expresses a soft, not unpleasing sentimental mood, which is still more toned down in the concluding duet. Yet even here we have fanciful passages--accepted at the time as legitimate both in music and poetry, as corresponding to a complex state of feeling.
For a later performance, probably before 1775, Mozart added a final chorus, introduced by a short recitative, in unjson throughout, thus bringing the whole piece simply and melodiously to a conclusion. A little song (146 K.): "Kom-met her, ihr frechen Sünder, seht den Heyland aller Welt," not in any way remarkable, belonging probably to the beginning of 1770, was also intended for a Lenten performance.
Not long after Wolfgang's return from Paris, he paid a visit to the Monastery of Seeon, where he was on friendly terms with the monks. During dinner the abbot expressed his regret that no offertory had been composed for the festival of St. Benedict. Wolfgang took advantage of the first pause
to leave the dining-hall, and leaning on the ledge of the window opposite the door, he wrote his offertory "Scande coeli limina" (34 K.). It begins with a pleasing soprano solo, a gentle flowing melody accompanied by the violins; then comes a lively chorus with drums and trumpets, somewhat cramped in style and pedantic in the imitative arrangement of its parts.
Among the monks was a certain Herr v. Haasy, called Father Johannes, who was very fond of Wolfgang. The boy sprang towards him as soon as he entered the monastery, climbed on his neck and stroked his cheeks, singing the while:--
This scene excited great amusement, and the monks were never tired of teasing him about his tune. When the fête-day of Father Johannes came round, Wolfgang presented him with an offertory (72 K.). It begins in a joyous burst with the words (Matth. xi. 11), "Inter natos mulierum non surrexit maior"; then with the words "Ioanne Baptista" he introduces the above melody as a birthday greeting to his friend. Apart from this charming display of childish affection, the offertory, which in any case belongs to his early boyhood, is a beautiful piece of music. The subject, which is pursued throughout with a natural, easy movement of the parts, has the caressing little melody running through it, and is twice interrupted by the words (S. John i. v. 29), "Ecce Agnus Dei qui tollit peccata mundi," given in a quiet, serious manner, that has a charming effect. The greeting breaks out once more in the "Alleluia," which ends the piece.[8]