ABSTRACT
The Salzburg court music was a sprawling institution and when Leopold Mozart joined as fourth violinist in 1743 its organization was much the same as it had been at the time of its founding in 1591. Mozart's sole contribution to the genre was Apollo et Hyacinthus, performed in 1767 between the acts of Rufinus Widl's Latin tragedy Clementia Croesi. Mozart's Salzburg was hardly a musical backwater: it offered numerous opportunities for composition and performance, it maintained close ties with nearby cities and religious institutions, and music circulated freely there, including the most recent works of composers active throughout Europe. Biographical accounts of Mozart published prior to the late 1820s make virtually no mention of his mistreatment in Salzburg. The cultivation at Nonnberg of German sacred songs provided opportunities for women composers; aside from singing at court, women in Salzburg had little opportunity to shine musically, no matter how exceptional they may have been.
