As long as Mozart was engaged on the composition and study of his opera he had no time for recreation, and his visits were confined to the Cannabich family. After the performance he refreshed himself by entering with his father and sister into the Carnival gaieties, and by cheerful intercourse with his friends. But the latter did not allow him to remain long in idleness. To please his good friend Ramm he wrote a quartet for oboe, violin, tenor, and violoncello (370 K.), obbligato throughout for the oboe, but otherwise easy and light in design and execution. For his patroness the Countess Baumgarten (Vol. II., p. 132) he composed, on March 8, {PROLONGED STAY IN MUNICH.} (169) 1781, a concert aria (369 K.), "Misera dove son" (from Metastasio's "Ezio," III., 12), which gives a favourable idea of the vocal performances of this lady. It makes no great demands on the compass of the voice or execution, but the recitative and air are both earnest and serious, and require in every respect an excellent delivery. The instrumentation is simple, only flutes and horns being added to the quartet. Mozart's longer stay in Munich was rendered possible by the Archbishop's journey to Vienna, which was probably occasioned by the death of the Empress. He wished to appear with all the pomp of a spiritual prince, and took with him a considerable retinue of courtiers and servants, as well as some of his most distinguished musicians. Wolfgang rejoiced at this fortunate circumstance, and enjoyed himself so much in Munich that he confessed later to his father (May 26, 1781):-- In Munich, it is true, I was a little too gay, but I can assure you on my honour that before the opera was on the boards I went to no theatre and visited no one but Cannabich. I exceeded a little afterwards, I own, but it was through youthful folly. I thought to myself, "Where are you to go to? To Salzburg. Well, then, enjoy yourself while you can!" His father was full of thought for him even now; he wrote from Munich to Breitkopf (February 12, 1781):-- I have long desired that you should publish some work by my son. You will not, I am sure, judge of him now by the clavier sonatas which he wrote while still a child. You cannot have seen a note of what he has written for some years past, unless it may be the six sonatas for clavier and violin which were engraved at Paris (Vol. I., p. 415). We have allowed very little to appear. You might make the experiment with a couple of symphonies or clavier sonatas, or else with quartets, trios, &c. You should only give us a few copies in return, as I am anxious that you should see my son's manner of work. But do not imagine that I wish to over-persuade you. The thought has frequently occurred to me, because I see so much published and in print that moves me to pity.