7 (return) [ He got up in his honour a little serenade for wind instruments; another time they had dancing: "I danced only four minuets, for there was only one lady among them who could keep time."]
8 (return) [ MÜller, Abschied von der BÜhne, p. 222.]
9 (return) [ He had brought on this illness by excess, and L. Mozart consequently forbade his son to visit him. But Misliweczeck asked for him so continually, and expressed so earnest a wish to see him, that Mozart could not refuse, and met him in the garden of the Ducal Hospital. The way in which he apologises to his father, and the pity he expresses for the unfortunate man, whose affection touched him deeply, do honour alike to the goodness and the innocence of his heart.]
10 (return) [ Schubart, Teutsche Chronik, 1776, p. 239. Fr. Nicolai, Reise, VIII., p. 156.]
11 (return) [ Here we recognise the pupil of his father; we have seen the opinion of the latter as to tempo rubato in the hands of the true virtuoso, p. 12.]
12 (return) [ Mozart was said to have composed a mass for the Monastery of the Holy Cross about this time; the autograph score was taken from the monastery in the troubled times which followed, and passed into private hands; it came to light in 1856, and was acknowledged as genuine by Gathy (Revue et Gaz. Mus., 1856, Nr. 12, p. 90). After an examination of the manuscript, through the kindness of Herr Speyer, I can affirm with certainty that the mass is neither composed nor written by Mozart. It is in C minor, with accompaniment for strings, flutes, trumpets, drums, and organ. It has many solos. A long symphony in two movements precedes the Credo; a Laudate Dominum is inserted as an offertory. The discrepancies of form might be explained by the Augsburg traditions, but (beside that there is no mention in his letters of any such composition) the composition and handwriting are equally unlike Mozart.]
14 (return) [ The disputes between Catholics and Protestants in Augsburg amounted to fanaticism, and affected great matters as well as small (Schubart, Selbst-biographie, 17, II., p. 15. K. R[isbeck], Briefe fiber Deutschland, II., p. 55).]
15 (return) [ The list of members, which Wolfgang gives his father, is a counterpart to Goethe's dramatis personÆ to "Hans Wurst's Hochzeit."]
16 (return) [ Paul von Stetten, Kunst-, Gewerb-, und Handwerks-Geschichte der Reich-stadt Augsburg (1779), p. 554.]
17 (return) [ Wolfgang liked to be called sly ("schlimm.") When Madame Duschek heard that he had left Salzburg she wrote that "she had just heard of the disagreeable affair at Salzburg; that he and she were quite agreed on the subject; and if Wolfgang, slyer than ever, now liked to come straight to Prague, he would receive the heartiest welcome"; so his father writes (September 28, 1777). His tendency to criticism, and the tone he usually assumed in jesting, will show pretty well what was meant by "schlimm."]
18 (return) [ Mozart maintained a correspondence with his cousin.]
