April 20. Final chorus in the opera "Le Gelosie Villane," by Sarti, for amateurs, "Viviamo felici in dolce contento" (615 K., unknown).
May 4. Andante for a waltz on a small barrel-organ, in F major (616 K.).
May 23. Adagio and Rondo for harmonica, flute, oboe, viola and violoncello in C minor (617 K.).
June 18. In Baden "Aveverum corpus" (618 K.).
July. A short German cantata for solo voice and pianoforte, "Die ihr des unermesslichen Weltalls Schopfer" (619 K.).
A glance at this catalogue is sufficient to prove that he wrote whatever he was requested, either by commission or to please his friends.
For his own playing, no doubt at a concert, he wrote the pianoforte concerto in B flat major, which like most of the compositions of this period, is distinguished by its mild and earnest tone and charming euphony. The two fine quintets for stringed instruments were written "at the earnest solicitation of a musical friend" (Vol. III., p. 18) who was no doubt acquainted with Mozart's poor circumstances, and wished to afford him a worthy opportunity of turning his art to account. The spirit in which Mozart undertook commissions which were often of a very subordinate nature may be best seen in his composition for a mechanical timepiece which was ordered by Count Deym for Müller's art-collection, then attracting great attention. The serious temper which it displays, and BADEN, 1791—STOLL. the thoroughly technical treatment of the composition, betray no evidence of a work merely done to order. Another occasional composition is the beautiful chorus with stringed quartet accompaniment, "Ave verum corpus." Mozart's wife was staying at Baden for the waters in the summer of 1790, and again in 1791, in company with her sister Sophie. There Mozart became acquainted with the schoolmaster and choirmaster Stoll, an ardent admirer, who took pleasure in making himself useful to Mozart and his wife. That Stoll could appreciate the fun of Mozart, in his unrestrained moods, is shown by the superscription of a note (July 12, 1791)—
Liebster Stoll!
Bester Knoll!
Grösster Schroll!
Bist Stemvoll!
Gelt das Moll!
Thut dir wohl!
or by his assurance in another letter: "This is the stupidest letter which I ever wrote in my life; but it is just fitted for you." On the other hand, Mozart was of use to him with his compositions, and lent him, among others, his Masses in B flat major (275 K.) and C major (317 K.) for performance. On one of these occasions the soprano singer turned obstinate, and would not obey Mozart's directions. He sent her away, and gave the part to his little favourite, Antonia Huber, a child of ten or eleven years old, who was often with her brother-in-law Stoll and met Mozart at his house. He practised with the child for a week, and her industry and attention were so great that she performed her part to admiration, and was rewarded by Mozart with "Brav, Tonerl, recht brav!" together with a kiss and a ducat. He used to say to her, "Tonerl, make haste and grow big, and I will take you with me to Vienna."[ 19 ] The "Ave verum corpus" was no doubt composed at Stoll's suggestion during one of these visits to Baden. It bears tokens of haste, but is so full of childlike piety, winning simplicity, and entrancing harmony, LABOUR AND POVERTY. that one seems for the moment transported from all earthly doubts and cares into a region of heavenly calm and peace.
A very different impression is made by the bass air with obbligato double-bass, composed by Mozart for two professional friends. The celebrated double-bass player, Pischlberger, was in Schikaneder's orchestra, and Gerl and his wife (formerly Mdlle. Reisinger) sang at the same theatre. Contemporaries affirmed that the very pretty and attractive woman had completely entangled Mozart in her coils. Be that as it may, this composition was the cause of a connection between Mozart and Schikaneder which was fertile in results to the former.