Try to keep your orchestra in good humour--flatter them, and make them devoted to you by praising them; I know your way of writing, and the unceasing and close attention it exacts from all the instruments; it is no joke for the orchestra to be kept on the stretch of their attention for three hours and more. Every one, even the worst fiddler, is touched by being praised _tête-ä-tête_, and becomes more and more attentive and zealous; and these courtesies cost you nothing but a few words. But you know it all yourself; I only tell you because such things are often forgotten at rehearsal, and you will need the friendship and zeal of the whole orchestra when the opera is in scena. The position is then altered, and the player's attention must be much more intent. You know that they cannot all be friendly towards you. There is always a _but_ and an _if_ to be met with. You say people doubted whether the second act would come up to the first. This doubt being relieved, few will have misgivings for the third act. But I will wager my head that there will be some who will doubt whether the music will be as effective in the theatre as in a room; and in that case the greatest zeal and goodwill are necessary on the part of the orchestra. But the opera was not ready yet; there was to be no ballet, only a divertissement fitting into the plot, and this Mozart was, as he expressed it, to have the honour of composing (December 30, 1780). "I am very glad of it," he adds, "for then the music will be by _one_ master." He was {IDOMENEO.} (140)