The late organist of the Trinitatiskirche, Schultz, delighted as an octogenarian to recall how Mozart, who visited his father and played the organ with him, censured the slow tempi of the Kapellmeister Fränzel at the rehearsal in the theatre, and gave it himself with more animation. Otherwise, Mozart pronounced himself highly satisfied with the cast and the performance.[ 16 ]
At Munich, where Mozart arrived on October 29, and took up his quarters with his old friend Albert,[ 17 ] he found still more of the old set, and his letters to his wife show the pleasure he took in their society. Here at last he had the gratification of being requested by the Elector to play at the concert which was given at court to the King of Naples, who was staying at Munich for two days[ 18 ] on his return journey from Frankfort. "Highly creditable to the Vienna court," he writes, "that the King should hear me in a foreign country." Shortly after Mozart's return to Vienna Salomon arrived from London, and made what might at that time be considered brilliant proposals to Haydn to accompany him to England, and produce that series of compositions for the Philharmonic Society which were destined to lay the foundation of Haydn's fame and prosperity. Salomon made repeated propositions to Mozart also to undertake the journey to London under similar conditions, as soon as Haydn should return. It was with a heavy heart that Mozart bade adieu to his dear "Papa Haydn," the only artist in Vienna who really understood him and wished him well.
It may safely be asserted that Mozart did not return to Vienna with a full purse, nor did his other financial operations secure for him that for which he so touchingly expresses to his wife his ardent longing: a mind free from anxiety, and permission to work—only to work. He did work, though, LABOUR AND POVERTY. after his return, and the last year of his life displays an activity which passes belief. His own list contains:—
1790. December. A quintet for two violins, two violas, and violoncello D major (593 K.).
1791. January 5. A pianoforte concerto, B flat major (595 K.).
January 14. Three German songs (596 K.).
January 23, 29; February 5, 12, 28; March 6. Dances (599-607, 609-611 K.).
March 3. A piece for clockwork, in F minor (608 K.).
March 8. A bass air with obbligato double-bass, for Hrn. Görl and Pischlberger, "Per questa bella mano" (612 K.). Variations for the piano on the song "Ein Weib ist das herrlichste Ding" (613 K.).
April 12. A quintet for two violins, two violas, and violoncello, in E flat major (614 K.).