hand-writing in the archives of the Austrian Musikverein; it has many corrections, and the date appended, in a strange hand certainly, but coinciding with the composition, is "d. 25 Januar (Mozart writes Janner), 1768." This quintet, for two violins, two tenors, and violoncello, contains the four principal movements (omitting the second minuet, the romance, and the variations) of the great serenade for wind instruments belonging to the year 1780 (361 K); the substance is here in its integrity, with only the necessary alterations to adapt it for strings. Close examination leaves hardly any doubt that the composition was originally intended for wind instruments; finer effects are produced in the serenade, and are obviously not interpolated; the quintet betrays itself as an arrangement by evident efforts to bring out given effects. Accordingly the serenade must be considered also as a very early work, and the omission of the three movements in the quintet affords no reason for ascribing them to a different period. Nevertheless, the conception and workmanship of these movements, and the scientific mastery of the art therein displayed, belong to the maturity of manhood, and make it difficult to give credence to the handwriting of the manuscript rather than to this internal evidence. L. Mozart's hope of seeing an opera by Wolfgang on the Vienna stage was, as we have seen, destroyed; but he was not altogether deprived of the satisfaction to be afforded him by a public display of his son's genius. They had become acquainted with the celebrated Father Ign. Parhammer, a Jesuit, who had been especially zealous in purifying the land since the emigration of the Protestants from Salzburg in 1733; [48] he took a prominent position in Vienna, and became father confessor to the Emperor Francis I. in 1758. In the following year he was made director of the Orphan Asylum, which he extended and reorganised with remarkable activity, making it at length one of the most noted of such institutions.[49] In all similar institutions conducted by the Jesuits in Germany, the musical education of the orphans was {THE FIRST OPERA IN VIENNA.} (96)