There was little demand in Vienna, therefore, for the compositions which Hiller's successful enterprise with German opera had brought into being; the works of men such as Benda, Schweitzer, Wolf, Neefe, André, and Reichard; their operas were not performed, and still less was there any prospect of a field for their future labours in Vienna. Schweitzer was not summoned, in spite of Wieland's pressing recommendation (Vol. I., p. 406). G. Benda had shown himself not disinclined to remove to Vienna,[24] and report had pointed to him as probable kapellmeister in 1778,[25] but he had never been seriously thought of. It appeared, therefore, that a most fitting career stood open for Mozart, and he himself wished nothing more than to prove his powers in this branch of his art. He had brought with him his operetta {FIRST ATTEMPTS IN VIENNA.} (194) "Zaide," in the hope of having it performed. The libretto, as he had feared, proved a stumbling-block (Vol. II.,p. 115); but the younger Stephanie, at that time inspector of the opera, formed so favourable an opinion of the music, that he promised to give Mozart a new and good piece, which he was to compose for the Vienna stage. His father warned him that Stephanie was not to be depended upon; and he was right. Stephanie the younger was an arrogant, selfish man, who had made himself hated everywhere by his intrigues and pretensions. Mozart knew that he was in ill repute, and was upon his guard. He resolved to write no opera without the express commission of Count Rosenberg, who had had supreme direction of the theatre since 1776; but Stephanie continued friendly, and there seemed no actual cause for personal distrust. Count Rosenberg had received Mozart well whenever he had waited upon him, and had joined in the applause of other connoisseurs upon the occasion of the performance of "Idomeneo" at the house of Countess Thun, Van Swieten and Sonnenfels being also among the audience. It was not long, therefore, before Mozart was able to announce to his father the good news (June 9, 1781) that Count Rosenberg had commissioned Schroder, the distinguished actor, to look out a good libretto, which was to be given to Mozart for composition. A few days afterwards Stephanie told him of a piece he had found in four acts, of which the first was excellent, but the others fell off, so that it was doubtful whether Schroder would undertake the adaptation of it. "They may settle that between them," wrote Wolfgang (June 16, 1781). The book was rejected, but the matter did not rest; the Emperor was evidently anxious to give Mozart an opportunity of trying his powers as a German operatic composer; and at the end of July the latter found himself at the goal of his wishes, and able to inform his father (August 1, 1781):--