Nevertheless, these Masses show more plainly even than earlier works of the same kind how the fetters of outward control check the impulses of inner strength and feeling. We see Mozart as it were in court dress; he is expert enough to move in it with tolerable freedom, but he is disguised rather than clothed. Conventional influence is most apparent in the instrumentation, which, as a whole, is little different from that of the earlier works. Some passages are remarkable even in their instrumentation; for instance, the Et incarnatus and Crucifixus of the first Mass have an expressive violin passage, and in the second the treatment of the wind instruments in the Crucifixus and Resurrexit, and the organ, oboe, and bassoon in emulation with the voice in the Agnus Dei, remind us of Mannheim. But these are details, and in its general features the tone-colouring of the orchestra is the same as formerly; rapid violin passages predominate, the trombone follows the voice regularly and _forte_, and so on. But in other respects original features are not wanting, nor even passages of surprising beauty, to which belongs, for instance, the unusually melodious close of the first Mass, in which the Benedictus, {COURT SERVICE IN SALZBURG.} (94) contrary to custom in a serious choral movement, is in strict counterpoint. These are signs of a great genius, which make us regret all the more that the whole work is not dictated and inspired by the same spirit. To this period also, according to the handwriting, belongs a Kyrie sketched by Mozart and not preserved quite complete (323 K.), which has been completed and printed as a Regina coeli by Stadler. It is characterised by a rapid sextole passage which is distributed among the wind instruments in uninterrupted movement. The voices take their own independent course throughout. Among other unfinished attempts by Mozart preserved in the Mozarteum at Salzburg, and both by the handwriting and instrumentation, as well as from other reasons, to be referred to this time, we may particularise the beginning of a Mass with obbligato organ (Anh., 13 K.) and the beginning (two pages) of a Kyrie (Anh., 16 K.), which is in such strict counterpoint that the Mass, if it had been finished, would have been among the most elaborate of them all. But Mozart had neither inducement nor the means for producing such compositions in Salzburg. Two Vespers by Mozart (321, 339, K.), of the years 1779 and 1780, have much the same resemblance in substance and compass to masses that litanies had at an earlier period, but they stand higher in many respects.