Archbishop Sigismund, incredulous of Wolfgang's powers, caused him, so Barrington says, to be locked up for a week, seeing no one, during which time he was to compose an oratorio, for which the Archbishop provided the subject. Wolfgang stood the test triumphantly, and the oratorio was publicly performed, with great success, during Lent, 1767. This composition (35 K.) was printed in Salzburg (1767) with the title:-- {STUDY IN SALZBURG.} (52) The Obligation of the First and Greatest Commandment, Mark 12, v. 30: Thou shalt love the Lord Thy God with all thy hearty with all thy mind, with all thy soul, and with all thy strength. [See Page Image] After this preface, the declaration "that there is no more dangerous state for the soul than lukewarmness in the work of salvation" is given as a reason for this musical representation "by which it is intended not only to delight the mind but to elevate the soul." In the first part the understanding and judgment of the lukewarm Christian are stirred by the loving and indefatigable zeal of the Christian Spirit, with the assistance of Divine Mercy and Justice. In the second part, right {FIRST ORATORIO, 1767.} (53) judgment is victorious, the will is prepared for surrender, to be finally and completely freed from fear and wavering in the third and last part. The verses, richly garnished with Latin texts, have quite the prosaic bombastic character of the period. Mozart's original score[6] has the title in his father's writing: "Oratorium di Wolfgango Mozart composto nel mese di Marzo, 1766." As they were then in the Netherlands, we must suspect an error. But the date 1766 is established by the "10 years old" on the title-page; he must have set to work immediately after his return, quite at the end of 1766, and the representation must have taken place in March of the following year. The score, which fills 208 pages, bears unmistakable traces of boyish workmanship in the blotted notes, and in the uncertain writing and spelling of the text of the songs (that of the recitatives is in another and a firmer handwriting), but there is not a sign of boyishness in the music itself. The whole composition is modelled on the Italian oratorio, and shows a complete mastery of its forms. The introductory symphony is an allegro in the usual two parts, simple in its execution, and with no actual thematic elaboration, but precise and well rounded. The dialogue is in recitative, and maintained throughout with correct declamation, here and there displaying a fine sense of fitting expression, which tells more for the independent power of comprehension than even the surprising technical skill exhibited. Here and there comes an accompanied recitative, with an effort after originality, depending chiefly on the expression of the words, which are poor stuff in most cases. For instance, after the lines--