The duet between Melia and Apollo shows most dramatic talent, being the only expression of an exciting situation and contrasting emotions. The recitatives are not distinguished by characteristic expression in the same degree as those of the sacred pieces; they are easy and flowing, but quite in the style of the ordinary recitative of Italian opera; no doubt because Mozart felt that such an expression of feeling as suited the elevated, lyrical emotions of the cantata was unsuited to the dialogue of an opera. It is an astonishing proof of the productiveness and constant industry of the young composer that, between December and May, three important works were completed and performed. In the summer of 1767 we find him preparing {VIENNA, 1767.} (63) [See Page Image] for a journey to Vienna, and composing four clavier concertos (37,39-41 K.), in F (April), B flat ( June), D and G major ( July), with the usual orchestral accompaniment; once, only, trumpets are added. The form is the usual one in three movements, like the symphony. The compositions are not above the ordinary level, and have little either of original or technical interest. It is noteworthy that even in these works, which were to serve as show pieces, we can trace no signs of boyish pleasure in odd or artificial effects; the love of tuneful melody, and the endeavour to blend the orchestra and the solo part into an harmonious whole, are as observable in his first compositions as in his last. FOOTNOTES: [Footnote 1: A marvellous account is given in the Historisch moralischen Belustigungen des Geistes (Hamb., 1765), Stüclc VII. Aristide ou le Citoyen, XVI. discours du 11 Octobre, 1766 (Lausanne). Hiller wöch. Nachr., 1766,1., p. 174.] [Footnote 2: Those who please can make an approximate calculation from L. Mozart's different entries, of the whole sum received and expended on the tour. The children received so many presents in jewellery and trinkets that they might have set up a shop with them.] [Footnote 3: So says Marianne Mozart (A. M. Z., II., p. 300).] [Footnote 4: L. Mozart, who was well versed in theoretical literature, possessed the original edition in Latin. (Vienna, 1725.)] [Footnote 5: According to Kochel's probable conjecture, Joh. Adam Wieland was born 1710; Curate in 1734; Vicar of Gotting and Anthering, 1766; Pastor of Friedorfing, 1767; and died, 1774.] [Footnote 6: The autograph was found by F. Pohl, in the Royal Library at Windsor, A. M. Z., 1865, p. 225.] [Footnote 7: The Agnus of L. Mozart's Lauretanian Litany in E flat major is a solo, with obbligato alto trombones.] [Footnote 8: These traditions, resting on the authority of Max Keller, the Hofkapell-organist at Altötting, are alluded to by Prof Schafhutl in his preface to the Offertorium, published at Munich, 1851.] [Footnote 9: Hist. Univ. Salisb., p. 110.] [Footnote 10: A list of the pieces produced from 1621 to 1727 is given in Hist. Univ. Salisb., p. 112.] ==== MOSART By Author