Salzburg had always been one of the foremost cities of Europe in its patronage of musical art. Not only the reigning prelates, but people of every station cultivated it. At this time it held many musicians of talent; and its court concerts as well as the elaborate musical services at the cathedral and the abbey of St. Peter’s, the oratorios and the occasional performances under university auspices contributed to the creation of a real musical atmosphere. The old Archbishop Sigismund, whose death came only too soon, must, in spite of the elder Mozart’s misgivings on the subject, have been a liberal, appreciative patron, for the interminable leaves of absence, for artistic and commercial purposes, required by both father and son were sufficient to try the patience of anyone less understanding. Leopold’s chief merit to the world was the education of his son, for the sake of which he is said to have sacrificed all other opportunities as pedagogue. His talents in that direction were considerable, as his pioneer ‘Violin method’ (1756) attests. It experienced several editions, also in translations, some even posthumous. His compositions, through the agency of which his great son first received the influence of Mannheim, were copious but of mediocre value. Nevertheless, their formal correctness and sound musicianship were most salutary examples for the emulation of young Wolfgang. Leopold had the good sense to abandon composition as soon as he became aware of his son’s genius and to bend every effort to its development. The elder Mozart received the title of court composer and the post of _vice-kapellmeister_ under Michael Haydn, when the latter came to Salzburg.
Michael Haydn’s career in Salzburg was a most honorable one. It placed him in a state of dignity which, though eminently gratifying, was less calculated to rouse inspiration and ambition than the stormier career of his greater brother. Notwithstanding this fact, he has left something like twenty-eight masses, two requiems, 114 graduals, 66 offertories, and much other miscellaneous church music; songs, choruses (the earliest four-part _a capella_ songs for men’s voices); thirty symphonies (not to be compared in value to his brother’s), and numerous smaller instrumental pieces! But a peculiar form of modesty which made him averse to seeing his works in print confined his influence largely to local limits. It is a most fortunate fact that within these limits it fell upon so fertile a ground. For young Mozart was most keen in his observation of Haydn’s work, appreciated its value and received the first of those valuable lessons that the greater Joseph taught him in this roundabout fashion.