The kapellmeister, Holzbauer, has sent a Miserere; but the Mannheim chorus being weak and bad, while here it is good and strong, his choruses make no effect; therefore M. le Gros has commissioned me to write other choruses. Holzbauer's introductory chorus remains; the first by me is "Quoniam iniquitatem meam ego," &c., allegro; the second, adagio, "Ecce enim in iniquitatibus"; then, allegro, "Ecce enim veritatem dilexisti," up to "ossa humiliata." Then an andante for soprano, tenor and bass soli, "Cor mundum créa"; and "Redde mihi lætitiam," allegro as far as "te convertentur." Then I have done a recitative for the basses, "Libera me de sanguinibus," because it is followed by a bass song by Holzbauer, "Domine, labia mea." In the same way, because "Sacrificium Deo, spiritus" is an andante tenor air for Raaff, with solo oboe and bassoon, I have added a little recitative, "Quoniam si voluisses," also with oboe and bassoon concertante: recitatives are very much in vogue here. "Benigne fac" up to "muri Jerusalem," andante moderato, chorus. Then "Tunc acceptabis" to "super altare tuum vitulos," allegro, tenor solo (Le Gros), and chorus together.[3] I must say I am glad I have finished this work, for it is confoundedly awkward when one is in a hurry with work and cannot write at home. But it is finished, thank God, and will, I think, make an effect. M. Gossec, whom you must know, told M. Le Gros, after seeing my first chorus, that it was charming, and would certainly tell in performance; that the words were well arranged, and admirably set to music. He is a good friend of mine, but a dry, reserved man. That this scampering work (for Mozart was only a few {COMPOSITIONS FOR THE CONCERT SPIRITUEL} (39) days over it) should form his _début_ before the French public caused his father great uneasiness; but it was uncalled for, for in his next letter Wolfgang informs him (March 1, 1778) I must tell you, by the way, that my chorus work came to nothing. Holzbauer's Miserere is too long as it is, and did not please; besides which, they only performed two of my choruses instead of four, and left out the best. It did not much matter, for many people did not know that they were mine, and many more never heard of me. Notwithstanding, they were highly applauded at rehearsal, and, what is more important (for I do not think much of Parisian applause), I liked them myself. Another work was occasioned by the presence of the Mannheim performers, with whom was associated the celebrated hornist, Joh. Punto (1748-1803), who in Mozart's opinion "played magnificently." Mozart set to work at a Sinfonie Concertante for flute (Wendling), oboe (Ramm), French horn (Punto), and bassoon (Ritter), which was to be performed at one of the concerts. But he was soon obliged to write to his father (May 1, 1778):--