the divertimento composed in July, 1776 (251 K.) was also intended for his sister's fête-day. A Finalmusik (185, 215, K.) produced on August 23, 1775, and a "Serenata Nottuma" (239 K.) in January, 1776, are both for unknown occasions. The clavier compositions were also mainly written for pupils or amateurs; for example, the Concerto in C major (246 K.) for the Countess Litzow or Lützow, wife of the Commandant of Hohen-Salzburg; that in E flat major (271 K.) for a Madame Jenomy (January, 1777), whom Wolfgang had met in Paris; the Concerto for three pianofortes for the Countesses Antonie, Luise, and Josepha Lodron (242 K.), February, 1776. While the Mozarts were at Munich, in 1775, a landed proprietor, Buron Dümitz, had ordered some pianoforte sonatas, which were duly forwarded (279-284 K.); but he altogether forgot to send the promised payment in return. Two four-hand sonatas, mentioned by his father (December 8, 1777), were probably intended for Wolfgang and his sister; Schiedenhofen heard them play a duet on August 15, 1777. Having taken this biograpical survey, it is now time to bestow a closer inspection on Wolfgang's compositions. FOOTNOTES: [Footnote 1: After Gassmann's death in 1774, Jos. Bono (1710-1788) was appointed kapellmeister (Dittersdorf Selbstbiogr., p. 209).] [Footnote 2: Nicolai, Reise, IV., p. 554. Cramer, Magaz. f. Mus., I., p. 928.] [Footnote 3: Cf. K. L. Reinholds Leben, p. 5, and the description by Car. Pichler (Denkw., I., p. 36),] [Footnote 4: Fürstenau, Beitr. z. Gesch. d. sächs. Kap., p. 151. Zur Gesch. d. Mus. in Dresden, II., p. 183. Rudhart, Gesch. d. Oper zu München, I., p. 142.] [Footnote 5: Burney, Reise, II., p. 90. Schubart, Leben, Abschn. 16, I., p. 196. Rudhart, Gesch. d. Oper zu München, I., p. 129.] [Footnote 6: A favourable criticism was given by Schubart, Teutsche Chronik, 1774, p. 100 (Rudhart, p. 157).] [Footnote 7: Calsabigi's words were adapted by Coltellini, and an act was added. Schubart gave a severe criticism (Teutsche Chronik, 1775, p. 239), which he afterwards modified (Ibid., p. 265). Rudhart, I., p. 163.] [Footnote 8: Weber, Marie Antonie, II., p. 43.] [Footnote 9: Rudhart, I., p. 161.]