The Kyrie is the terzet (10) "Soave sio il vento," transposed into C major and turned into a four-part chorus by the addition of a tenor part, and with two flutes to fill in the harmonies. Christe eleison is the first movement of the duet (4), "Ah guarda sorella," transposed into G major, for soprano and tenor, with two oboes and two horns, shortened here and there, and the ritomello placed at the end. At the beginning of the Gloria, after a few unimportant bars by the adapter, the motif of the first chorus of the second finale is made use of (p. 230); then follow for the Gratias agimus the first seventy bars of the air (11) "Smanie implacabile" as a soprano solo in F major. The Qui tollis consists of seven bars not borrowed, but at the Miserere occur four bars from the first finale (p. 115), "Ed il polso," and after the repetition of the original Qui tollis at the word "suscipe," the first finale (p. 115), "Ah se tardo," is continued to the end of the movement. "Quoniam tu solus" to the end of the Gloria is the terzet (3) "Una bella serenata," unaltered up to the addition of the fourth part in the tutti passages; the closing ritornello is omitted. In the Gloria, flutes, oboes, horns, and drums and trumpets are employed in the customary alternations. Sanctus and Osanna are the andante of the first finale shortened by six bars, transposed into C major, and the parts rather differently arranged to suit the words. Benedictus is the duet and chorus (21) "Secondate," transposed into F major, and accompanied by stringed instruments flutes, and oboes; the chorus enters at "Osanna." Agnus Dei begins with eleven original bars, then follows "Idol mio" from the second finale, with the part of Despina omitted. Dona nobis is the closing ensemble of the opera. I gather from a letter addressed to G. Weber that Zulehner was of opinion that Mozart wrote the Mass before the opera; that, on the contrary, the Mass was pieced together from the opera by some church musician, no external evidence is required to prove.
APPENDIX III. PORTRAITS OF MOZART.
HE earliest portrait of Mozart, a half-length in oils, now in the
Mozarteum, lithographed in Nissen, represents him as a boy of seven years old, standing near the clavier, clad in the violet gold-laced court dress of the Archduke Maximilian, which had been presented to him in 1762 (Vol. I., p. 28). His hair is frizzed and powdered, his hat under his arm, his sword by his side; his left hand is thrust into his vest; his right on his side. The round good-humoured boyish face, with its candid eyes, looks out as if from a disguise. During the stay of the Mozart family in Paris in 1763, an accomplished admirer, L. C. de Carmontelle, painted them in a group; the picture was engraved by Delafosse in small folio, with the title under:—
"LEOPOLD MOZART, Père de MARIANNE MOZART, Virtuose ägée de onze ans, et de J. G. WOLFGANG, Compositeur et Maître de Musique ägé de sept ans."
Wolfgang, finely dressed and frizzed, is sitting at the harpsichord in a pillared hall, apparently open to the air, and playing from some open music. The little head is evidently a good likeness, and there is a charming expression of earnest attention. His father stands close behind him, and accompanies on the violin; the sister is standing on the other side of the harpsichord, turning towards her brother and singing from some music. In the same year a small oil picture, containing many figures, was painted; it was formerly in the gallery of the Duke of Rohan-Chabot at Schloss-Rurik, and is now in the Museum at Versailles. Mozart is seated at the clavier, on which a "basse de viole" is lying, and playing or singing; he is accompanied on the guitar by the opera-singer Veliotte. The Prince de Beauveau, in a cherry-coloured coat decorated with the blue Grand Cross, is seated behind the young musician, glancing absently at a paper which he holds in his left hand. The Chevalier de la Laurency, gentilhomme to the Prince de Conti, is standing in a black velvet coat behind Mozart's chair; the Prince de Conti is talking to M. de Trudaine; Mdlle. Bagaroty is standing before a group of ladies, viz.: Madame la Maréchale de Mirepoix, Madame de Viervelle, Madame la Maréchale de Luxembourg, and Mdlle. de Boufflers, afterwards Duchesse de Lauzun. The Prince d'Henin is preparing tea, while listening attentively to Mozart's music. In another group are Dupont de Velse, brother to M. d'Argentai; the Countesses Egmont, mother and daughter, and President Henaut at the fireplace.
