1789. June. A quartet for his majesty the King of Prussia, in D major
July. Sonata for pianoforte alone, D major (576 K.). Rondo in my opera of "Figaro" for Madame Ferraresi del Bene, "Al desio (577 K.).
August. Aria in the opera "I Due Baroni," for Mdlle. Louise Villeneuve, "Alma grande e nobil core" (578 K.).
September 17. Aria in the opera "Der Barbier von Seviglien," for Madame Hofer, "Schon lachtder holde Frühling" (580 K.). (575 K.).
September 29. Quintet for clarinet, two violins, viola, and violoncello, in A major (581 K.); first played in public at the concert for the funds of the Pension, December 22, 1789.[2]
October. Aria in the opera "ü Burbero," for Mdlle. Villeneuve, "Chi sà, chi sà quai sia" (582 K.).
December, An air which was intended for Benucci in the opera "Cosi fan Tutte," "Rivolgete à me lo sguardo" (584 K.). Twelve minuets (585 K.) and twelve waltzes (586 K.).
The prospect which was known to have been opened to him in Berlin may have had some effect in causing "Figaro" to be again placed on the stage in August. At the request of the prima donna, Madame Adriana Ferraresi del Bene, who had made her first appearance on October 13, 1788, Mozart wrote the grand air (577 K.).[3] For Louise Villeneuve he composed, during the following month, three airs for insertion in different operas (578, 582, 583, K.), perhaps with some view to his own new opera, in which Mdlle. Villeneuve was to appear. The approbation with which the revival of "Figaro" was received[4] no doubt suggested to the Emperor to commission Mozart to write a new opera. "It was not in his power," says Niemetschek (p. 43), "to decline the commission, and the libretto was provided him without consultation of his wishes."[5] It was "Cosi fan Tutte, osia la Scuola degli Amanti," by Da Ponte.[6] Mozart was busily engaged on it in December, 1789; and in January, 1790, it is entered in his catalogue as completed; it was first performed on January 26, with the following cast:[7]--
It appears to have been successful,[8] although it did not remain long on the repertory.[9] Unfortunately, we have no detailed information as to the preparation and performance of this opera. Da Ponte's achievement as the writer of an original libretto[10] serves to show more clearly than ever how much he had hitherto owed to his predecessors. Neither invention nor characterisation are anywhere visible, only a certain amount of dexterity in the handling of his subject.