atron or steward; his spirits were
depressed by trouble, and he grew superstitious over the strange
affair. Near the end of August, he was about to set out for Prague to
attend the coronation of Leopold II., upon which occasion the
composer's music to Metastasio's festival opera was to be performed.
Just as he was stepping into the carriage the mysterious messenger
appeared suddenly and inquired as to the "Requiem," to which Mozart
answered by excuses. "When will it be ready?" "I will work on it
without ceasing on my return." "Good," said the stranger, "I shall
rely on your promise." True to his word, upon again reaching home,
Mozart, though feeling melancholy and far from well, worked steadily
upon the "Requiem." Always cheerful until now, his low spirits
increased, and he imagined that he was writing his own death-mass. In
November, his illness grew alarming, and a consultation of physicians
was held. "Mozart's only consolation during his suffering was to hear
of the repeated performances of 'Die Zauberfloete.' He would follow the
representations in spirit, laying his watch beside him, and saying,
'Now the first act is over. Now they are come to the place, "The great
Queen of Night,"' etc. Only the day before his death he expressed a
wish that he might hear 'Die Zauberfloete' once more. He hummed to
himself the song, 'Der Vogelfaenger bin ich ja.' Capellmeister Roser,
who happened to be with him, went to the harpsichord and played and
sang the song, which appeared greatly to cheer Mozart. Nevertheless,
the 'Requiem' occupied him continually. As soon as he had finished a
piece, he had it rehearsed by the friends who happened to be present.
At two o'clock in the afternoon of the day before his death, Schack,
who was the first 'Tamino,' sang soprano, Mozart himself contralto,
Hofer, his brother-in-law, tenor, and Geri, who was the first
'Sarastro,' bass. At the 'Lacrymosa' Mozart began to weep violently,
and laid down the score. Toward evening, when his sister-in-law,
Sophie Haibl, came in, Mozart begged her to remain and help Constance,
as he felt death approaching. She went out again just to tell her
mother and to fetch a priest. When she returned she found Mozart in
lively conversation with Suessmayer. 'Did I not say that I was writing
the "Requiem" for myself?' he said; and then, with a sure presentiment
of approaching death, he charged his wife instantly to inform
Albrechtsberger, on whom his post