Serenata has cut out Hasse's Opera to an extent I cannot describe.' Besides his fee, the Empress sent him a gold watch set with diamonds, with her portrait at the back. After the opera he composed another symphony (112), and a divertimento (113).
They returned home in the middle of December, 1771. In the last days of the year Wolfgang composed another symphony (114), and was then laid up by serious illness. Meantime the Archbishop died, and Wolfgang was commissioned to compose an opera for the allegiance festival of his successor Hieronymus, Count von Colloredo, whose election caused universal astonishment and dismay. The piece chosen was Metastasio's 'Il Sogno di Scipione,' very inappropriate, and apparently wanting in inspiration, as the music is superficial and entirely 'de circonstance.' It was performed probably in May, 1772. About the same period he composed 4 symphonies (124, 128–130); a grand divertimento (131); 3 quartets (136–138); a very important Litany 'de venerabili' (125); and a Regina cœli (127).
The travellers again set out for Milan on Oct. 24, 1872 [App. p.720 "1772"], and arrived on Nov. 4. Here Wolfgang completed his new opera, 'Lucio Silla' (135), produced on Dec. 26, and repeated more than twenty times to crowded and enthusiastic audiences. Rauzzini was one of the singers, and Wolfgang composed for him a motet, 'Exultate' (165), which he sang in the church of the Theatines.
They returned in the beginning of March 1773 to Salzburg, where Wolfgang composed 4 symphonies (181–184), 3 divertimenti for windband (186–188), a grand concerto for two violins (190), and a mass (167). In the summer the father and son took the opportunity of the Archbishop's absence in Vienna, to go there themselves. Their immediate object is not known, but probably the father was trying to obtain some court appointment. He had made a similar attempt in Florence, but without success. He wrote to his wife and daughter, 'Things will and must alter; take comfort, God will help us.' They returned home however with their object unattained. In Vienna Wolfgang composed a grand serenata for Salzburg (185), and six quartets (168–173), and was 'bold enough,' as his father wrote, to play a violin-concerto at a festival in the Theatine monastery, the organ not being worth playing on. One of his masses (66) was performed by the Jesuits.
In 1773 Wolfgang also composed at Salzburg a string quintet (174), and a P.F. concerto (175), the first since those of 1767. The family were together at Salzburg nearly the whole of 1774, Wolfgang being very busy with his studies, and with composition. To this period belong 2 masses (192, 194); a grand litany (195); 2 vesper-psalms (193); an offertorium for soprano and tenor soli (198); a bassoon-concerto (191); 4 symphonies (199–202); 2 serenatas (203, 204); an interesting divertimento (205), and P.F. variations on Fischer's favourite minuet (179), which he frequently played on his tour.
On Dec. 6 the father and son started for Munich, where Wolfgang was engaged, through the influence of his patron. Count Ferdinand von Zeil, Prince Archbishop of Chiemsee, to compose an opera for the Carnival of 1775. Stimulated doubtless by the rich resources at his disposal, Wolfgang exerted himself to the utmost, and 'La finta Giardiniera' (196), produced Jan. 13, 1775, was a great success. Schubart, who had heard it, speaks of the 'wonderful genius' of the composer, and adds, 'unless Mozart should prove to be a mere overgrown product of the forcing-house, he will be the greatest composer that ever lived.' Court and public vied with each other in paying him attentions, and the court-chapel performed one of his grand litanies (125), his two latest masses, and an offertorium, 'Misericordias Domini' (222), written in haste at the request of the Elector, and an admirable specimen of strict counterpoint.
Soon after their return to Salzburg in March 1775, a series of fêtes were given at court in honour of the Archduke Maximilian, afterwards Archbishop of Cologne, and Wolfgang's dramatic cantata to Metastasio's much-used 'Il Rè pastore' (208) was performed on April 23. To the remainder of this year belong, another mass (220); 2 airs for tenor (209, 210); an air for soprano (217); a divertimento (213); 9 canons for 2, 3, and 4 voices (226–234); and 5 violin-concertos (207, 211, 216, 218, 219), to which a 6th (268) was added in 1776. The concertos show that he was working at the violin, which he did to please his father, as he disliked playing at court, though it was one of his duties. His father writes to him in 1777, 'You have no idea how well you play the violin; if you would only do yourself justice, and play with boldness, spirit, and fire, you would be the first violinist in Europe.' Again, 'I suspect you have scarcely touched the violin since you were in Munich; I should be very sorry if that were the case'; and later, 'The violin is hanging up on its nail, I suppose' and the conjecture was right. The remark about Munich refers to his Cassation (287), 'Everybody was staring away; and I played as if I had been the greatest violinist in Europe.' Later, in Vienna, he preferred taking the viola in quartets.
The whole of 1776, and as far as Sept. 1777, passed quietly in the old routine, numerous compositions testifying to Wolfgang's industry. To this period belong 5 masses (257–259, 262, 275); a litany 'de venerabili' (243); an offertorium for 2 choirs 'Venite populi' (260); a graduale 'Sancta Maria' (273); a serenade for the wedding of Burgermeister Haffner's daughter (249, 250); a serenade for 2 violins principali with accompaniments (239); a divertimento for various instruments (251); a notturno for ditto (286); 2 divertimenti or Cassationen for string quartet and 2 horns (247, 287) for the name-day of Countess Antonie Lodron; 5 divertimenti for 2 oboi, 2 bassoons, and 2 horns (240, 252, 253, 270, 289); a sonata for bassoon and cello (292); an oboe-concerto (293) for Ferlendi, frequently
