Mozart, who executed this work with loving care, composed both choruses twice over. The first chorus, in the earlier and completely carried-out attempt, has essentially the same features as the later, only the solo parts are simpler and without the delicate accompaniment which gives them their chief charm. The voices are only altered in the details of the main portions of the chorus, but the orchestra is subjected to a thorough elaboration. At first there were no flutes, and the addition of these has given to the oboes a different position and in many ways caused a different grouping of the instruments. But, apart from this, there are so many improvements in detail that this work may be considered as a regular study in instrumentation. The difference between the two versions of the second chorus are more essential. Only the beginning and the fundamental ideas of some of the subjects in the first attempt are identical with the later elaboration. The working-out is quite different, not only much shorter, but in every respect scantier and less important; and more especially are the orchestral parts far removed from their present rich perfection. Mozart did not even finish this first attempt; it breaks off in the middle of the last passage, although only a few bars are wanting. The difference in the elaboration proves once more that the true gift of an artist consists in the unerring judgment with which, after no matter how many experiments in the process of his work, he seizes in the end on what is best for his purpose. It is instructive to follow the progress of development from the earlier ideas and attempts--in the second chorus the main features are more carefully perfected, in the first the details. The magnificent effect of these two choruses seems to have suggested the idea of bringing the drama to an impressive close by means of another chorus. In the place of the instrumental movement which represented Pheron's death, there was introduced a short exhortation by the High Priest to fear the Divine wrath, which is taken up by the chorus, and passes into joyful trust in the protection of the Almighty. Mozart's composition (to words provided by a Salzburg {ZAIDE, 1780 (1779-Einstein:"Mozart")} (115) local poet--perhaps by Schachtner)[26] is altogether worthy of the two first hymns. The bass solo of the High Priest foreshadows the Commendatore in "Don Giovanni." The chorus which follows gives the right expression of humble reverence on the part of the bystanders; and the cheerful dignity of the conclusion is quite appropriate when we take into account that the chorus was intended for the stage and not for the church. Another composition falling within Mozart's present residence at Salzburg is a German operetta, for which honest Schachtner provided the libretto. It was almost finished when Mozart went to Munich in November, 1780.