L. Mozart answered at once that his son might rely on the most loving welcome, and that everything would be done to entertain him; the autumn festivities and quoit prize-meetings had been postponed on his account. But he bids him observe that his long delay, the appointment being already four months old, is beginning to make the Archbishop impatient, and it must not go so far as to cause him to draw back in his turn. To this Wolfgang answered (January 8,1779):-- I assure you, my dear father, that I feel only pleasure in coming to you (not to Salzburg) now that I see by your last letter that you have learnt to know me better. There has been no other cause for this last postponement of my journey home than the doubt I felt (which, when I could no longer contain myself, I confided to my friend Becke) as to my reception. What other cause could there be? I know that I am not guilty of anything that should make me feel your reproaches. I have committed no fault (for I call that only a fault which is not becoming to an honourable man and a Christian). I look forward with delight to many pleasant and happy days, but only in the society of you and my dear sister. I give you my honour that I cannot endure Salzburg and its inhabitants (that is, natives of Salzburg). Their speech and their way of living are thoroughly distasteful to me. {THE RETURN HOME.} (80) Mozart had other causes than this for despondency; before he left Munich he was destined to be painfully undeceived. He had been kindly welcomed by the Webers, who insisted on his staying with them; Aloysia had made striking progress as a vocalist, and Mozart, as might well be expected from him, rendered anew his musical homage to her by writing for her (li 8 di Gennaio, 1779) a grand aria (316 K.). He had designedly chosen as a subject the recitative and air with which Alceste first enters in Gluck's Italian opera; Schweitzer's "Alceste" had been performed in Munich, so that Mozart entered the lists with both composers. In order to provide his friends, Ramm and Ritter, with a piece of brilliant execution, he made the oboe and bassoon accompany obbligato, and emulate the voice part. The song is admirably adapted for a bravura piece, affording to the singer an opportunity for the display of varied powers and great compass, together with artistic cultivation of the voice. The recitative may be considered as an attempt at dramatic delivery of a grand and dignified kind; the song itself affords in both its parts, Andante sostenuto e cantabile, and Allegro assai, the most charming instances of sustained singing and brilliant execution. It is written for a high soprano, seldom going so low as [See Page Image] generally upwards from What is expected of the singer in the way of compass and volubility may be judged by passages such as--[See Page Image] {AIR FOR ALOYSIA WEBER.} (81) in the Allegro. But the importance of this song does not depend alone on the brilliancy of its passages.