After Mozart had left Salzburg in September, 1777, he played the violin in public both at Munich and Augsburg, and was somewhat ironical over his success. "They all stared," he writes from Munich (October 6, 1777); "I played as if I were the first violinist in Europe." And from Augsburg (October 24, 1777): "I played a symphony and Wanhall's Concerto in B flat for the violin with universal applause. At supper-time I played the Strasburg Concerto. It went like oil, and every one praised the beautiful, pure tone." But these communications ceased later on, and L. Mozart writes in anxiety (October 9, 1777): "Have you left off practising the violin since you were in Munich? I should be very sorry." (November 27, 1777): "Your violin hangs on its nail; of that I am pretty sure." And so it must have been. He was obliged to play the violin afterwards in Salzburg; but after his stay in Vienna he never made proficiency on the instrument his primary object, and it is well known that in later years, if he had to take part in a quartet or other concerted piece, he selected the viola in preference. Mozart's most important compositions in this department are of course his violin concertos, which were doubtless written in the first place for his own use. According to his custom, he went thoroughly into the subject from its very foundation, gaining proficiency by continuous work in the one direction; in 1775 he composed five concertos for the violin (207, 211,' 216, 218, 219, K.), to which was added a sixth (268 K.), not by any means slight, fugitive attempts, but carefully conceived works of considerable compass in three movements, allegro, andante or adagio, and rondo. The first movement, which was the most elaborate, is more suggestive still of the aria than is the corresponding movement of the symphonies. There is the same fixed alternation between solo and tutti passages, the same adornment of the solo part with passages and cadenzas, and indeed the whole movement is a reminiscence of the serious aria. On the other hand, the structure is more condensed and more animated; the passages grow out of the principal {INSTRUMENTAL MUSIC.} (318) subjects, connecting and adorning them. The movement falls usually into three main divisions; the middle one, corresponding to the same division in the symphony, passes into another key, and elaborates one or more motifs more freely than in the symphony, and chiefly by changes of modulation and modification of the passages, whereby the repetition of the first division is effected. Abundant variety of detail is produced, chiefly by the different combinations of the solo part and the orchestral accompaniment; the solo passages are not usually of great length, solo and tutti alternating often and quickly.