1 (return)
[ Burney cites instances in Milan (I., p. 66), Bologna (I., p. 167), Brussels (II., p. 43), Vienna (II., p. 239).]

2 (return)
[ Burney, Reise, I., p. 67; II., p. 276.]

3 (return)
[ Burney writes of a church symphony by Galuppi, which he heard in Venice (I., p. 108): "In the symphony, which was full of charming passages, the orchestra imitated an echo. There were two organs and two pairs of French horns"; and of a similar one by Furlanetto (I., p. 126): "Then followed a long symphony, in the form of a dialogue between two orchestras."]

4 (return)
[ Barney frequently mentions concertos at church performances (L, pp. 116, 177; II., p. 85).]

5 (return)
[ Dies, Jos. Haydn, p. 104.]

6 (return)
[ Ditteradorf, Selbstbiogr., p. iro.]

7 (return)
[ Biogr. Skizze von Mich. Haydn, p. 18.]

8 (return)
[ Schubart, Aesthetik, p. 123. Selbstbiogr., 14 I., j-. 20c. Schlosser, Gesch. d. achtz. Jahrh., II., p. 252.]

9 (return)
[ Cramer, Magaz. f. Mus., I., p. 776; cf. p. 783.]

10 (return)
[ Reichardt, Briefe e. aufm. Reis., II., p. 121.]

11 (return)
[ Dittersdorf, Selbstbiogr., p. 13.]

12 (return)
[ Burney, Reise, II., p. 75.]

13 (return)
[ Dies, Biogr. Nachr., p. 55. Griesinger, Biogr. Not, p. 29.]

14 (return)
[ Cramer, Magaz. f. Mus., II., p. 959.]

15 (return)
[ Hiller, WÖch. Nachr., 1770, pp. 178, 207.]

16 (return)
[ Burney, Reise, III., p. 260.]

17 (return)
[ [Koch-Stemfeld] Die letzten dreissig Jahre des Erzstiftes Salzburg, p. 3x4.]

18 (return)
[ The Elector Friedrich August of Saxony was so nervous at playing before other people, that his wife scarcely ever heard him (Burney, Reise, III-, p. 18).]

19 (return)
[ Characteristic traits are given in Dittersdorf 8 description of the musical establishment of the Prince von Hildburghausen (Selbstbiogr., p. 43).]

20 (return)
[ Burney, Reise, I., p. 69.]

21 (return)
[ Dittersdorf, Selbstbiogr., p. 50.]

22 (return)
[ Burney, Reise, II., p. 102.]

23 (return)
[ Freiherr von BÖcklin, who visited Salzburg in his eightieth year, gave it as his opinion that though the church music was good, and some of the wind instruments worth hearing: "the orchestra is not brilliant on the whole; nevertheless there are some excellent and well-known musicians among them, who soften the shadows by their enchanting playing of concertos and sonatas, and even transmit so much of their own light to their defective accompaniers as to give strangers a favourable idea of the whole performance" (BeitrÄge zur Geschichte der Musik, 1790, p. 28).]

24 (return)
[ Marpurg, Beitr., III., p. 186.]

25 (return)
[ Dittersdorf, Selbstbiogr., p. 141.]

26 (return)
[ CarpanÏ, Le Haydine, p. 56.]

27 (return)
[ Burney (Reise, II., p. 73): "Here it was that Stamitz first overstepped the usual limits of the opera overture, which hitherto had only consisted of a sort of summons to silence and attention on the entry of the singers."]

28 (return)
[ Griesinger, Biogr. Notizen, p. 15.; Dies, Biogr. Nachr., p. 37.]

29 (return)
[ Burney, Reise, III., p. 209.]

30 (return)
[ It may be considered characteristic of our times that modern musicians so seldom excel in this particular direction. Schumann, who repeatedly remarks on the phenomenon, considers that it is an extinct branch of musical art, and that a new character must be invented for middle movements (Ges. Schr., I., p. 283, 289).]

31 (return)
[ Mattheson, Vollk. Kapellmeister, p. 223; cf. Neu eroffnetes Orch., pp. 174, 184. Kircher gives a description of the dances with examples by Capsberger (Mus., I., p. 586).]

32 (return)
[ Nottebohm, Monatschr. f. Theat. u. Mus., 1855, pp. 408, 456; 1857, PP* 288, 341, 391.]

33 (return)
[ The minuet of Beethoven's eighth symphony is in slower tempo than any other movement, and its solemn yet graceful dignity contrasts humorously with the liveliness of the other movements. The charming minuet of Mendelssohn's A major symphony again provokes an involuntary smile.]

34 (return)
[ The orchestral minuets written for dancing by Mozart, of which there must have been more than the sixty known to exist (103,104, 105, 122, 164,176;), are, like the Contretanze (106,123,267, K.), very simple, and practically arranged, with a few modest instrumental effects.]

35 (return)
[ I made acquaintance with them through AndrÉ's autograph collection» and also through three little blue books placed at my disposal by the owner, A. Cranz, of Hamburg. (A. M. Z., XXXIII., p. 733.) The first of these contains nine symphonies, the second a concertone and three serenate, the third a serenata. The dates are erased, but Sonnleithner has fortunately discovered and replaced them (Recensionen, 1862, Nr. 39, p. 614). In Breitkopf and HÄrtel's old warehouse, twenty symphonies in parts were also preserved. Since ten of these are among AndrÉ's, and two belong to "Lucio Silla" and "Sogno di Scipione," we may conclude the rest to be equally genuine; and since none of those known belong to a later date than 1772, and "Lucio Silla" was performed at the Carnival of 1773, the others can scarcely be put later. In confirmation of this it will be remembered that on February 7, 1772, Leopold Mozart offered Breitkopf some of his son's compositions, and among them symphonies.]

36 (return)
[ Still shorter and more precise is a serenade in four movements that, according to the first superscription, was originally a contretÄnz.]

37 (return)
[ Where stringed instruments are employed the bass part is only indicated as basso; and no hint is given as to whether the double-bass or violoncello, or both together, were intended.]

38 (return)
[ The same five instruments were employed for two divertimenti for wind instruments (166, 168, K.), of which one is dated 1773. The paper and handwriting are identical.]

39 (return)
[ Mozart had employed four horns earlier, two being in another key, in symphonies (130. 132, 183, K., and that to the "BetuÜa Liberata"), and in. operatic accompaniments ("Ascanio." ii; "Finta Giardiniera," 13. 26; "Re Pastore," 12).]

40 (return)
[ To the first of these belongs the march written for the same instruments (248 K.).]

41 (return)
[ Mozart, who, in October, 1877, mentions only two cassations, asks from Vienna (July 4, 1781) for the three cassations in F, B, and D.]

42 (return)
[ Three pages of the first allegro of a similar divertimento in F major are preserved (288 K.); since Mozart only mentions three such pieces by name in Vienna, it is not probable that a fourth was completed.]

43 (return)
[ A scherzo-like pastorale (Anh., 294 K.), in which a corno pastoriccio is added to the quartet, has been ascribed to Mozart without sufficient grounds, and is more likely by his father.]

44 (return)
[ Mozart must have composed more than a few of such compositions, which were always in request but many are included among his published harmonie-musik, arranged in very arbitrary fashion, and altogether unauthentic.]

45 (return)
[ The trio has been struck out and written again by the father, who has transposed the first violins an octave lower throughout.]

46 (return)
[ n. Ztschr. f. Mus., XLV., p. 60.]

47 (return)
[ 'The trio of the minuet has also been written again, but here it is an altogether new composition, far superior to the first.]

48 (return)
[ A little piece for two violins and bass (266 K.), consisting of a polonaiselike movement following some slow introductory bars, and of a minuet, is not of importance.]

49 (return)
[ When the Vienna quartets appeared, and Toricella announced "Six quartets by Mozart at a low price," the publisher Artaria drew the attention of the public to the fact that these quartets were old works of Mozart's, written fifteen years previously (Wien. Ztg., 1785; Nr. 75 Anh.). To this Toricella replied in a fresh announcement: "Concerning the quartets of fifteen years ago, I believe that they need no recommendation but the name of their author, and I am equally convinced that, being in their whole style completely new to many amateurs, they may be considered as novelties, and as genuine compositions of Mozart."]

50 (return)
[ Mozart afterwards composed a rondo, mentioned by his father (September 25, 1777), to the Concerto in B major (207 K.) for Brunetti.]

51 (return)
[ Car. Pichler, Zeitbilder, p. 149.]

52 (return)
[ The piece is in E flat major; the viola part is written in D major, and was to be tuned half a tone higher, both to give it a clear sound and to make the execution easier.]

53 (return)
[ Schubart, Aesthet. d. Mus., p. 233.]

54 (return)
[ Mus. Real-Ztg., 1789, p. 240.]

55 (return)
[ The musical collection of Baron von DÜrnitz is in the possession of Herr Oec. Rabl, at MÜnchshofen.]

56 (return)
[ Among these may be included an arrangement of three clavier sonatas by Joh. Chris. Bach (p. 38) as a concerto (107 K.) with quartet accompaniment. I cannot decide how much of this is Mozart's.]

57 (return)
[ Cf. Kelly, Remin., I., p. 9.]

58 (return)
[ An unfinished Sonata in G major (357 K.) was perhaps completed and afterwards lost.]

59 (return)
[ Yet Dressier mentions in his Theaterschule in 1777 (p. 46): "Die Hrn. Mozart und SchrÖder, zwei ausserordentliche Genies, Musici, Klavierspieler, und Compositeurs der Deutschen," whose merit is acknowledged in foreign countries.]

60 (return)
[ The close of the adagio in Beethoven's C major symphony will occur to every musician; the opening of his E flat major concerto is also founded on a similar idea to this of Mozart's.]