May 16. Quintet, G minor (Vol. III., p. 20) (516 K.).
May 18, 20, 23, 26. A song on each (517-520 K.).
May 20. A piano sonata for four hands, in C major (521 K.).
June 11. A musical jest (Vol. II., p. 367, 522 K.).
June 24. Two songs (523, 524 K.).
August 10. Serenade (525 K.).
August 24. Pianoforte sonata with violin, in A major (526 K.).
These were probably all composed for social or teaching purposes; even the two quintets, which are worthy of the first rank, were no doubt written to order for a particular musical circle. Nor were these compositions to the taste of the Viennese public of the day. The traveller already mentioned notes as follows:[ 9 ]—
Kozeluch's works hold their ground, and are always acceptable, while Mozart's are not by any means so popular. It is true; and the fact receives fresh confirmation from his quartets dedicated to Haydn, that he has a decided leaning to what is difficult and unusual. But on the other hand, how great and noble are his ideas—how daring a spirit does he display in them!
The amount of industry with which Mozart worked at "Don Giovanni" is unknown to us. We may conclude that, if he followed his usual habit, he plunged eagerly into his new libretto at first, and afterwards procrastinated over DON GIOVANNI. the actual transcription of his ideas. The received tradition represents him as bringing the unfinished opera to Prague in September, 1787,[ 10 ] and completing it, incited by intercourse with the intended performers and the stimulating society of his enthusiastic friends and admirers.[ 11 ] The impresario, who was bound to provide accommodation for the composer until after the performance, had lodged Mozart in a house, "bei drei Löwen" (on the market-place).[ 12 ] He preferred, however, the vineyard of his friend Duschek at Kossir (Kosohirz); and the summer-house and stone table are still shown at which he used to sit writing his score, with lively talk and bowl-playing going on round him.[ 13 ] All such stories as those of the delicate diplomacy with which Mozart apportioned the several parts to the satisfaction of the performers, of his having been obliged to appease L. Bassi, indignant at Don Giovanni having no proper grand air to sing; of his having composed "La ci darem la mano" five times before he could satisfy the singers,[ 14 ] repose on the same foundation as those of his PERFORMANCE IN PRAGUE, 1787. love-making with the female performers.[ 15 ] As to this, we know his relations with the Duscheks; Teresa Saporiti is said to have expressed her surprise that so great an artist should be so insignificant in appearance; whereat Mozart, touched on his weakest point, diverted his attentions from her and bestowed them on Micelli or Bondini—there were no other female artists in Prague at that time. We are unfortunate in having no information as to the influence exerted on the details of the composition by the idiosyncracies of the singers and other circumstances. Two anecdotes obtained credence at the time, both relating to the rehearsals for which Da Ponte had also come from Vienna;[ 16 ] he was lodged at the back of the inn "Zum Platteis," and the poet and composer could converse with each other from their respective windows.
