s of Germany, and finally reached Paris
November 18, 1763. Here his first compositions were printed--four
concertos for violin. In Paris he was very successful, and the tour
was continued to London, where he published six additional concertos
for violin. By the time he was ten years of age he had written his
first oratorio, and now when he was upon a concert tour he was met with
skepticism and misrepresentations, the claim being put forward that the
compositions being published under his name had really been written for
him by his father, since it was evident from the face of them that no
boy of his age could have composed so well. To counteract these
charges poems were brought to him upon which he had to improvise and
fit the music to the words in the presence of the audience. In 1769 he
went to Italy, where, being now thirteen years of age and
correspondingly mature as compared with his early appearances, he made
a most astonishing success. In Bologna and in Rome as well as in
Venice he was examined by the most eminent theorists in Italy, and
received memberships in the societies of artists, and the Pope made him
a Knight of the Golden Spur. His first opera, "Mitridate," was
composed in 1770, Mozart being then fourteen years of age. The opera
was played twenty times. In Milan, two years later, he composed his
opera "Lucio Silla," and the same year his opera "Idomeneo," for
Munich. His other celebrated operas followed in fairly rapid
succession: "Figaro," 1785; "Don Giovanni," 1787; "Cosi fan Tutte,"
1790, and the "Magic Flute" in 1791. His last was his "Requiem." The
works of Mozart included thirteen operas, thirty-four songs, forty-one
sonatas, thirty-one divertisements for orchestra. The best biography
is that by Otto Jahn.

* * * * *

The epoch of Haydn is a very important one in art, since it was in his
time, and almost entirely by his own work, that the sonata and
symphony, the two most important forms in modern music, were invented
or discovered and brought to something like definite form. Practically
speaking, a symphony is merely a sonata written for orchestra; but the
possibilities of orchestral contrasts and changes in the working out of
the part known as "free fantasia" permits the symphonic composer to
conduct his work in larger lines and carry it to a greater length than
is advisable for the composer of sonatas for a single instrument, in
which monotony of tone-co