[Footnote 7: Gemmingen's "Serairamis" was not, as far as I am aware, printed; and I know nothing further of Mozart's composition. We find on p. 137 of the Theaterkalender for 1779: "Mozart... Kapellmeister zu Salzburg; _setzt_ an 'Semiramis,' einem musikalischen Drama des Frh. von Gemmingen"; which must be a private communication. In following years it is regularly included among Mozart's finished compositions, but I have found no notice of its performance nor any other mention of it except that Gerber includes it among Leopold Mozart's posthumous works, with "Bastien and Bastienne" and the "Verstellte Gärtnerin." I mention this only to illustrate the fact that many of Mozart's earlier works were ascribed to L. Mozart after his death. But "Semiramis" was undoubtedly Mozart's own composition. How it happened that it did not remain in his hands, and pass into André's possession with his papers, I cannot explain] [Footnote 8: A somewhat extraordinary musical enthusiast, Frh. von Boecldin, writes of Aloysia that she "performed marvels with her delicate throat," and that her voice resembled a Cremona violin, and her singing was more expressive and affecting than that of Mara (Beitr. zur Geschichte der Musik, p. 18).] [Footnote 9: So Nissen narrates (p. 415), and further informs us that Mozart came to Munich with black buttons on his red coat, after the French fashion of showing mourning. Aloysia does not seem to have liked this.] CHAPTER XXI. COURT SERVICE IN SALZBURG. MOZART was welcomed to the paternal roof with open arms; everything was prepared for his reception; "a convenient cupboard and the clavichord were placed in his room," the cook Theresa had cooked capons without number, the high steward Count von Firmian (Vol. I., p. 345) offered him his horses, and Dr. Prexl also placed his "beautiful {MOZART'S DISTASTE TO SALZBURG.} (85) bay mare" at his disposal; in short, Mozart's return home was a happy and triumphant event to all the good friends of his youth. We know the feelings with which he returned. Disappointed in his hopes of rapid and brilliant success, he returned to the old condition of things, and the yoke must have pressed on him all the more heavily now that his illusions were dispelled and he no longer saw a prospect of shaking it off. He had buried his mother in a foreign land, and his warm true heart had been deceived in its first love; in poverty he returned to his father's house. He was not in a position to see as clearly as we do how powerfully his added experience of life and manifold artistic impressions had contributed to his moral and mental development, and he could scarcely be expected to look to this development for the strength and courage necessary to face the future.