The duet between Melia and Apollo shows most dramatic talent, being the only expression of an exciting situation and contrasting emotions. The recitatives are not distinguished by characteristic expression in the same degree as those of the sacred pieces; they are easy and flowing, but quite in the style of the ordinary recitative of Italian opera; no doubt because Mozart felt that such an expression of feeling as suited the elevated, lyrical emotions of the cantata was unsuited to the dialogue of an opera.
It is an astonishing proof of the productiveness and constant industry of the young composer that, between December and May, three important works were completed and performed. In the summer of 1767 we find him preparing VIENNA, 1767. [See Page Image]
for a journey to Vienna, and composing four clavier concertos (37,39-41 K.), in F (April), B flat ( June), D and G major ( July), with the usual orchestral accompaniment; once, only, trumpets are added. The form is the usual one in three movements, like the symphony. The compositions are not above the ordinary level, and have little either of original or technical interest. It is noteworthy that even in these works, which were to serve as show pieces, we can trace no signs of boyish pleasure in odd or artificial effects; the love of tuneful melody, and the endeavour to blend the orchestra and the solo part into an harmonious whole, are as observable in his first compositions as in his last.
CHAPTER IV. THE FIRST OPERA IN VIENNA.
THE approaching marriage of the Archduchess Maria Josepha with King Ferdinand of Naples furnished Leopold Mozart with a pretext for repairing to Vienna with his whole family; this he did in the beginning of September,
1767, with every expectation that the public of that brilliant capital would recognise the progress made by Wolfgang since their former visit.[1]
They travelled quickly; were invited to dine with the Bishop at Lambach; and at the Monastery of Mölk, where Wolfgang tried the organ, his playing was at once recognised by the organist.