Twelve waltzes. N.B.--A country dance, "Der Sieg vom Helden Coburg" (against the Turks, October, 1789) (586, 587 K.). 1791. January 23. Six minuets for the Redoute (599 K.). January 29. Siz waltzes (600 K.). February 5. Four minuets and four waltzes (601, 602 K.). Two country dances. (603 K.). {OFFICIAL AND OCCASIONAL WORKS.} (218) 1791. February 12. Two minuets and two waltzes (604, 605 K.). February 28. Country dance, "II. Trionfo delle Donne" (607 K.). March 6. Country dance, "Die Leyer" (610 K.).[4] Waltz with Leyer-trio (611 K.).[5] No dances are chronicled in 1790, the illness and subsequent death of the Emperor (February 20) having doubtless put a temporary stop to such entertainments. Those in the list are for the most part composed for full orchestra, and those with which I am acquainted make no claim to be considered otherwise than as actual dance music, with pleasing melodies and fresh rhythm--innocent recreations, betraying the master's hand in touches here and there.[6] As the only musical task imposed upon him by virtue of his office, they might well give rise to his bitter remark that his salary was too high for what he did, too low for what he could do (Vol. II., p. 276). A commission more worthy his fame was intrusted to him by Van Swieten, who, having brought with him from Berlin an enthusiastic admiration for Handel's oratorios, sought to introduce them in Vienna. He not only gave frequent concerts at his residence in the Renngasse, for the exclusive performance of classical music, but he arranged grand performances of Handel's oratorios, supported by all the vocal and instrumental forces at his command. He induced several art-loving noblemen (among them the Princes Schwarzen-berg, Lobkowitz, and Dietrichstein, Counts Appony, Batthiany, Franz Esterhazy, &c.) to cover by a subscription the cost of these performances. They took place generally in {ARRANGEMENT OF HANDEL'S ORATORIOS.} (219) the great hall of the Court Library (of which Van Swieten was chief director); sometimes at the palace of one or other of the patrons, and always in the afternoon, by daylight. There was no charge for admission, the audience being invited guests. The performances were arranged according to circumstances, taking place generally in the spring, before the nobility left Vienna for their country estates. The performers were principally members of the Court-Kapelle and of the operatic orchestra, and the preparation was undertaken entirely by Van Swieten, in whose house the rehearsals took place. He himself arranged "Athalia," and very probably also "The Choice of Hercules," for a performance after Mozart's death. The conductorship was at first intrusted to Joseph Starzer, who had arranged "Judas Maccabæus";[7] after his death, on April 22, 1787, Mozart took his place, and young Joseph Weigl accompanied on the pianoforte.[8]