financially. Much of the information we have about Haydn's London visits comes from letters he wrote to Marianne while there. The following is an extract from a letter written on 20 December 1791.Now, gracious lady, I would like to take you to task a little, for believing that I prefer the city of London to Vienna, and that I find the sojourn here more agreeable than that in my fatherland. I don't hate London, but I would not be capable of spending the rest of my life there, even if I could amass millions. I shall tell Your Grace the reason when I see you. I look forward tremendously to going home and to embracing all my good friends. I only regret that the great Mozart will not be among them, if it is really true, which I trust it is not, that he has died. Posterity will not see such a talent again in 100 years!It was confirmed to Haydn only shortly thereafter, and much to his sorrow, that Mozart really had died (5 Dec. 1791). Death and mourning The last letter from Haydn to Marianne is dated 13 November 1792, thus following his return to Vienna on July 24. Gracious Lady! Apart from wishing you a Good Morning, this is to ask you to give the bearer of this letter the final big Aria in F minor from my opera, because I must have it copied for my Princess. I will bring it back myself in 2 days at the latest. Today I take the liberty of inviting myself to lunch, which I shall have the opportunity of kissing Your Grace's hands in return. Meanwhile I am, as always, Y[our] G[race's] Most obedient servant, Joseph HaydnBy "my opera" Haydn meant his L'anima del filosofo, completed the previous year; the aria in question is a lament by the main character Orpheus. The letter gives no hint at all that Marianne was ill, but in fact she died only two months later, on 26 January 1793. The cause of death was given as "lung ulcers." She was 38 years old. Haydn's feelings at the time are not preserved, though the musicologist H. C. Robbins Landon suggests that his F Minor Variations for piano, which stand out in Haydn's oeuvre for their tone of impassioned anguish, may have been written as a tacit commemoration of Marianne. Karl Geiringer writes "With Marianne's