1 (return)
[ A. M. Z., 1864, p. 495. "La Finta Semplice," dramma giocoso per musica, da rappresentarsi in corte per ordine di S. A. Rev. Monsigr. Sigismondo Conte di Schrattenbach,Arcivescovo di Salisburgo, &c. Salisb., 1769.]

2 (return)
[ Metastasio speaks of the different ways of delivering these. (Opp. post, I., p. 300.)]

3 (return)
[ Communicated to me by KÖchel, from the autograph in the possession of R. v. Pfuesterschmied, at Vienna.]

4 (return)
[ Dominicus Hagenauer became "PrÄlat des St. Peterstifts," in 1786. [Footnote Koch-Sternfeld.] Die letzten dreiss. Jahre., pp. 78, 299, 326.]

5 (return)
[ Burney, Reise, I., p. 101. Cf. the extracts from Th. Fr. Maier's description of Venice. I., 1787, in the Musik. Realzeitung, 1788, p. 108.]

6 (return)
[ Zelter Briefw. mit Goethe, II., p. 177.]

7 (return)
[ A remarkable exception, and a fortunate one for the development of German music, was Joseph Haydn, although even he was initiated into the Italian school through his lessons from Porpora, and his intercourse with Metastasio. But his numerous Italian operas, which he himself considered as equal to the works of any of his contemporaries, brought him no renown. His fame always rested on his instrumental compositions, which were thoroughly German; and his two great oratorios were composed at a time when Italian music was on the decline.]

8 (return)
[ L. Mozart's letters during the tour, of which Nissen gives extracts, are almost all in the Mozarteum. at Salzburg.]

9 (return)
[ The portrait has been recovered by Sonnleithner's exertions, and in now in his possession.]

10 (return)
[ S. Mayr, Die ehem. Univ. Salzburg, p. 12.]

11 (return)
[ Winckelmann, Briefe, pp. 271,279, 324; II., p. 48.]

12 (return)
[ Schlozer's Life, I., pp. 96, 276, 313. Cf. Duten's MÉm., I., p. 327. Teutsch. Mercur, 1789, III., p. 301.]

13 (return)
[ Teutsch. Mercur, 1775, III., p. 247.]

14 (return)
[ Griesinger, Biogr. Not., p. 15. Carpani, Haydine, p. 56.]

15 (return)
[ The song "Misero tu non sei" (Anh. 2 K.), which Wolfgang composed in Milan, is from Metastasio's "Demetrio" (Act i, sc. 4), which he had heard shortly before in Mantua; it has not been preserved.]

16 (return)
[ A gigliato, Florentine goldgulden, was about equal to a ducat.]

17 (return)
[ Cf. Kelly's Remin., I., p. 74.]

18 (return)
[ G. Gaspari, La Musica in Bologna, p. 19.]

19 (return)
[ Esemplare osia saggio fondamentale pratico di contrappunto. Bol., 1774-75.]

20 (return)
[ Burney, Reise, I., p. 144.]

21 (return)
[ This was shown in his conduct to GrÉtry (MÉm., I., p. 91), Naumann (Meissner, Biogr., I., p. 150), and Burney (Reise, I., p. 142).]

22 (return)
[ Chrysander, Handel, II., p. 378.]

23 (return)
[ Burney, Reise, I., p. 150.]

24 (return)
[ Mancini, Rifless. sul Canto Figurato, p. 152.]

25 (return)
[ Dittersdorfs account in his Autobiography of his stay at Bologna in 1762, and his intercourse with P. Martini and Farinelli, will be found interesting (p. 110).]

26 (return)
[ Burney, Reise, I., p. 149.]

27 (return)
[ A short Osanna in four parts, with accompaniment for strings, in complicated canon form (223 K.) shows the same tendency.]

28 (return)
[ Cf. for the mottoes of these, Padre Martini, Esemplare, II., p. xxv.]

29 (return)
[ Cf. Barthold, Die geschichtl. Persdnl., in Casanova's Memoiren, II., p. 177.]

30 (return)
[ Cf. Schubart, Deutsche Chron., 1776, pp. 499, 554, 613.]

31 (return)
[ Barney, Reise, I., p. 185.]

32 (return)
[ Kelly, Remin., I., p. 225.]

33 (return)
[ He was drowned at a water party (Parke, Mus. Mem., I., p. 204). Holmes says that his brother Ozias Linley preserved an Italian letter from Mozart to Thomas Linley.]

34 (return)
[ Rochlitz (FÜr Freunde d. Tonk., II., p. 284), highly coloured as usual.]

35 (return)
[ On Holy Thursday, the Misereres of Anerio, Naldini, and Scarlatti were performed in turns, until in 1714 Bai's Miserere displaced them. Since 1821 Allegri's Miserere has only been sung once. Baini, Mem. Stor. Crit., II., p. 195. Kandler, G. Pierluigi da Palestrina, p. 96.]

36 (return)
[ Cf. Burney's more critical account (Reise, I., p. 203) and Mendelssohn's (Reise-briefe, pp. 122, 163).]

37 (return)
[ So at least it was said; but Burney says that the Pope had copies made for the Emperor Leopold, the King of Portugal, and Padre Martini, and that the Papal kapellmeister, Santarelli, gave him a copy, which he had printed in London, 1771 (Reise, I., pp. 202, 208): he heard it again in Florence, and was offered a copy. In face of these statements, Baini's assurance (CÄcilia, II., p. 69) that no copy or score of the Miserere had ever been made, must be held to be exaggerated.]

38 (return)
[ Metastasio declares (Lett., I., p. 99) that the Miserere, which had thrown him into ecstasies in Rome, made no impression at all in Vienna, performed by singers who were secondo il corrente stilo eccellentissimi.]

39 (return)
[ Metastasio, Opp. post., III., p. 258.]

40 (return)
[ Burney, Reise, I., p. 241. Cramer, Magaz. d. Mus., I., p. 341. Kelly, Remin., I., p. 29.]

41 (return)
[ Burney, Reise, I., p. 252. L. Mozart writes (December 22, 1770) from Milan, "Jomelli's opera has so completely fallen to the ground, that it is to be withdrawn. This is the celebrated maestro about whom the Italians make such an astounding fuss. But he was a little foolish to undertake to write two operas in the year for the same theatre, particularly as he might have seen that the first was no great success."]

42 (return)
[ Dittersdorf, Selbstbiographie, p. 84: "The order is bestowed in Rome, and the members bear the title of 'ComitÉs Palatina Romani.' They receive a diploma written on parchment, and authenticated by a great seal. They enjoy all the rights of the nobility in Rome and the Papal States, have free entry into the Papal palace, and hold the same position there as the kammerherren of other reigning courts. Their insignia is a yellow enamelled gold Maltese cross. They wear it round the neck with a purple ribbon, and sometimes a smaller one of plain gold, with a red ribbon on the breast."]

43 (return)
[ Three short movements in counterpoint for four voices, with a figured bass. "Adoramus" (327 K.), "Justum deduxit Dominus," and "0 sancte fac nos captare" (326 K.), are preserved among Wolfgang's sketches in L. Mozart's handwriting. They may be examples, perhaps by Padre Martini, copied for study. Not even a conjecture can be made concerning two four-part movements, "Salus infirmorum," and "Sancta Maria" (324, 325, K.), of which only the commencing bars are preserved by AndrÉ.]

44 (return)
[ Burney, Reise, I., p. 166: "I must not neglect to inform my musical readers that I recognise in the son of Mozart the musician, that little German, whose precocious and supernatural talent amazed us all in London some years ago, when he was a mere child. He has been much admired, both in Rome and Naples."]

45 (return)
[ GrÉtry, MÉm., I., p. 91. Kandler, G. A. Hasse, p. 21.]

46 (return)
[ Statuti ovyero costituzioni de' Signori Accademici Filarmonici di Bologna. Bologna, 1721.]

47 (return)
[ Gaspari, La Musica in Bologna, p. 27.]

48 (return)
[ Gaspari, p. 28. FÉtis, Biogr. Univ., VI., p. 226. KÖchel, A.M.Z., 1864, P- 495.]

49 (return)
[ Nissen, p. 226. A. M. Z.. XXII., Beil. I.]

50 (return)
[ Rudhart, Gesch. d. Oper zu MÜnchen, I., p. 138.]

51 (return)
[ Burney, Reise, I., p. 96.]

52 (return)
[ It consisted, according to L. Mozart, of 14 first and as many second violins, 2 claviers, 2 double-basses, 6 violoncelli, 2 bassoons, 6 viols, 2 oboes, and 2 "flautraversen," "which always play with 4 oboes when there are no flutes," 4 corni di caccia, and 2 clarini, in all, 60 performers.]

53 (return)
[ A Bolognese exclaimed of Dittersdorf's playing, "Come È mai possibile, che una tartaruga tedesca possa arrivare a tale perfezione!" (Selbstbiogr., p. III.)]

54 (return)
[ The score remained in Milan after their departure, for the copyist had orders for five complete copies, besides single songs.]

55 (return)
[ L. Mozart here relates a musical event that seemed to him hardly credible in the Italy of that day: "We heard two beggars, man and wife, singing in the street, and they sang in fifths without missing one note. I never heard the like in Germany. In the distance I thought it was two persons, each singing a song; but as we came nearer we found it was a duet in exact fifths."]

56 (return)
[ L. Mozart here relates a musical event that seemed to him hardly credible in the Italy of that day: "We heard two beggars, man and wife, singing in the street, and they sang in fifths without missing one note. I never heard the like in Germany. In the distance I thought it was two persons, each singing a song; but as we came nearer we found it was a duet in exact fifths."]

57 (return)
[ Burney, Reise, I., p. 94.]

58 (return)
[ Meissner, Biographie Naumanns, I., p. in.]

59 (return)
[ Hasse declared that six months were necessary for a good opera (Man-fredini reg. armon., p. 134), that was plenty of time; Naumann writes, that in Venice an opera had to be written, learnt, and produced within a month.]

60 (return)
[ Metastasio, Opp. post., III., pp. 116, 164.]

61 (return)
[ Orelli, Beitr. z. Gesch. der Ital. Poesie, II., p. 3.]

62 (return)
[ Carpani, Le Haydine, p. 83. Kandler, Cenni int. alia vita del G. A. Hasse, p. 27: "Questo ragazzo ci farÀ dimenticar tutti"]

63 (return)
[ Marpurg, Krit. Beitr., I., p. 227.]

64 (return)
[ Meissner, Biogr. Naumanns, I., pp. 120, 227, 283.]

65 (return)
[ Cf. Betrachtungen d. Mannh. Tonsch, I., p. 307.]

66 (return)
[ Parini's Descrizione delle feste celebrate in Milano per le nozze delle L.L.A.A.R.R. l'arcid. Ferdinando e l'arcid. Maria Beatrice. Milan, 1825.]

67 (return)
[ Mozart bequeathed this watch to Joseph Strebl, a Vienna merchant, with whom he used to play bowls.]

68 (return)
[ Teutsch. Mercur, 1775, III., p. 240.]

69 (return)
[ L. Mozart writes to Breitkopf (February 7, 1772): "We arrived at home from Milan on the 15th of December, and my son, having gained great credit by the composition of his dramatic serenata, has been commissioned to write the first Carnival Opera for Milan next year, and the second opera for the same Carnival at the Theatre of S. Benedetto, in Venice. We shall, therefore, remain in Salzburg until the end of next September, and then for the third time repair to Italy."]

70 (return)
[ Meissner, Biographie Naumanns, I., p. 279.]

71 (return)
[ This is inferred from a statement made by his sister to Regierungsrath Sonnleithner (Salzburg, July 2, 1819) about a portrait of Mozart, that "it was painted when he returned from the Italian tour, at sixteen years of age; but as he was just recovering from severe illness, the picture is sickly and yellow."]

72 (return)
[ [Koch-Sternfeldj Die letzten dreissig Jahre des Hochstifts und Erzbisthums Salzburg (1816), p. 36.]

73 (return)
[ Leopold Mozart had ordered new oboes and bassoons from Dresden in a great hurry, when the election of an archbishop was imminent.]

74 (return)
[ It would almost appear that it was performed a second time later on, at least the songs of the "Licenza" occur in a second composition, which may be referred to a later period, and is far superior to the first; but it might be that they were used for an altogether different composition.]

75 (return)
[ Burney, Reise, III., p. 263.]

76 (return)
[ Burney, Reise, II., pp. 93, no.]

77 (return)
[ Naumann, also, in whose "Armida" he appeared in Padua, says of him, "he has every good quality, sings like an angel, and is an excellent actor." From the year 1778 he lived in England as a singer, and then as a teacher till 1810. Kelly, Remin., I., p. 10. Parke, Mus. Mem., II., p. 51. Rudhart, Gesch. d. Oper. zu MÜnchen, I., p. 149.]

78 (return)
[ Afterwards she sang only in private society. Berl. Musik. Wochenblatt, p. 4.]

79 (return)
[ The AbbÉ Cardanelli, a contemporary of Mozart, relates that de Amicis required Wolfgang to submit the sketches of his songs for her approval, but that he brought her a finished song, which she found excellent; and he then composed the same words again twice over, and placed them at her disposal (Folchino, Elogio Stor. di W. A. Mozart. Cremona, 1817, p. 26). A. M. Z., XX., p. 93. Not very likely!]

80 (return)
[ The result of the opera appears to have been the subject of great anxiety. Naomann notes in his Diary for January 2, 1773: "I went to Colloredo, to hear the news of the Milan opera."]