Repeated mention is made in the letters of the year 1777, and afterwards, of a scena composed for Madame Duschek.[1] In the summer of 1777, Josepha Duschek, a singer and pianoforte-player of celebrity, and a young, vivacious woman, came for a visit from Prague to Salzburg. The foundation was laid of a friendship with Wolfgang, of which we shall frequently have occasion to speak. The scena in question is probably the grand aria of Andromeda (272 K.), "Ah, lo previdi," belonging to August, 1776, not long before his departure from Salzburg, and one of the greatest compositions of the kind. An agitated recitative is followed by a long, elaborate Allegro, expressive of the passion of a brave and noble mind. Scorn for perfidy overpowers even pain at the loss of the beloved one; tones which seem to scorch and wither pour forth like glowing metal on the betrayer; then comes a subject which has already made itself heard more than once in the orchestra as a cry of suppressed pain, and this leads to a gentler mood; grief for the lost love is expressed in a beautiful recitative, and dies away into calm and composed melancholy with a Cavatina, which concludes the scena. The psychological truth of the details, the blending of the transitions, the unity of the tone, are qualities quite as much to be admired in this song as the musical originality and skill {"AH, LO PREVIDI," 1777--LIEDER.} (235) displayed in its composition. The last movement is perhaps a little spun out; although the strain of long-continued violent emotion seems to require a correspondingly gradual cessation. The orchestra is as simply managed as in the earlier songs; for wind instruments only horns, bassoons and oboes are employed, with, more seldom, flutes; in the recitatives there are only stringed instruments.[2] It is indicative of the taste of the time that among so many vocal compositions the song proper (_lied_) seldom or never appears. Five very simple Lieder with clavier accompaniments belong to the earlier Salzburg epoch (147-151 K.); they are more pedantic than any other of the compositions, and interest us chiefly through the words by Günther and Canitz, which Mozart has selected for composition. HE years of Mozart's development at Salzburg were fruitful not only of operatic compositions, but of others which arose from the circumstances of his residence there. First among these stands church music. Church music had long been fostered at Salzburg, and was especially encouraged by Archbishop Sigismund; his severe and world-contemning piety caused him to keep the service of the church continually before the eyes both of singers and composers. The prospect of a moderate pension induced many clever artists to settle in Salzburg, in spite of the poor payment they received for their services. Sigismund's successor,