1 (return)
[ The extracts from L. Mozart's letters given by Nissen are almost our only sources of information for this journey.]

2 (return)
[ G. Forster, Schriften VII., p. 270.]

3 (return)
[ A.M. Z., II., p. 301.]

4 (return)
[ Burney, Reise, II., p. 182. Duten's MÉm., I., p. 353.]

5 (return)
[ Garat. MÉm. sur Suard, II., p. 218. Duten's MÉm., I., p. 347.]

6 (return)
[ Zimmermann, Briefe, p. 96.]

7 (return)
[ Burney, Reise, II., p. 189.]

8 (return)
[ Gervinus, Gesch. der poet. National-Litteratur, IV., p. 384. Devrient, Gesch. der deutschen Schauspielkunst, II., p. 191; and see also how Sonnenfels expresses himself (Ges. Schr., V., pp. 157, 191, or in a letter to Klotz, I., p. 2) in the same year, 1768.]

9 (return)
[ Sonnenfels gives a detailed description of the company (Ges. Schr., V., p. 290).]

10 (return)
[ Metastatio, Opp. post., II., pp. 278, 290, cf. Arteaga, Le rivoluzioni del teatro musicale Italiano, III., p. 126 (II., p. 397).]

11 (return)
[ Cramer, Magasin d. Mus., I., p. 365. Metastatio, Lettere ined. (Nirza, 1796), p. 46.]

12 (return)
[ Burney, Reise, II., p. 188.]

13 (return)
[ Mane ini, Rifless. prat, sul canto fig., p. 30.]

14 (return)
[ Burney, Reise, II., p. 172.]

15 (return)
[ Dittersdorff, Selbstbiographie, p. 7.]

16 (return)
[ Muller, Ab8chied v. d. BÜhne, p. 72.]

17 (return)
[ MÜller, zuverl. Nachr., I., p. 13.]

18 (return)
[ Carpani, Le Haydine, p. 82. Kelly, Remin., I., p. 103.]

19 (return)
[ It is mentioned only, so far as I am aware, by Biedenfeld. Die Komische Oper., p. 69.]

20 (return)
[ Nicolai, Reise, IV., p. 574.]

21 (return)
[ Sonnenfels, Ges. Schr., V., p. 296. He reappeared in Rome in 1780, a toothless old man. (Teutsch. Merc., 1789, III., p. 210.)]

22 (return)
[ Sonnenfeu, Ges. Schr., V., p. 300.]

23 (return)
[ Sonnenfels, Ges. Schr., V., p. 291. Burney, Reise, I., p. 63. MÜller zuverl. Nachr., I., p. 73. He died at Vienna in 1772, at the age of sixty-seven. (Ibid. II., p. 132.)]

24 (return)
[Sonnenfels, Ges. Schr., V., p. 301.]

25 (return)
[ Sonnenfels, Ges. Schr., V., p. 293.]

26 (return)
[ Sonnenfels, Ges. Schr., V., p. 293. MÜller, zuverl. Nachr., I., p. 73. Kelly, Remin., I., p. 66.]

27 (return)
[ Sonnenfels, Ges. Schr., V., p. 299.]

28 (return)
[ One of Fracasso's songs was twice composed, so was the middle movement of another, and an inserted song for Ninetta.]

29 (return)
[ In the beautiful aria for Polidoro, before described, a tedious passage was afterwards judiciously struck out by Mozart.]

30 (return)
[ Nissen has incorrectly given the idea that "the well-known Dr. Messmer, the friend of the Mozarts," was the celebrated magnetiser of that name. Helfert (Die Österr. Volkschule, I., p. 132.) identifies Mozart's Messmer, who became a member of the medical faculty in 1767. In 1773 his wife inherited a half share in a house on the Landstrasse, consistently with which L. Mozart writes to his wife from Vienna (August) that Fr. v. Messmer has come into considerable property since the death of her mother. A "young Herr. v. Messmer," a cousin, was director of the Normal School in 1773.]

31 (return)
[ E. Schelle, Berl. Mus. Ztg. Echo, 1864, No. 38.]

32 (return)
[ "'Le Devin du Village' est un intermÈde charmant dont les paroles et la musique sont de M. Rousseau," writes Grimm (June 23, 1753) to Gottsched (Danzel, Gottsched, p. 351). He speaks of it again on December 15, 1753 (Corr. Litt., I., p. 92), as an "intermÈde agrÉable, qui a eu trÈs-grand succÈs À Fontainebleau et À Paris;" and again, in February, 1754, as an "intermÈde franÇais trÈs-joli et trÈs-agrÉable" (Ibid.,p. 112). He passes it over, however, in his account at a later date of Rousseau's musical works, and mentions only his unsuccessful opera, "Les Muses Galantes."]

33 (return)
[La Harpe. Corr. Litt., II., p. 59.]

34 (return)
[ A. M. Z., XXI., p. 841. XXIII., p. 141. Berlioz, Voy. Mus., I., p. 389.]

35 (return)
[ Adam (Souv. d'un Music., p. 198), suggests that Rousseau's score may have been revised by Francoeur.]

36 (return)
[ On the subject of recitative, Rousseau speaks exhaustively and to the point, both in his Dictionnaire de Musique, and in the Lettre sur la Musique FranÇaise. (Ouvres, XI., p. 296.)]

37 (return)
[ It was maintained by some that Rousseau only wrote the words, and intrusted the composition to a musician in Lyons (A. M. Z., XIV., p. 469; Castil-Blaze; MoliÈre Musicien, II., p. 409), an accusation which GrÉtry contradicted. Rousseau tried to refute it by a second opera, which, however, did not succeed. (La Harpe, Corr. Litt., II., p. 370. Adam, Souv. d'un Mus., p. 202.)]

38 (return)
[ An English adaptation by Burney failed in London in 1766 (Parke, Mus. MÉm., II., p. 93). German versions were produced by Leon (Teutsch. Merc., 1787, II., p. 193) and C. Dielitz (Berlin, 1820).]

39 (return)
[ ThÉÄtre du Favart, V., 1 (Paris, 1763). A book of the words, printed at Amsterdam in 1758, has the remark: "ReprÉsentÉ À Bruxelles, Nov., 1753, par les ComÉdiens FranÇois sous les ordres de S. Alt. Roy."]

40 (return)
[ Grimm, Corr. Litt., IV., pp. 400, 417.]

41 (return)
[ Dictionn. d. ThÉÄtre, VI., p. 228; Theaterkal. 1776.]

42 (return)
[ "Bastienne, eine franzÖsische opÉra-comique. Auf Befehl in einer freien Uebersetzung nachgeahmt von Fr. W. Weiskern. Wien, 1764." The French melodies were retained for some of the songs, and new ones composed for others. The piece was produced at Vienna (MÜller, Zuverl. Nachr., I., p. 31), also in 1770 at BrÜnn (Ibid., II., p. 213), in 177a at Prague (Ibid., II., p. 163), and in 1776 at Hildesheim (MÜller, Abschied v. d. BÜhne, p. 137).]

43 (return)
[ Nissen gives Schachtner as the librettist. His co-operation was probably confined to the versification of the prose dialogue, a few scenes of which Mozart afterwards composed in recitative; a useless labour, never completed.]

44 (return)
[ A comparison of the examples which Hiller (Über Metastasio, p. 17) quotes from a translation of Metastasio, which appeared in Vienna in 1769, will show some similarity.]

45 (return)
[ A similar instance may be found in Weber's composition of Voss's songs

46 (return)
[ This is noticed also by Hiller as especially characteristic in style (WÖehentl. Nachr., I., p. 376; II., p. 118).]

47 (return)
[ Neue Sammlung zum VergnÜgen und Unterrich (Wien, R. Graffer, 1768), IV., pp. 80, 140.]

48 (return)
[ Nicolai, Reisc, IV., p. 648.]

49 (return)
[ Nicolai, Reise, III., p. 228.]

50 (return)
[ Burney, Reise, II., p. 107.]

51 (return)
[ MÜller, Abschied v. d. BÜhne, p. 237.]

52 (return)
[ "Wien. Diarium," 1768, 10 Christmon. No. 99.]