1 (return)
[ At Wolfgang's request he sent the Baroness a couple of Salzburg tongues, which were esteemed a delicacy.]

2 (return)
[ Hamburger Litt. u. Krit. Blatter, 1856, No. 72, p. 563.]

3 (return)
[ Unfortunately Wolfgang's letters to his father are only preserved in anything like completeness up to his visit to Salzburg (July, 1783); after that we have only detached ones. His sister believed, so Nissen says (Vorr., p. XVI.), that the later letters were destroyed by the father, on account of containing allusions to Freemasonry, which is probable enough. There is no sort of evidence that Mozart ever actually neglected his father's correspondence; but it was not in his power to continue to keep a journal such as he had been in the habit of writing while travelling, or such as the daughter kept up after her marriage.]

4 (return)
[ The firstborn son, Leopold, "der arme dicke fette and liebe Buberl," as he is called in a letter (December 10, 1783), died in the same year.]

5 (return)
[ On January 19, 1786, L. Mozart wrote to his daughter that the Archbishop had opened a letter of Wolfgang's, but without finding anything in it.]

6 (return)
[ Nissen, p. 476.]

7 (return)
[ A. M. Z., I., p. 291. Biograph. Skizze von Mich. Haydn (Salzburg, 1808), p. 38.]

8 (return)
[ Lipowsky, Bayersch. Mus. Lex., p. 36.]

9 (return)
[ Rochlitz, FÜr Freunde d. Tonk., ÜI., p. 179.]

10 (return)
[ Wien. Mus. Ztg., 1817, p. 289.]

11 (return)
[ Nissen, Vorr., p. 18.]

12 (return)
[ On L. Mozart's return from Vienna in 1785, he stopped at Linz, as the guest of Count Thun; here he met the new Bishop, Count Herberstein (I., p. 25).]

13 (return)
[ Instances might be multiplied on closer examination; I content myself with quoting from the C major symphony the unexpected entry of E minor (p. 6, bar 8) and C major (p. 6, bar 12), the loud notes for the wind instruments (p. 25, bars 3,4), the original theme with which the basses interpose (p. 28, bar 5), and most especially the mocking conclusion of the minuet (p. 36, bars 12-16).]

14 (return)
[ Nissen asserts (Vorr., p. 18) that L. Mozart's letters from Vienna to his daughter (of which I have unfortunately only seen a few), betray considerable coldness towards his son.]

15 (return)
[ Kelly, Reminisc., I., p. 240. Holmes conjectures that as Haydn was a good violinist, but no solo-player, Kelly has substituted him for Mozart by a slip of memory (p. 267); it is more probable that Dittersdorf, the most celebrated violin-player of the day, played first violin, and Haydn second.]

16 (return)
[ Mozart lost no time in communicating the sorrowful news to his friend, Gottfried von Jacquin: "I must inform you that on my return home to-day I received the sad intelligence of the death of my dear father. You can imagine the state I am in."]

17 (return)
[ "My son wrote to me some time ago," writes L. Mozart to the Baroness WaldstÄdten (August 23, 1782), "that as soon as he was married he would cease to live with the mother. I hope he has already actually left the house; if not, it will be a misfortune both for him and his wife."]

18 (return)
[ Prefixed to the first volume of the "Ephemeriden der Literatur und des Theaters" (Berlin, 1785), are the portraits of Lange and his wife in a medallion. Her features are regular and good, but, probably owing to her delicate health, less youthful than one might have expected.]

19 (return)
[ Lange, Selbstbiogr., p. 118.]

20 (return)
[ Friedel, Briefe aus Wien, p. 409.]

21 (return)
[ A. M. Z., ÜI., p. 659.]

22 (return)
[ On the same day Mozart writes to his father full of anxiety about his own circumstances, thus proving again that the true artist can divest himself during his hours of production of the cares and anxieties of his ordinary life.]

23 (return)
[ The Berl. Litt. u. Theat. Ztg., 1783, p. 559, announces from Vienna: "June 30, 1783, 'Il Curioso Indiscreto' was performed for the first time. Madame Lange sang to-day for the first time in the Italian opera, and the public, in spite of all cabals, showed their appreciation of her talents." Cf. Lange's Selbstbiogr., p. 119.]

24 (return)
[ Written on the autograph is (June 21, 1783): "All the parts are to be extracted and augmented—the parte cantante to be done at once, and returned to Herr Adamberger."]

25 (return)
[ The completely written-out melody of a soprano air (178 K.) is preserved, the words of which, "Ah spiegarti, oh Dio vorrei," differ very little from the above; it is probably a first attempt abandoned. The voice part of Adamberger's air sketched in the same way still exists, and the bravura air is on the same leaf.]

26 (return)
[ The performance took place on January 25, 1784, and was repeated on February 1 (Wien. Ztg., 1784, No. 7, Anh., No. g, Anh.).]

27 (return)
[ Kelly, Reminisc., I., p. 253.]

28 (return)
[ The notices of her professional tour in the year 1784, from Berlin, Dresden, Leipzig, Schwedt, and Hamburg, are full of admiration (Berl. Litt. II. Theat. Ztg., 1784, I., p. 160; II., p. 138).]

29 (return)
[ Wien. Ztg., 1785, No. 97.]

30 (return)
[ It was so in Amsterdam in 1798 (A. M. Z., ÜI., p. 659), and in Paris in 1802 (A. M. Z., IV., p. 322).]

31 (return)
[ Cf. Jahrb. d. Tonk., 1796, p. 39.]

32 (return)
[ Alsatia, 1853, p. 92.]

33 (return)
[ Magaz. d. Mus., II., p. 185.]

34 (return)
[ The autograph has on the title-page "Composta per la Sgra. Storace dal suo servo ed amico W. A. Mozart, 26 di Dec., 1786."]

35 (return)
[ Wien. Ztg., 1785, Nr. 97, Anh. I do not know whether Bianchi wrote his opera for Vienna or Venice. The statement (A. M. Z., XXIV., p. 485) that the Emperor Joseph II. caused it to be composed in the form of a pasticcio is incorrect. The overture, which was given in Leipzig (A. M. Z. XIII., p. 168) and Vienna (A. M. Z., XXIV., p. 485) as having been composed by Mozart for this opera, is the one which was written in Salzburg in 1779 (319 K.; Cf., I., p. 516).]

36 (return)
[ Kelly, Reminisc., I., p. 48.]

37 (return)
[ Wien. Ztg., 1785, No. 29, Anh.]

38 (return)
[ Wien. Ztg., 1785, No. 46, Anh.]

39 (return)
[ Kelly, Reminisc., I., p. 234.]

40 (return)
[ Cramer, Mag. d. Mus., II., p. 62. Reichardt, Musik. Monatsschr., p. 38. Scudo, Mus. Ane. et Mod., p. 18.]

41 (return)
[ Wien. Ztg., 1789, No. 52, Anh.]

42 (return)
[ It is only known to me in an old copy among Mozart's remains.]

43 (return)
[ MÜller, Abschied, p. 156.]

44 (return)
[ It was just noticed in the Wien. Ztg., 1788, No. 23, Anh.]

45 (return)
[ The song: "Beim Auszug in das Feld," dated August 11, 1788, in the Thematic Catalogue, was probably written for a similar use; but I am not acquainted with it.]

46 (return)
[ A German air, "Ohne Zwang aus eigenem Triebe" (569 K.), noted by Mozart, under date "Jenner, 1789," has quite disappeared.]

47 (return)
[ Mus. Corr., 1790, p. 170; 1791, p. 69.]

48 (return)
[ She announced (Wien. Ztg., 1791, No. 66, Anh.) that in her concert on June 19, she would play "an entirely new and beautiful 'Konzertantquintet,' with wind instruments, accompanied by Herr Kapellmeister Mozart." CL Mus. Correspondenz, 1792, p. 146. A. M. Z., ÜI., p. 127. Among the sketches in the Mozarteum at Salzburg is the commencement of another quintet for the same instruments in C major.]

49 (return)
[ Both in Berlin and Leipzig complaints were made that Mar. Kirchgassner had sought to attract admiration by a rapidity and an affected manner quite out of keeping with the character of the harmonica (Reichardt, Mus. Monatsschr., p. 25. Berl. Mus. Ztg., 1793, p. 150. A. M. Z., II., p. 254).]

50 (return)
[ Cf. Schink, Litt. Fragm., II., p. 286.]

51 (return)
[ It is entered in the Thematic Catalogue under April 21, 1784.]

52 (return)
[ In the Wiener Zeitung (1784, No. 54, p. 1560), Torricella announces the composition by the celebrated Kapellmeister Mozart of three new clavier sonatas, the third of which, with a violin accompaniment, had a short time before been played with great success in the theatre by the celebrated Mdlle. Strinasacchi and Herr Mozart, which is sufficient recommendation in itself.]

53 (return)
[ The story is told by the widow (A. M. Z., I., p. 290), and more in detail by Rochlitz (FÜr Freunde der Tonk., ÜI., p. 285).]

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

55 (return)
[ According to a communication of Sonnleithner's, who also asserts that Leutgeb died in good circumstances on February 27, 1811.]

56 (return)
[ CÄcilie, IV., p. 306; VI., p. 203.]

57 (return)
[ Schink, Litt. Fragm., II., p. 236. Musik. Wochenbl., p. 118.]

58 (return)
[ So Parker asserts, Mus. Mem., II., p. 179, "from authentic sources."]

59 (return)
[ Cf. Niemetschek, p. 75. Rochlitz, A. M. Z., I., p. 115.]

60 (return)
[ Rochlitz, A. M. Z., ÜI., p. 591. Compare Mozart's remarks on Gabrielli and Aloysia Weber, I., p. 427.]

61 (return)
[ Rochlitz, whose opinions were identical, describes a bravura scena for a prima donna, which Mozart has also recorded (A. M. Z., ÜI., p. 591).]

62 (return)
[ "Deceit and flattery were alike foreign to his artless character," says Niemetschek (p. 96), "and any restraint upon his intellect was insupportable to him. Free and unreserved in his expressions and answers, he frequently wounded the susceptibilities of self-love, and made many enemies." An article upon him after his death contains the following passage (Reichardt, Musik. Wochenbl., p. 94): "Now that he is dead, the Viennese will know what they have lost in him. During his life he was much harassed by cabals, whose hostility he sometimes provoked by his sans-souci manner."]

63 (return)
[ Blumauer, who mentions this characteristic in his observations on the culture and literature of Austria, asserts that within eighteen months 1,172 publications of this kind appeared at Vienna (Pros. Schr., I., p. 72).]

64 (return)
[ Prutz, Deutsch. Museum, II., p. 28.]

65 (return)
[ The few opera scores found among Mozart's remains are Gluck's "Arbre EnchantÉ," "Le Diable Ä Quatre," GrÉtry's "Zemire et Azor," "Bamevelt," Mich. Haydn's "Endimione."]

66 (return)
[ Rochlitz, A. M. Z., I., p. 116. Cf. Siever's Mozart u. SÜssmayer, p. 22.]

67 (return)
[ A. M. Z., iiI., p. 493. He did not think highly of Jomelli as a church composer, although he admired his operas (A. M. Z., I., p. 116), while of Gass-mann he formed an exactly opposite opinion (A. M. Z., XX., p. 247).]

68 (return)
[ Burney, Reise, I., p. 22. Busky, Gesch. d. Mus., II., p. 584.]

69 (return)
[ So Jos. Frank asserts in Prutz, Deutsch. Museum, II., p. 24. There are interesting notices in Kelly's Reminisc., I., p, 238.]

70 (return)
[ Rochlitz, A. M. Z., I., p. 185.]

71 (return)
[ Kelly, Reminisc., I., p. 238.]

72 (return)
[ Bridi, Brevi Notiz., p. 47.]

73 (return)
[ The theme "Come un agnello" is from Sarti's opera, "Fra i Due Litiganti Il Terzo Gode," which was then the rage in Vienna, and is the same which is made use of in the second finale of "Don Giovanni."]

74 (return)
[ Sarti's "Esame acustico fatto sopra due frammenti di Mozart" has, as far as I know, never been printed; an extract was given in A. M. Z., XXXIV., p. 373 (cf. XXVI., p. 540).]

75 (return)
[ According to a letter from Bonn of April 8, 1787 (Cramer's Magaz., II., p. 1,386) he was still in Bonn at that time, and returned home just before the death of his mother, on July 17, 1787.]

76 (return)
[ Schindler (Biogr. Beethoven, I., p. 15) apparently did not know of this interview, which Beethoven was fond of alluding to; the above account was communicated to me in Vienna on good authority. The anecdote is embellished in Beethoven's Studien (Anh., p. 4), and alludes to studies in counterpoint and theory which Beethoven had not even attempted at the time. According to Ries (Biogr. Not., p. 86) he received a few lessons from Mozart, but never heard him play.]

77 (return)
[ "Mozart willingly listened to criticism, even when it was adverse," says Rochlitz (A. M. Z., I., p. 145); "he was susceptible only to blame of one kind, and that was the kind which he most often received—that is, blame for his too fiery imagination and intellect. This sensitiveness was but natural; for if the blame were justifiable, then all that was most original and characteristic in his music was valueless."]

78 (return)
[ The anecdote is given by Niemetschek, p. 94; Rochlitz (A. M. Z., I., p. 53); Griesinger (Biogr. Notizen uber J. Haydn, p. 105); Nissen, p. 681, who names Kozeluch.]

79 (return)
[ Bohemia, 1856, p. 127.]

80 (return)
[ This remark was communicated to me by Neukomm, who heard it from Haydn.]

81 (return)
[ A. M. Z., II., p. 516.]

82 (return)
[ Rochlitz, A. M. Z., I., p. 53; cf. p. 116.]

83 (return)
[ So Reichardt asserts, A. M. Z., XV., p. 667 (Schletterer, Reichardt, I., p. 325). Reise nach Wien, II., p. 91, and Dittersdorf (Selbstbiogr., p. 238).]

84 (return)
[ Sending a sonata to Artaria, he writes (February 8,1780): "I hope at least to gain credit for this work with people of cultivation; it is sure to be criticised by the envious (who are very numerous)"; and similar remarks frequently occur.]

85 (return)
[ Parke, Mus. Mem., I., p. 170.]

86 (return)
[ Niemetschek, p. 78 (A. M. Z., I., p. 182; XI., p. 780. Nissen, p. 643. Wien. Musikzeitg., 1817, p. 288. Nohl, Musikerbr., p. xoi). Griesinger asserts by mistake (Biogr. Notizen, p. 104), followed by Carpani (Le Haydine, p. 202), that in 1791, Haydn (who was then in London) was summoned to Prague for the coronation of Leopold II., but refused the invitation in the words, "Where Mozart is, Haydn cannot show himself."]

87 (return)
[ Rochlitz, A. M. Z., I., p. 52.]

88 (return)
[ Nohl, Musikerbr., pp. 84, 93. Cf. Griesinger, Biogr. Not., p. 25.]

89 (return)
[ Stadler, Vertheidigung der Echtheit des Mozartschen Requiem, p. 27.]

90 (return)
[ Griesinger, Biogr. Not., p. 104.]

91 (return)
[ Carpani, Le Haydine, p. 201.]

92 (return)
[ Karajan, Haydn in London, p. 66. Nohl, Musikerbr., p. 114.]

93 (return)
[ Griesinger, Biogr. Not., p. 23.]

94 (return)
[ Griesinger, Biogr. Not., p. 35. Dies, Biogr. Nachr., p. 75.]

95 (return)
[ Dies, Biogr. Nachr., p. 77.]

96 (return)
[ Karajan, J. Haydn in London, p. 97. Nohl, Musikerbr., p. 135.]

97 (return)
[ I have heard from Neukomm that Haydn spoke of it with emotion (Cf. Wien. Ztg. fur Theat., 1808, ÜI., p. 107). "I am childishly glad to be at home," he wrote (December 20, 1791), "and welcomed by my old friends. I only regret to miss the greeting of the great Mozart, whose death I deplore. Posterity will not see such talent for a century to come" (Karajan, p. 102; Nohl, Musikerbr., p. 140).]