It was also in 1762 that Wolfgang took his first tour as a musician. Along with his father and Nannerl, he went to Munich, where the children played for Maximillian III Joseph, Elector of Bavaria. Then they toured Vienna for four months performing for various nobles and dignitaries. The family was well received on this trip, and the children were praised for their impressive abilities.

After a six-month hiatus in Salzburg, Leopold took his children back on the road through Germany, France, the Low Countries, England, and Switzerland. Throughout the tour the children played at court and gave public concerts. It was on this tour, at their stop in Paris, that Mozart first had his music

Following the modulation back to G major, there is a solo section that lasts until measure 234 where a brief tutti section brings us to the end of the A section. At this point the entire string section joins the principle in the sixteenth note runs, then stops abruptly before coming to a cadence.

Overall the Violin Concerto in G Major has a homophonic texture. This can be clearly seen when the principal is playing the solo line and the orchestra plays a chordal accompaniment. Tuneful, sing-able melodies became commonplace in the Viennese Period. The slow, sweet melody of the Adagio is particularly tuneful, and lends itself to being sung.

The orchestra comes to an authentic cadence at measure four, and the second violin line (harmonized a third below by the viola) leads nicely into the principle violin’s solo. The principle follows the repetition of the theme with a few measures of new material.

From 1775 to 1777, Mozart continued to compose large amounts of instrumental and vocal music, along with some church music. Eight concertos, four each for violin and keyboard (K211, 216, 218, 219, 238, 242, 246, and 271), six masses (K 220, 257-9, 262, 275), several arias, and a few serenades were among the works composed during that time. The majority of his compositions were not for the court that employed him, but for private patrons. This was due in part to the fact that Archbishop Hieronymus Colloredo placed many restrictions on performance at the cathedral in Salzburg.

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