1 (return) [ Dalberg's papers are preserved in the Royal Library at Munich. Koffka, Iffland u. Dalberg, p. 8.]
2 (return) [ Devrient, Gesch. d. deutsch. Schauspielkunst, III., p. 3.]
3 (return) [ "Cora, a Musical Drama," appeared to a contributor to the Pfalz. "Schaubuhne" unsuited for composition and representation.]
4 (return) [ Gluck's letters in reference to this are printed in the SÜddeutschen Musik-zeitung, 1854, p. 174. Dalberg's Correspondenz for 1778 also mentions that Schweitzer was occupied with the composition of "Cora."]
5 (return) [ Brandes affirms that the actors, when not performing, had to pay entrance-money (Selbstbiogr., II., p. 277).]
6 (return) [ It does not appear to have been finished; the autograph of the first 117 bars is in the possession of M. Dubrunfeut, in Paris.]
7 (return) [ Gemmingen's "Serairamis" was not, as far as I am aware, printed; and I know nothing further of Mozart's composition. We find on p. 137 of the Theaterkalender for 1779: "Mozart... Kapellmeister zu Salzburg; setzt an 'Semiramis,' einem musikalischen Drama des Frh. von Gemmingen"; which must be a private communication. In following years it is regularly included among Mozart's finished compositions, but I have found no notice of its performance nor any other mention of it except that Gerber includes it among Leopold Mozart's posthumous works, with "Bastien and Bastienne" and the "Verstellte GÄrtnerin." I mention this only to illustrate the fact that many of Mozart's earlier works were ascribed to L. Mozart after his death. But "Semiramis" was undoubtedly Mozart's own composition. How it happened that it did not remain in his hands, and pass into AndrÉ's possession with his papers, I cannot explain]
8 (return) [ A somewhat extraordinary musical enthusiast, Frh. von Boecldin, writes of Aloysia that she "performed marvels with her delicate throat," and that her voice resembled a Cremona violin, and her singing was more expressive and affecting than that of Mara (Beitr. zur Geschichte der Musik, p. 18).]
9 (return) [ So Nissen narrates (p. 415), and further informs us that Mozart came to Munich with black buttons on his red coat, after the French fashion of showing mourning. Aloysia does not seem to have liked this.]
