task presented. There is no small amount of art required to give the clear-cut outline and well-defined divisions which are essential in works of this kind, and yet to bestow full attention on light and shade and delicate touches of detail. The art consists chiefly in the free disposition of parts, which is partly imitative (where independent movement is necessary) and so managed as also to bestow an original and striking character on the passages which form the accompaniment. This is all the more striking because the limited number of parts only occasionally gives scope for full harmonies, the effect of which must be attained by means of skilful adjustment. It is a task requiring all the resources of art and genius to employ the stiff monotony of broken chords, and at the same time to gratify the sense of hearing by such a sense of harmony as can only be given by the absolutely free play of the different parts. This task is here accomplished with as much ease as was compatible with the limited means at disposal. Variety in form is carefully provided for. The first Duet in G major consists of a broadly-designed allegro, a short, beautiful adagio, and an animated, but more than usually serious rondo; in the second, in B flat major, a light allegro is introduced by a short adagio; then follows an adagio in the form of a Siciliana, and the conclusion is made by very graceful variations. The melodies and harmonies are free and original, the composition is broad, fresh and lively, and a multitude of delicate touches betray the master's hand. Michael Haydn treasured the original as a memorial both of artist and friend, and Mozart himself set considerable store by the work. Mozart found several new inmates in his father's house. "My son is in Vienna, and intends to remain there," writes L. Mozart to Breitkopf (April 29, 1782); "I have therefore arranged that two pupils shall reside with me for their education, viz., the son, twelve years of age, and the daughter, fourteen, of Herr Marchand, theatrical manager in Munich. I hope to make a great violinist and pianist of the boy, and a great singer and pianiste of the girl." These pupils were joined by another of nine years old, Johanna Brochard, daughter of the celebrated actress, who profited by L. {VISIT TO SALZBURG, 1783.} (317) Mozart's instruction during 1783 and 1784.[8] Wolfgang took a lively interest in all this youthful talent. He says of Margarethe Marchand, whom he met afterwards in Munich as Frau Danzi (October 31, 1783): "Her grimaces and affectations are not always pleasant. Only blockheads would be taken in by them. I myself would rather have the most boorish manners than such exaggeration of coquetry." According to what we hear of her performances afterwards, she must have followed good advice and altered her style.[9]