A list of his compositions compiled in 1757, no doubt by himself, gives an idea of his industry as a composer.[1006] We find a large proportion of church music. A Mass in C major is in the library at Munich, Julius André possesses a Mass in F major, the Credo of a "Missa brevis" in F major lies before me; a "Missa brevis" in A major is preserved in the cathedral of Salzburg, together with the Offertory, "Parasti in conspectu meo," three Loretto Litanies (in G, F, and E flat major), and a Litany "De venerabili" in D major, composed in 1762. This last, a carefully finished work, was sent by L. Mozart in December, 1774, to Munich, together with a grand Litany by his son. It is written for solos, chorus, and the usual small church orchestra of the day, and shows throughout the learning of a musician skilled in the use of traditional forms. The harmony is correct, the disposition of the parts skilful, and the contrapuntal forms are handled boldly; nor does the composer fail to introduce regular, well-worked-out fugues in the proper places; "Cum Sancto Spiritu," and "Et {L. MOZART'S COMPOSITIONS.} (9) vitam venturi sæculi" in the Mass, "Pignus futuræ gloriæ" in the Litany. But there is no originality or inventive power either in the compositions as a whole, or in isolated passages. Leopold Mozart's sacred music gives him a right to an honourable place among contemporary composers, but to no higher rank. Schubart, who prefers his church music to his chamber music, says justly, that his style was thorough, and showed great knowledge of counterpoint, but that he was somewhat old-fashioned.[1007] When Wolfgang was busy composing church music with Van Swieten at Vienna, he wrote to his father (March 29, 1783): "Some of your best church music would be very useful to us; we like to study all masters, ancient and modern, so please send us some as soon as possible." But to Wolfgang's regret this request was refused, for his father was quite aware of the change of taste in such music that had taken place since his day. Nothing certain is known of twelve oratorios composed according to custom for Lent,[1008] nor of "a host of theatrical pieces, as well as pantomimes."[1009] L. Mozart was an industrious instrumental composer. He enumerates upwards of thirty serenades, "containing instrumental solos," and a long list of symphonies, "some only quartets, others for all the usual instruments"; of {CHILDHOOD.} (10)