1 (return)
[ He wrote to Breitkopf (August 10, 1781): "My son is no longer in the service of this court. He was summoned to Vienna by our Prince, who was there, we being in Munich. But his highness lost no opportunity of insulting and ill-treating my son, who, on the other hand, received much honour from all the high nobility of Vienna. My son was therefore easily persuaded to forsake his ill-rewarded service, and to remain in Vienna."]

2 (return)
[ Jahrb. d. Tonkunst, 1796, p. 51.]

3 (return)
[ Devrient, Gesch. der Deutsch. Schauspielkunst, III., p. 117.]

4 (return)
[ Cf. Sonnenfels' programme of his theatrical management in the year 1770, in MÜller's Abschied von der BÜhne, p. 73.]

5 (return)
[ Muller, Abschied, p. 79. Lange, Selbstbiogr., p. 25.]

6 (return)
[ Lange, Selbstbiogr., p. 65. Meyer, C. SchrÖder, I., p. 361.]

7 (return)
[ MÜller, Abschied, p. 95. A. M. Z., XXIV., p. 253.]

8 (return)
[ Carl Pichler, DenkwÜrdigkeiten, I., p. 78.]

9 (return)
[ Meyer, I., pp. 361, 375.]

10 (return)
[ A survey and account of the Vienna stage of the time will be found in K. R[isbeck], Briefe Über Deutschland, I., p. 258. Nicolai, Reise, IV., p. 587. Meyer, C. Schroder, I., p. 355.]

11 (return)
[ An accurate account of the state of German opera is given by Muller (Abschied von der BÜhne, p. 253). Cf. A. M. Z., XXIV., p. 254. K. R[isbeck] (Briefe Über Deutschland, I., p. 269) says that the members of the opera were looked down upon by those of the old comedy, and there were almost daily ridiculous displays of jealousy and ill-nature.]

12 (return)
[ Forkel, Musik. Krit. Bibl., II., p. 392.]

13 (return)
[ Sonnleithner, Recensionen, 1862, No. II., p. 18.]

14 (return)
[ Lange, Selbstbiogr., p. 104. Muller, Abschied, pp. 259, 261.]

15 (return)
[ Theaterkal., 1781, p. 183.]

16 (return)
[ MÜller, Abschied, pp. 181, 189, 194.]

17 (return)
[ The personnel of the opera from 1781 to 1783, which, with their salaries, I have borrowed from Meyer (C. Schroder, I., p. 356), was as fellows:—Male singers: Adamberger (2,133 fl. 30 kr.), Souter (1,200 fl.), Dauer (?), Fischer (1,200 fl.), Gunther (1,200 fl.), Schmidt (1,200 fl.), Ruprecht (700 fl.), Hoffmann (600 fl.), Frankenberger (400 fl.), Saal (800 fl.). Female singers: Mdlle. Cavalieri (1,200 fl.), Madame Lange (1,706 fl. 20 kr.), Madame Fischer (1,200 fl.), Mdlle. Teyber (800 fl.), Mdlle. Haselbeck (600 fl.), Mdlle. Brenner (400 fl.), Madame Saal (800 fl.),Madame Bernasconi (500 ducats). The orchestra, under the leadership of Kapellmeister Umlauf, consisted of six first and six second violins, four tenors, three violoncelli, three double-basses, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, and drums. The total pay amounted to 16,124 florins.]

18 (return)
[ Schmid, Gluck, p. 107.]

19 (return)
[ Mosel, Ant. Salieri, p. 72.]

20 (return)
[ Cramer, Magazin der Musik, I., p. 353. Auembrugger was further known to fame as a physician, and his daughters Franziska and Mariane were distinguished pianoforte-players.]

21 (return)
[ In Forkel's Musik. Alman., 1784, p. 189, the question as to why the music of Viennese composers should be liked in North Germany, but the music of North Germany should be disliked in Vienna, is treated of in a contribution for Vienna, showing the two different standpoints.]

22 (return)
[ Nicolai, Reise, IV., p. 556.]

23 (return)
[ Allg. Wiener Musikztg., 1821, p. 56.]

24 (return)
[ MÜller, Abschied, p. 185.]

25 (return)
[ Forkel, Musik. Bibl., III., p. 340.]

26 (return)
[ Cramer, Magazin der Musik, I., p. 353, where it is erroneously stated that Gluck's "Alceste," "Iphigenia in Tauris," and "Orpheus" were given in Italian. Cf. Muller, Abschied, p. 270. A. M. Z., XIV., p. 268. The German translation of "Iphigenia" was by Alxinger (Forkel, Musik. Alman., 1783, p. 153.)]

27 (return)
[ Reichardt describes his interview with Joseph II., in the summer of 1783 (A. M. Z., XV., p. 667. Schletterer, Reichardt, p. 326): "The Archduke Maximilian led the conversation on Gluck, whom they both considered as a great tragedian: but now and then the Emperor was not so much in favour of Gluck's operas as could have been wished."]

28 (return)
[ Wien Ztg.,1731, No. 95, Anh. "Alceste" was repeated on December 13. Ibid., No.100, December 27 (No.104); "Iphigenia" was played on December 9 (No.99), and on January 3,1782; "Orpheus" was performed in Italian., Ibid., 1782, No. 2.]

29 (return)
[ A. M. Z., XV., p. 668. Schletterer, Reichardt, I., p. 327.]

30 (return)
[ Mosel, Salieri, p. 22.]

31 (return)
[ Ludwig Berger's narrative was taken from the lips of his teacher in 1806, and is identical with Mozart s own account (CÄcilia, X., p. 238; A. M. Z., XXXI., p. 467). Other accounts differ somewhat, as usual in such cases.]

32 (return)
[ Clementi thought it advisable on the republication of this sonata to assert his prior claims, as follows: "Cette sonate, avec la toccata qui la suit, a ÉtÉ jouÉe par l'auteur devant Sa M. J. Joseph II., en 1781, Mozart Étant prÉsent." There can be no doubt that Mozart was conscious of the reminiscence.]

33 (return)
[ Bridi's account says that the Emperor had laid a wager with the Grand Duchess that Mozart would surpass Clementi, and won it.]

34 (return)
[ Paesiello composed sonatas and capricci for the Grand Duchess.]

35 (return)
[ Dittersdorf, Selbstbiogr., p. 236.]

36 (return)
[ This criticism belongs to the toccata rather than to the sonata; it is marked prestissimo, and is a brilliant study of passages in thirds and fourths.]

37 (return)
[ The account which follows is founded on an accurate account of Joseph's chamber concerts (Musik. Corresp., 1790, p. 27).]

38 (return)
[ Mosel, Salieri, p. 22.]

39 (return)
[ Mosel, Ibid., p. 71.]

40 (return)
[ A. M. Z., XXIV., p. 285.]

41 (return)
[ The A. M. Z., XV., p. 512, narrates an apocryphal anecdote to the effect that the Emperor Joseph once wrote a song, and secretly inserted it in a little Italian opera which he gave in his private theatre at SchÖnbrunn. On his asking Mozart what he thought of the song, the latter, "with childlike frankness and gaiety," replied, "The song is good, but he that wrote it is better."]

42 (return)
[ A. M. Z., XV., p. 66. Reichardt, Mus. Monatschr., 1792, p. 57.]

43 (return)
[ A characteristic scene is related by Mosel (Salieri, p. 130).]

44 (return)
[ Dittersdorf tells a story which illustrates this (Selbstbiogr., p. 241)]

45 (return)
[ Reichardt, A. M. Z., XV., p. 667 (Schletterer, Reichardt, p. 325; Griesinger Biogr. Not. Übcr Jos. Haydn, p. 63).]

46 (return)
[ Besides Mosel's Biography cf. the account by Rochlitz (FÜr Freunde der Tonkunst, IV., p. 342; A. M. Z., XXVII., p. 412).]

47 (return)
[ A. HÜttenbrenner, a pupil of Salieri, relates upon his authority (A. M. Z., XXVII., p. 797) that Mozart often came to Salieri, saying: "Lieber Papa (?) geben sie mir einige alte Partituren aus der Hofbibliothek (?), ich will sie bei Ihnen durchblÄttem," and that he often ate his midday meal during these studies.]

48 (return)
[ Mosel (Salieri, p. 211) confines this to silence on the merits of Mozart's works. But although Salieri occasionally spoke in praise of Mozart in afteryears (HÜttenbrenner, A. M. Z., XXVII., p. 797; Rochlitz, FÜr Freunde der Tonkunst, IV., p. 345), I have heard upon trustworthy authority in Vienna, that Salieri, even in his old age, when among confidential friends, expressed, with a passion that was painful to his hearers, the most unjust judgments on Mozart's compositions. Thayer's attempt to justify Salieri (A. M. Z., 1865, p. 241) led me to make a searching examination of the facts.]

49 (return)
[ K. R[isbeck], Briefe, I., p. 272.]

50 (return)
[ "A cantata composed for Prince Aloys von Lichtenstein by W. A. Mozart," of which there is a copy in the Royal Library in Berlin, is certainly not by Mozart (242 Anh. K.).]

51 (return)
[ The Wien. Zeit., 1781, No. 98, announces "Six sonatas for the piano with accompaniment for the violin by the well-known and celebrated master, Wolfgang Amade Mozart, Op. 2, 5 fl." (296, 376-380, K.). No. 2 (in C major) was composed in Mannheim (p. 400), and No. 4 (in B flat major) was previously known to his sister, as he writes to her (June 4, 1781).]

52 (return)
[ Clementi left Vienna at the beginning of May, 1782.]

53 (return)
[ "The 'EntfÜhrung,'" says a notice from Vienna in Cramer's Magazin, I., p. 352, "is full of beauties. It surpassed public expectation, and the delicate taste and novelty of the work were so enchanting as to call forth loud and general applause."]

54 (return)
[ This symphony (385 K., part 5) with the superscription, "Ä Vienna nel mese di Juglio, 1782," has only a minuet, and no march. The second minuet was written on separate sheets, and not preserved, not being used in Vienna. Mozart afterwards added two flutes and two clarinets to the first and last movements for the performance in Vienna; these are wanting in the printed score.]

55 (return)
[ Dittersdorf, Selbstbiogr., p. 237.]

56 (return)
[ The truth of this anecdote is vouched for by Niemetschek, who narrates it (p. 34). Napoleon is said to have received a similar answer from Cherubini, who certainly did not borrow it from Mozart (A. M. Z., XXXVI., p. 21; cf., II. P. 735).]

57 (return)
[ Many instances are given in Lange's Selbstbiogr., p. 98 MÜller, Abschied, p. 100; Meyer, L. SchrÖder, I., pp. 341, 343, 346.]

58 (return)
[ It remained on the Vienna repertory until 1779. The German opera was quite extinguished in 1778; it was revived on September 23, 1801.]

59 (return)
[ Even this sum appears to have been thought excessive; at least Schroder wrote to Dalberg (May 22, 1784): "Mozart received fifty ducats for the 'EntfÜhrung aus dem Serail'; he would compose no opera under this price." At a later time, one hundred ducats was the usual price for an opera (Ditters-dorf, Selbstbiogr., p. 241).]

60 (return)
[ Cramer, Magazin der Musik, I., p. 99.]

61 (return)
[ Raisonnirendes, Theaterjoum. von der Leipzig. Michaelmesse, 1783, p. 32.]

62 (return)
[ Koffka, Iffiand und Dalberg, p. 136.]

63 (return)
[ Berl. Litt. n. Theat. Ztg., 1784, II., p. 160.]

64 (return)
[ Lyncker, Gesch. d. Theat. u. d. Musik, in Kassel, p. 316.]

65 (return)
[ Chronik. von Berlin, II., p. 440. Teichmann's Litt. N'achl., p. 45.]

66 (return)
[ Ant. Hasenhuth's Leben., p. 94.]

67 (return)
[ Cramer's Magazin f. Musik, II., 2, p. 1056, and B. A. Weber, in Knigge's Dramaturg. Blattern, 1788, II., p. 21, give favourable notices. Both these journals were among Mozart's little collection of books.]

68 (return)
[ Two fragments of Mozart's pianoforte score of Constanze's and Blond-chen's songs (11 and 12) are preserved in his handwriting. The piano score of the first act is noticed in the Wien. Ztg., 1785, No. 98.]