e last meeting between
Mozart and his father, for shortly after Leopold's return he was
seized with illness, on hearing of which Wolfgang wrote to him a
letter, in which he expressed his own views on death. 'As death,
strictly speaking, is the true end and aim of our lives, I have
accustomed myself during the last two years to so close a
contemplation of this, our best and truest friend, that he possesses
no more terrors for me--nothing but peace and consolation. And I thank
God for enabling me to discern in death the _key_ to our true
blessedness. I never lie down in bed without remembering that,
perhaps, young as I am, I may never see another day, and yet no one
who knows me can say that I am melancholy or fanciful. For this
blessing I thank God daily, and desire nothing more than to share it
with my fellow-men.'

The news of his father's death, which occurred on May 28, 1787,
reached Mozart shortly after he had accomplished one of the greatest
successes of his life. The name of his latest opera, 'Le Nozze di
Figaro,' was on every one's lips; its performances in Vienna and
Prague had been hailed with enthusiastic delight by crowded audiences;
its songs were to be heard in every street, and wandering minstrels in
the country, as they halted at the village alehouses, were compelled
to satisfy their groups of listeners with selections from its
entrancing airs. Michael Kelly, the singer and friend of Mozart, who
took part in the opera, has thus described its reception by the
orchestra and performers: 'Never was anything more complete than the
triumph of Mozart, and his "Nozze di Figaro," to which numerous
overflowing audiences bore witness. Even at the first full-band
rehearsal all present were roused to enthusiasm, and when Benucci came
to the fine passage, "Cherubino, alla vittoria, alla gloria militar,"
which he gave with stentorian lungs, the effect was electric, for the
whole of the performers on the stage, and those in the orchestra, as
if actuated by one feeling of delight, vociferated, "Bravo! bravo!
Maestro! Viva, viva, grande Mozart!" Those in the orchestra I thought
would never have ceased applauding by beating the bows of their
violins against the music-desks.' As for Mozart himself: 'I never
shall forget his little animated countenance when lighted up with the
glowing rays of genius; it is as impossible to describe it as it would
be to paint sunbeams.'

Despite the success of 'Figaro' Mozart still remained