2 (return)
[ Schubart, Selbstbiographie 14,1., p. 200. Goethe, Wahrheit und Dichtung, B. 11. (Werke, XVIII., p. 48.) Herder's Nachl., III., pp. 371, 374. Schiller, Thalia, I., p. 176.]

3 (return)
[ Schubart, Teutsche Chronik, 1775, p. 729. Hausser, Geschichte d. rhein. Pfalz, II., p. 943.]

4 (return)
[ Guhrauer, Lessing, II., 2 p. 286.]

5 (return)
[ Wieland (Briefe an Merck, I., p. 105; II., p* 104).]

6 (return)
[ Schubart, Teutsche Chronik, 1775, pp. 718, 730.]

7 (return)
[ A description is given in MÜller's Abschied von der BÜhne, p. 204.]

8 (return)
[ MÜller, who was in Mannheim, December, 1776, notices (Abschied von der BÜhne, p. 207) from the expressions of the Elector and of the minister, Von Hompesch, how full the Mannheim people were of these projects.]

9 (return)
[ Devrient, Geschichte der deutschen Schauspielkunst, II., p. 303.]

10 (return)
[ F. H. Jacobi (Briefe, I., p. 273). Wieland writes to Merck (II., p. 116): "I must go to Mannheim, for I must and will have my fill of music once in my life, and when or where shall I have a better opportunity?" Klopstock, too, went to Mannheim chiefly on account of its music (Briefe an Merck, II., p. 51), and "they were anxious to satisfy his fastidious taste" (Schubart, Teutsche Chronik, 1775, p. 183).]

11 (return)
[ Lord Fordyce declared, as Schubart relates (Aesthetik, p. 131), that Prussian tactics and Mannheim music placed Germany at the head of nations.]

12 (return)
[ Schubart notes this as an advance (Teutsche Chronik, 1774, pp. 310, 360).]

13 (return)
[ Cf. PasquÉ, Goethe's Theaterleitung in Weimar, II., p. 353.]

14 (return)
[ "Alceste:" a vaudeville in five acts. Leipz. Weidm., 1773.]

15 (return)
[ Teutsch. Mercur, 1773, I., pp. 34, 223; cf. II., p. 221.]

16 (return)
[ Dressier, Theaterschule, p. 169. Etwas von und uber Musik fur das Jahr 1777 (Frankfort, 1778), p. 39.]

17 (return)
[ Morgenblatt, 1820, Nr. 160.]

18 (return)
[ Wieland asks for subscriptions to the clavier arrangement of "Alceste" which appeared, beautifully got up, in 1774 (Teutsch. Mercur, 1774, IV., p. 2gg). A second arrangement appeared in Berlin in 1786.]

19 (return)
[ Gedanken und Konjekturen zur Gesch. d. Musik (Stendal, 1780), p. 8. Musik. Alman., 1782 (Alethinopel), p. 51. Schubart's Aesthetik, p. no.]

20 (return)
[ Zelter, Briefw. m. Goethe, V., p. 55.]

21 (return)
[ Teutsch. Mercur, 1773, II., p. 306. Knebel, Litt. Nachl., II., p. 151. BÖttiger, Litt. Zust., I., p. 190.]

22 (return)
[ Teutsch. Mercur, 1775, III., p. 268. Schubart,' Teutsche Chronik, 1775, pp. 535, 575, 716, 720.]

23 (return)
[ MÜller, Abschied von der BÜhne, p. 212.]

24 (return)
[ GÜnther von Schwarzburg," ein Singspiel in drei AufzÜgen fur die Kur-pfÀlzische HofsingbÜhne. Mannheim: Schwan, 1777.]

25 (return)
[ The beautifully engraved score (by GÖtz, of Mannheim) is dedicated to Karl Theodor, "the enlightened patron of music, under whose mighty protection the palatinate stage first sang a German hero."]

26 (return)
[ The scenery was painted by Quaglio; the ballet was arranged by Lauchery, and composed by Cannabich. Burney says (Reise, II., p. 72) that 48,000 florins were spent on a carnival opera.]

27 (return)
[ Teutsche Chronik, 1766, p. 630.]

28 (return)
[ The opera was successfully performed several times at Mannheim during 1785. Schiller's Thalia, I., p. 185 (Boas. Nachtr., II., p. 32, 494).]

29 (return)
[ There is a long discussion on the subject in the Rhein. Beitr., 1777, I., p. 377. Cf. Betrachtungen der Mannheim. Tonschule, I., p. 116, Etwas von u. Üb. Musik, p. 34. DÜntzen Frauenbilder a. Goethe's Jugendheit, p. 258.]

30 (return)
[ Briefe an Merck, I., p. 100.]

31 (return)
[ MÜller, Abschied von der BÜhne, p. 20S.]

32 (return)
[ Schubart, Aesthetik, p. 131.]

33 (return)
[ Musik. Alman. f. 1782, p. 23.]

34 (return)
[ In the list of singers for 1756 a number of Italian singers were included who had disappeared by 1797.]

35 (return)
[ Heinse, Schr., III., p. 221.]

36 (return)
[ Wieland, Br. an Fr. la Roche (p. 191.) Schubart is more critical (Aesthetik, p. 144): "She has distinguished herself as one of our best theatrical singers. She played in French, Italian, and German, and oftener in comic than in tragic parts. She began to decline early in life, which would have been more easily detected in serious parts."]

37 (return)
[ Briefe, Von Gleim und Heinse, I., 424.]

38 (return)
[ Jacobi, Briefe, I., p. 279.]

39 (return)
[ Burney, Reise, II., p. 71. Hist, of Mus., IV., pp. 481, 508. Schubart, Aesthetik, p. 143. Busby, Hist, of Mus., II., p. 361. Gesch. d. Mus., II., p. 404.]

40 (return)
[ Briefe an Merck, I., p. 108.]

41 (return)
[ A sketch of Raaff's life and character is given by A. M. Z., XII., p. 857. I found plenty of traditions in Bonn also.]

42 (return)
[ Metastasio, Opp. post., I., p. 359.]

43 (return)
[ Some instances of liberality and favour displayed towards him in Spain and Portugal are given by Reichardt (Berlin, Musik. Zeit., 1805,1., p. 278). He left Lisbon just before the earthquake, and built a chapel at Holzem in gratitude for his escape.]

44 (return)
[ CÄcilia, V., p 44.]

45 (return)
[ Schubart, Selbstbiographie 14,1., p. 214; Aesthetik, p. 137.]

46 (return)
[ After his farewell performance of Idomeneo, in 1781, Raaff lived a retired life at Munich in the society of a few friends, dividing his time between devotional exercises and reading. He died in 1797.]

47 (return)
[ "We had the virtuoso Hartig here lately," writes Jacobi to Wieland (June 8, 1777, I., p. 272): "You should hear the fellow sing! We had the recitative from Alceste, 'O Jugendzeit, o goldne Wonnetage' four times. I wish you could have had the pleasure of hearing it."]

48 (return)
[ Schubart, Selbstbiogr. 14,1., p. 214,]

49 (return)
[ Schubart, Aesthetik, p. 132.]

50 (return)
[ A summary of the Mannheim Kapelle for 1756 is given in Marpurg's Kritischen BeitrÄgen, II., p. 567, and one for 1767 in Hiller's WÖchentl. Nach-richten, II., p. 177; in the latter the clarinets are included. Mozart writes to his father (November 4,1777): "The orchestra is very good and strong; on each side are ten or eleven violins, four tenors, two oboes, two flutes and two clarinets, two horns, four violoncelli, four bassoons, four double-basses, and trumpets and drums." Two platforms were erected in the opera hall for the trumpet chorus.]

51 (return)
[ Originally the clarinet was, as the name shows, closely allied to the trumpet, the soft tones of which skilfully applied were almost identical with the clarinet. Its use was afterwards extended from military and wind bands to the grand orchestra. Hiller remarks upon clarinets as an innovation in Agricola's "L' Amore di Psiche" (WÖchentl. Nachr., 1769, Anh., p. 87). In older scores, even in some of Mozart's, the clarinets are sometimes placed with the brass instruments, and are gradually transferred to the wood, until finally they are employed independently in the blending of the tone-colouring. Cf. Adam, "Dem. Souv. d'un Music.," 181.]

52 (return)
[ Burney, Reise, II. p. 74.]

53 (return)
[ Burney, Reise, II., 74. Schubart, Selbstbiogr. 14,1., p. 212. A. M. Z., I., p. 882.]

54 (return)
[ Reichardt says (Briefe eines aufmerksamen Reisenden, I., p. 11) of the Berlin orchestra: "I must not speak in this place of the masterly effects produced in the Mannheim orchestra by the swelling and diminution of a long note, or of several successive notes, which gives, if I may so speak, to the whole colouring a darker or a lighter shade. This would be considered too great an innovation by Hasse and Graun." He relates that the first time Jomelli made use of the crescendo, the audience gradually rose from their seats, and at the diminuendo they began to breathe freely, and became conscious of having stopped their breath; and he declares that the same effect was produced upon himself at Mannheim.]

55 (return)
[ Schubart, Aesthetik, p. 130.]

56 (return)
[ Schubart, Aesthetik, p. 130: "No orchestra in the world has ever surpassed that of Mannheim in execution. Their forte is a thunder, their crescendo a cataract, their diminuendo the distant rippling of a crystal stream, their piano the soft breath of early spring."]

57 (return)
[ Burney, Reise, II., p. 73.]

58 (return)
[ Burney, Reise, II., p. 73.]

59 (return)
[ Schubart, Aesthetik, p. 137. Musik. Alman., 1782 (Alethin), p. 6.]

60 (return)
[ Schubart, Selbstbiogr. 14,1., p. 210. Cf. p. 227. A. M. Z., V., p. 276.]

61 (return)
[ Cf. Schubart, Aesthetik, p. 129. A list of the grand operas which were performed at Mannheim under Karl Theodor is given by Lipowsky, Baierisches Musik-Lexicon, p. 387.]

62 (return)
[ Schubart describes the many advantages which Mannheim afforded (Selbstbiographie 14,1., p. 196).]

63 (return)
[ The rehearsal was of Handel's "Messiah," but Mozart did not sit it out, being very much fatigued by the previous rehearsal of a Magnificat by Vogler, which lasted a whole hour (October 31, 1777). He does not mention the performance on November 1. In the observations of the Mannh.Tonsch., I., p. 119, it is noticed that all the audience yawned during the "Messiah," admirably as it was performed, while Vogler's Magnificat "excited indescribable delight." It was afterwards announced that the second part of the "Messiah" would not be performed, because no audience would stand the dry music.]

64 (return)
[ It was said that 200,000 gulden were spent annually on music and the opera. K. Rfisbeck, Briefe, IM p. 332.]

65 (return)
[ Schubart, Selbstbiographie 14,1., p. 210.]

66 (return)
[ Schubart, Selbstbiographie 14, I., pp. 223, 225. K. R[isbeck], Briefe, I., p. 341.]

67 (return)
[ An expression in an unpublished letter from the painter Kobell to Dalberg shows her to have been very attractive: "Many of such priceless moments of bliss were granted to me in the society of lovely Rose Cannabich. Her memory is the paradise of my heart!" An enthusiastic account of her is given in the Musik. u. Kunstleralm., 1783, p. 27. She was afterwards (1786) mentioned as Madame Schulz.]

68 (return)
[ Schubart, Aesthetik, p. 144.]

69 (return)
[ Wieland, Briefe an Fr. La Roche, p. 192; cf. Briefe von Gleim u. Heinse, I., p. 424.]

70 (return)
[ The two French songs, "Oiseau, si tous les ans" (307 K.), and "Dans un bois solitaire" (308 K.), are doubtless those here mentioned.]

71 (return)
[ Wolzogen, Recensionen, 1865, Nr. 6, p. 82. Cf. Schubart, Aesthetik, p. 143.]

72 (return)
[ Schubart, Selbstbiogr. 14, I., p. 203.]

73 (return)
[ A. M. Z., XXVIII., p. 466.]

74 (return)
[ C. M. von Weber's Lebensbild, I., p. 248.]

75 (return)
[ "In respect of playing at sight" says the Musik. Real-Zeitg., 1788, p. 61, "Vogler is perhaps unsurpassed and unique." Cf. Musik. Corresp. 1790, p. 119; 1792, p. 379. Schubart, Aesthetik, p. 133. Many preferred BeeckÉ and Mozart to him (Musik. Real-Zeitg., 1789, p. 262).]

76 (return)
[ Musik, Real-Zeitg., 1788, p. 70.]

77 (return)
[ Musik. Real-Zeitg., 1788, p. 77. Forkel's Musik. Alman. 1789, p. 135.]

78 (return)
[ N. Ztschr. f. Mus., II., p. 85.]

79 (return)
[ Cf. C. M. von Weber's Lebensbild, III., p. 178. Gfr. Weber, CÄcilia, XV., p. 40.]

80 (return)
[ Musik. Corresp., 1788, p. 70.]

81 (return)
[ A. M. Z., XXVIII., p. 354.]

82 (return)
[ Schubart, Aesthetik, p. 182.]

83 (return)
[ L. Mozart had written to his son (November 2,1777): "I wish you could get something to do in Mannheim. They always play German operas; perhaps you could get one to write. If this should happen, you know beforehand that I should recommend the easy popular style of composition; the grand and dignified style is proper for grand affairs; everything in its place." It is plain that he only contemplated vaudeville, and had heard nothing of the new appearance of a grand German opera.]

84 (return)
[ They were the children of the actress Seiffert (Countess Haydeck). The son was afterwards Prince von Brezenheim; the daughters were married to men of high rank. Hausser, Geschichte der rhein. Pfalz, II., p. 934.]

85 (return)
[ Briefe an Merck, II., p. 76.]

86 (return)
[ Briefe an Merck, I., p. 105; II., p. 89. Cf. Malten's Bibl. d. Weltk. 1840, I, p. 380.]

87 (return)
[ BÖttiger, Litt. Zust., I., p. 229.]

88 (return)
[ Jacobi's Auserl. Briefwechsel, I., p. 262. Briefe an Merck, II., p. 93; I., pp. 102, 118.]

89 (return)
[ Wieland, Briefe an Fr. La Roche, pp. 184, 187.]

90 (return)
[ Holzbauer said of Schweitzer to Heinse: "He is a genius; when he makes a lucky hit he is divine; but at other times he writes as if he were tipsy." (Briefe an Gleim und Heinse, I., p. 424). A detailed criticism is given in the Rhein. Beitr. 1780,1., pp. 330, 497. [Klein] Ueber Wieland's "Rosamunde," Schweitzer's Musik und die Vorstellung dieses Singspiels in Mannheim. Frkf., 1781.]

91 (return)
[ Schubart, Selbstbiographie 14 I., p. 217.]

92 (return)
[ Wieland, Briefe an Fr. La Roche, pp. 191, 193.]

93 (return)
[ Briefe an Merck, I., p. 121.]

94 (return)
[ Hausser, Geschichte der rhein. Pfalz, II., p. 957.]

95 (return)
[ Auswahl denkw. Briefe von Wieland, II., p. 58.]

96 (return)
[ Briefe an Merck, II., pp. 122, 124.]

97 (return)
[ K. R[isbeck], Briefe Über Deutschland, I., p. 340. Cf. Brandes, Selbstbio-graphie, II., p. 279.]

98 (return)
[ In December, 1777, the Emperor commissioned Muller to engage Hartig as a tenor for Vienna, but the negotiations fell through (MÜller, Abschied von der BÜhne, p. 254); Mozart may have gained his information in this way.]

99 (return)
[ In 1776 Count Kohary, who farmed the theatre, became insolvent, and the Emperor took the administration of it into his own hands. It became the national instead of the court theatre.]

100 (return)
[ He had recommended Schweitzer to come to Vienna. (Muller, Abschied von der BÜhne, p. 188).]

101 (return)
[ Padre Martini dedicated to him the second part of his Storia della Musica (1770), and kept up a correspondence with him.]

102 (return)
[ The autograph, with the superscription: "Aria per il Sigre. Raaff di Amadeo Wolfgango Mozart; Mannheim li 27 di Febr., 1788," shows the corrections and somewhat important abbreviations which were made at Raaff s desire.]

103 (return)
[ As a detail, the independent use of the bassoons, henceforth constantly adopted by Mozart, is worthy of remark.]

104 (return)
[ Wolzogen (Recens., 1865, Nr. 6, p. 81) asserts from family tradition that this rumour was false.]

105 (return)
[ According to M. von Weber (C. M. von Weber, IM p. 6), Fridolin von Weber (b. 1733), alter studying law in Freiburg and becoming Doctor of Theology, succeeded his father as agent to the SchÖnau estate in 1754. Karl Theodor, finding him a first-rate singer and violinist, took him to Mannheim. His younger brother, Franz Anton, was the father of C. M. von Weber. In the album of Franz Anton's son Edmund, Mozart wrote: "Vienna, January 8, 1787, five o'clock in the morning, before setting out.—Be industrious; flee from idleness, and never forget your loving cousin, Wolfgang Amade Mozart."]

106 (return)
[ This is confirmed by Schubart (Aesthetik, p. 192). Cf. Musjk. Alman. (Alethinop, 1782).]

107 (return)
[ Schubart says of Vogler (Aesthetik, p. 135): "His lessons in singing were much sought after. The well-known singer Lange, of Vienna, was his pupil. She has heighth and depth, and accents her notes accurately. She sings piena voce and mezza voce equally well. Her portamento, the accuracy of her reading, the delicacy of her delivery, her megzotinto, her wonderful cadenzas, and her dignified bearing, are in great measure due to her great master." Some of all this should be ascribed to Mozart. Vogler's lessons were given at a later time in Munich. Brandes, on the contrary (Selbstbiogr., II., p. 260), says that Kirnberger and others warned him against Vogler as a cacher for his daughter Minna.]

108 (return)
[ Piccinni's "Roland," the first opera he wrote in Paris, was performed early in 1778.]

109 (return)
[ "I have many very good friends in Mannheim (influential and wealthy ones)," he writes (March 24, 1778), "who all wish me to remain. Well, wherever I am well paid, there I stay. Who knows?—it may come to pass; I wish for it, and, as usual, I am full of hope."]