1 (return)
[ An artist named Anton Mozart is mentioned by P. v. Stetten as settled in Augsburg, in the seventeenth century (Kunstgesch d. Stadt Augsburg, p. 283).]

2 (return)
[ An oil portrait, preserved in the Mozarteum at Salzburg, shows him to have been a tall, handsome man, but with no resemblance either to his son or grandson.]

3 (return)
[ A description of Leopold Mozart is given by Hamberger (Christenthum u. moderne Cultur, p. 25).]

4 (return)
[ R. P. Hist. Univ. Salisb., pp. 29, 90 (s. Meyer d. ehem. Univ. Salzburg.)]

5 (return)
[ Schubart's Aesthetik der Tonkunst, p. 157.]

6 (return)
[ Marpurg, Hist. krit. Beitr., III., p. 183.]

7 (return)
[ Schubart's Aesthetik d. Tonk., p. 157.]

8 (return)
[ "Have you a good subject for an oratorio?" writes L. Mozart to Lotter (December 29, 1755). "If I had it in time I would compose another for Lent. Have you the one which I composed last year, Christus begraben? We have to produce two Oratoria every Lent, and where are we to find subjects enough? It must not be de passions Christi, but it might be some penitential story. Last year, for instance, we produced one on Peter's Repentance, and another is now being composed on David in the Wilderness." He must have composed the above-mentioned oratorio twice, for as early as 1741 it had been printed in Salzburg as "Christus begraben; Cantata for three voices: Magdalena, Nicode-mus, Joseph von Arimathaea. Chorus of disciples and friends of our Lord. Words by S. A. Wieland. Music by J. G. L. Mozart]."]

9 (return)
[ Gerber includes among these "Semiramis," "Die verstellte Gartnerin," "Bastien und Bastienne," compositions of Wolfgang's, of which the scores were left in his father's possession. "La Cantatrice ed il Poeta," an intermezzo mentioned by Gerber, is quite unknown to me.]

10 (return)
[ Catalogo delle sinfonie che si trovano in manuscritto nella officina musica di G. G. J. Breitkopf in Lipsia, P. I. (1762), p. 22. Suppl. I. (1766), p. 14. Suppl. X. (1775),p. 3.]

11 (return)
[ Mozart published it in 1759 with the title "Der Morgen und Abend den Inwohnern der hochfurstl. Residenzstadt Salzburg melodisch und harmonisch angekÜndigt." A notice of it is to be found in Marpurg's Histor. krit. Beitr., IV., p. 403.]

12 (return)
[ A "Divertimento À 4 instr. conc., Viol., Violone., 2 Co.," is included in Breitkopfs Cat., Suppl. II. (1767), p. zi.]

13 (return)
[ Haffner's Ouvres mÊlÉes (WÜrzb.), V. 4, VI. 5, IX. 4.]

14 (return)
[ Cacilia, XXVI., p. 82.]

15 (return)
[ A Max d'or (about thirteen shillings) was paid to him for copies of four flute concertos, a ducat for a pastoral symphony, and a florin for two shorter ones.]

16 (return)
[ A. M. Z., XXIII., p. 685.]

17 (return)
[ This was the Society of Musical Science, founded at Leipzig in 1738 by Mag. Lor. Mitzler; s. Mitzler's Musik Bibl., III., p. 346; Musik. Almanach, 1782, p. 184. In his Violin Method, p. 7, L. Mozart praises this Society, and hopes that it will direct its scientific researches to questions of practical interest in music]

18 (return)
[ A long series of letters to his friendly publisher J. J. Lotter, at Augsburg, written during 1755 and 1756, when his work was in the press, testify to L. Mozart's care for accuracy of expression, orthography, and printing.]

19 (return)
[ Ph. Era. Bach advises clavier-players to hear as much good singing as possible; "it gives the habit of thinking in song, and it is well always to sing a new idea aloud to oneself, so as to catch the right delivery" (Versuch Über die wahre Art das Klavier zu spielen, I., p. 90).]

20 (return)
[ "Wherein consists good execution?" says Ph. Em. Bach (Versuch Über die wahre Art das Klavier zu spielen, I., p. 86). "In the power of expressing musical ideas to the ear correctly and with full effect, whether singing or playing."]

21 (return)
[ Marpurg's Hist. krit. Beitr., III., p. 160.]

22 (return)
[ Schubart's Aesth. d. Tonk., p. 157.]

23 (return)
[ Briefw. m. Goethe, V., p. 191.]

24 (return)
[ Schubart's Aesth. d. Tonk., p. 158.]

25 (return)
[ Stranitzky, who introduced the buffoon (Hanswurst) on the Vienna stage, gave him the Salzburg dialect (Sonnenfels ges. Schriften, VI., p. 372), and the buffoon was ever afterwards a native of Salzburg. The people of Salzburg were credited not only with boorish manners, but with a dulness of intellect amounting to stupidity. Mozart complains of it, and there was a proverb in Salzburg itself: "He who comes to Salzburg becomes in the first year stupid, in the second idiotic, and in the third a true Salzburger."]

26 (return)
[ The full name in the Church Register is Joannes Chrysostomus Wolfgangus Theophilus (Gottlieb, the father writes), and in his earlier letters he adds his "Confirmation name" Sigismundus. On several of his early works and on the Parisian engraving of 1764 his signature is J. G. Wolfgang, but afterwards he always signed Wolfgang Amade.]

27 (return)
[ I have taken this account from Schlichtegroll's Nekrolog, which is founded on communications from Wolfgang's sister.]

28 (return)
[ Recensionen, 1864.x., p. 512. The exercise-book is a square folio, with the title "Pour le Clavecin. Ce livre appartient À Marie Anne Mozart. 1759." It was perfect when FrÖhlich saw it (A. M. Z., XIX., p. 96); now, unfortunately, a number of leaves are wanting. Nissen has given specimens from this book, some of the earliest compositions.]

29 (return)
[ Das Neueste aus der anmuth. Gelehrs., 1761, p. 60.]

30 (return)
[ The original is in the possession of Aloys Fuchs, who communicated it to me. Schlichtegroll and Nissen have both made use of it.]

31 (return)
[ "Both as a child and a boy you were serious rather than childish," writes L. Mozart, February 16, 1778, "and when you were at the clavier, or otherwise engaged with music, you would not suffer the least joking to go on with you. Your very countenance was so serious that many observant persons prophesied your early death on the grounds of your precocious talent and serious expression."]

32 (return)
[ "As a boy, your modesty was so excessive that you used to weep when you were overpraised," writes L. Mozart (February 16, 1778).]

33 (return)
[ He was so docile, even in trifles, that he never received corporal punishment. He loved his father with unusual tenderness. The latter reminds him (February 12, 1778) how, every evening at bedtime, he used to make him sit on a stool by his side and sing with him a melody of his own finding with nonsensical words, Oragnia figa taxa, &c., after which he kissed his father on the tip of his nose, promised to put him in a glass case when he grew old, and give him all honour, and went contentedly to bed.]

34 (return)
[ Upon a separate scrap of paper.]

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