In Paris he at once plunged into work, so that his love-affair was for a time driven into the background.  Compositions for the Concert Spirituel, for the theatre, and for dilettanti, as well as teaching and visits to great people, occupied him.  His mother writes:  “I cannot describe to you how much Wolfgang is beloved and praised here.  Herr Wendling had said much in his favor before he came, and has presented him to all his friends.  He can dine daily, if he chooses, with Noverre [the famed ballet-master], and also with Madame d’Epinay” [Grimm’s celebrated friend].  The mother herself scarcely saw him all day, for on account of their small close apartment, he was obliged to compose at Director Le Gros’s house.  She had (womanlike) written to the father about the composition of a Miserere.  Wolfgang continues the letter, more fully explaining the matter.

101.

Paris, April 5, 1778.

I must now explain more, clearly what mamma alludes to, as she has written rather obscurely.  Capellmeister Holzbauer has sent a Miserere here, but as the choruses at Mannheim are weak and poor, whereas here they are strong and good, his choruses would make no effect.  M. Le Gros (Director of the Concert Spirituel) requested me therefore to compose others; Holzbauer’s introductory chorus being retained.  “Quoniam iniquitatem meam,” an allegro, is the first air by me.  The second an adagio, “Ecce enim in iniquitatibus.”  Then an allegro, “Ecce enim veritatem dilexisti” to the “ossa humiliata.”  Then an andante for soprano, tenor, and bass Soli; “Cor mundum,” and “Redde mihi,” allegro to “ad se convertentur.”  I also composed a recitative for a bass air, “Libera me de sanguinibus,” because a bass air of Holzbauer’s follows.  The “sacrificium Deo spiritus” being an aria andante for Raaff, with a hautboy and a bassoon solo obligato.  I have added a short recitative with hautboy and bassoon, for here recitative is much liked.  “Benigne fac” to “muri Jerusalem” andante moderate.  Chorus.  Then “Tunc acceptabis” to “super altare,” allegro and tenor solo (Le Gros) and chorus.  Finis. [None of this music is known.]

I must say that I am right glad to have done with this task, for it is really detestable not to be able to write at home, and to be hurried into the bargain; but now, God be praised! it is finished, and I hope it will make some effect.  M. Gussec, whom you no doubt know, when he saw my first chorus, said to Le Gros (I was not present) that it was charming, and could not fail to be successful, that the words were so well arranged, and, above all, admirably set to music.  He is a kind friend of mine, but very reserved.  I am not merely to write an act for an opera, but an entire one in two acts.  The poet has already completed the first act.  Noverre [ballet-master], with whom I dine as often as I please, managed this, and indeed suggested the idea.  I think it is to be called “Alexander and Roxana.”  Madame Jenome is also here.  I am about to compose a sinfonie concertante,—­flute, Wendling; oboe, Ramm; French horn, Punto; and bassoon, Ritter.  Punto plays splendidly.  I have this moment returned from the Concert Spirituel.  Baron Grimm and I often give vent to our wrath at the music here; N.B.—­when tete-a-tete, for in public we call out “Bravo! bravissimo!” and clap our hands till our fingers tingle.