Scan 47
STOKES ENCYCLOPEDIA OF MUSIC AND MUSICIANS VOLUME II, 1908
2 lines. Read by computer on 16 September 2026. No printed page number was found. See the scan on archive.org.
1vironment. When he at last presented his resignation, he was literally kicked out of the palace by the Archbishop's steward, Count Arco. These years of servitude, however, were spent in hard study and creative work. "Lucio Silla," produced at Milan, Dec. 26, 1772, under the composer's direction, like the earlier opera composed for that cultivated city, had 20 repetitions. The symphonies, 181, 182, 183, 184; the divertimenti, 186, 187, 188; the mass, 167; the concerto for two violins, 190; the serenata, 185; the Pater Domenicus Mass, 66; the string quartet, 174; the masses, 192, 194; the litany, 195; the offertory, 198; the bassoon concerto, 191; the symphonies, 199, 200, 201, 202; the serenatas, 203, 204; the divertimento, 205; and the variations on Fischer's minuet, 179, were all completed before the close of 1773. The opera "La finta Giardiniera" was produced with success at Munich in 1775, as well as his "Misericordias Domini," 222, composed by order of the Elector. The same year at Salzburg, his mass, 220; the airs for tenor, 209, 210; the air for soprano, 217; the vocal canons, 226 to 234; and the violin concertos, 207, 211, 216, 218, 219, had their first hearing. To the formidable list of works already enumerated, Mozart added during 1777, when in his 21st year, the masses, 257, 258, 259, 262, 275; "Venite populi," an offertory for two choirs, 260; the litany, 243; the serenade, 249-250; a serenade for two violins and accompaniment, 239; the divertimento; the notturno, 286; the divertimenti for string quartet and two horns, 247, 287; the wind sextets, 240, 252, 253, 270, 289; a sonata for bassoon and 'cello, 292; the oboe concerto, 293; the variations for piano, 264, 265; and the sonatas, 238 to 246; the concerto for three pianos, 242; and the organ sonatas, 241, 244, 245, 263, 274, 278. Having obtained the reluctant consent of the Archbishop, Mozart, this time accompanied by his mother, set off on a concert tour in the fall of 1777. While at Mannheim he met the Weber family, and fell in love with Aloisia, whose sister afterwards became his wife. There he composed the soprano air, 292, for her; and the tenor air for Raaff, 295; the flute pieces, 313, 314, 315; the quartet for flute and strings, 285; the piano sonatas, 309, 310, 311; and the sonatas for violin and piano, 296, 300 to 306. Arriving in Paris in Mar., 1778, Mozart found the musicians too busily engaged in the rivalry of Gluck and Piccinni to pay him much attention. He had the misfortune to lose his mother, July 3, 1778, and after this bereavement his father urged him to return to Salzburg. A concerto for flute and harp, 299, 12 numbers for Noverre's ballet "Les petits riens," and the Paris or French symphony, 297, were the output of this sojourn in the French capital. In 1779 he was home again, organist as well as concertmeister to the Archbishop, but fired with ambition for the stage, brought about by association with Schikaneder. Music for the play "Thamos," and the opera "Zaide," which waited for its performance until 1866 (Frankfort), were the only immediate dramatic works, but in other lines he was more prolific. The masses, 317 ("Coronation"), 337; the Kyrie, 323; the canons, 347, 348; the symphonies, 319, 338; the "Villanella rapita" overture, 318; the duo concertante for viola and violin, 364; the serenades, 320, 361; the piano sonatas, 330 to 333; the divertimento for two horns and string quartet, 334; variations for violin and piano, 359, 360; the four-hand sonatas, 357, 358; the concerto for two pianos, 365; the organ sonatas, 328, 329, 336; the Kyrie, 341; the concert aria, 369; and the quartet for oboe and strings, 370, were completed by 1781. Then Mozart began work on his opera "Idomeneo" for the carnival at Munich. Recalled from Munich, where he had gone with his father and sister to attend the production of this work, Mozart was compelled to attend the Archbishop at Vienna, where, after repeated humiliations, as already related, he left that prelate's service, June 8, 1781. His contest at the piano with CLEMENTI, in which
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