His father wrote (December 11, 1780) that nothing could then be done with "Schachtner's play" on account of the public mourning at Vienna. This was all the better, since "the music was not quite ready." But Wolfgang begs him (January 18, 1781) to bring with him "Schachtner's operetta." "People come to see Cannabich, with whom the hearing of such things does not come _mal ä propos_." Later on the father revived the idea of producing the operetta in Vienna, but Wolfgang answered (April 18,1781): "Nothing can be done with Schachtner's operetta, for the same reason that I have often given before. I could not contradict Stephanie; I could only say that the piece--except the long dialogues, which could easily be altered--was very good, but not suited for Vienna, where they only care for comic pieces." There can be no doubt that this is the opera[27] in two acts, without a title, preserved in Mozart's carefully executed original score, and complete all but the overture and the conclusion (344 K.), which was published by André, with the {COURT SERVICE IN SALZBURG.} (116) suitable title of "Zaide."[28] The handwriting, style, and instrumentation, as well as some special circumstances to be presently noted, prove this beyond a doubt. The plot may be conjectured in its general features by the songs and music: [29]-- Gomaz has been betrayed into the power of the Sultan Soliman and set to servile tasks. He has won the love of Zaide, who is in the seraglio of the Sultan, but the passion of the latter for her affords little hope to the lovers. Finding Gomaz, overcome with toil, asleep in the garden, she leaves him her likeness. This leads to a declaration of their mutual love. To them attaches himself Alazim, the Sultan's favourite, and apparently the overseer of the slaves, who represents the humane and enlightened Mussulman. He procures for them Turkish dresses, and accompanies them in their flight. At the beginning of the second act we find the Sultan in violent wrath at the treachery he has just discovered. He rages against the fugitives, whom Zaram undertakes to pursue and capture. They are, in fact, soon brought back, and Soliman is not moved to clemency either by the prayers and constancy of Zaide, or by the exhortations of Alazim. In what way a happy _denouement_ is at last brought about cannot be conjectured.[30] This serious operetta is written in the manner and after the scale of the vaudeville of the time; it does not depend upon the executive powers of the performers nor upon large expedients, and the standard throughout is a modest one. The orchestral combinations prove that it was intended for performance in Salzburg, and the treatment of the separate parts may have had reference to the available _personnel_. {ZAIDE--AIRS.} (117)