1 (return)
[ Besides the Countess Thun, these were the Princesses Liechtenstein, Schwarzenburg, Lobkowitz. Kelly, Reminisc., I., p. 209. Car. Pichler, Denk-wÜrd., I., p. 141. Hormayr, Gesch. Wiens., V., p. 94. Vehse, Gesch. des Osterr. Hofes, VIII., p. 304.]

2 (return)
[ Burney, Reise, II., p. 160. She told him that she had formerly played much better, but that she had borne six children, each of whom had carried away something of her musical power.]

3 (return)
[ Burney, pp. 188, 215.]

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

5 (return)
[ G. Forster, SÄmm. Schr., VII., p. 272.]

6 (return)
[ Meyer, L. Schroder, I., p. 380.]

7 (return)
[ He possessed a house with a beautiful garden, on the high road. At a concert there given, Nicolai admired the promising pianoforte-playing of Spielmann's little daughter, who had been instructed by her talented mother (Reise, IV., p. 554; cf. ÜI., p. 37, 291).]

8 (return)
[ G. Forster, SÄmmtl. Schr., VII., p. 269.]

9 (return)
[ Jahrb. d. Tonk., 1796, pp. 19, 70.]

10 (return)
[ Car. Pichler, Denkw., I., p. 92.]

11 (return)
[ Cristini, Vita di Metastasio, p. 206.]

12 (return)
[ Griesinger, Biogr. Not., p. 13. Carpani, Le Haydine, p. 86.]

13 (return)
[ Barney, Reise, II., pp. 181, 227, 254. Jahrb. d. Tonk., 1796, p. 41.]

14 (return)
[ Barney, Reise, II., p. 260.]

15 (return)
[ Mancini, Rifl. Prat, sul Canto Fig., p. 229.]

16 (return)
[ Wiener Musikzeitg., 1842, p. 70.]

17 (return)
[ Cristini, Vita di Metastasio, p. 211.]

18 (return)
[ Jahrb. d. Tonk., 1796, p. 71.]

19 (return)
[ Kelly, Reminisc., I., p. 252.]

20 (return)
[ Wien. Ztg., 1796, No. 29.]

21 (return)
[ Gyrowetz, Selbtsbiogr., p. 9. Cf. Nohl, Musikerbr., pp. 116,136,145.]

22 (return)
[ Dittersdorf (Selbstbiogr., p. 233) is of this opinion.]

23 (return)
[ Rochlitz gives a comical example (A. M. Z., I., p. 49).]

24 (return)
[ Niemetschek, p. 95.]

25 (return)
[ Rochlitz, A. M. ft, XIV., p. 106. Fur Freunde der Tonkunst, ÜI., p. 222.]

26 (return)
[ Car. Pichler, Denkw., I., p. 179.]

27 (return)
[ On April 24,1787, he wrote in Mozart's album: "Tibi qui possis blandus auritas fidibus canons, ducere quercus in amicitiÆ tesseram.—Jos. Franc, a Jacquin."]

28 (return)
[ The Botanic Garden was laid out by Maria Theresa, in the suburbs (Nicolai, Reise, III., p. 34); Mozart lived in the neighbourhood, which facilitated his intercourse with the Jacquins.]

29 (return)
[ Wien. Zeitschr., 1842, No. 79, p. 627.]

30 (return)
[ Wien. Zeitschr., 1842, No. 79, p. 625.]

31 (return)
[ Jahrb. d. Tonk., 1796, p..10. Reichardt, Reise n. Wien, I., p. 466.]

32 (return)
[ He was Kelly's companion on a visit to Haydn (Reminisc., I., p. 221).]

33 (return)
[ A. M. Z., XXVI., p. 92.]

34 (return)
[ Brevi Notizie int. ad ale. compositori di musica (Rover., 1827), p. 51.]

35 (return)
[ It is illustrative of Mozart's way of working that at the place where a very bold and striking harmony occurs in the otherwise simple air, the bass is figured in the transcription—[See Page Image] as if he wished to assure himself of the effect of the harmonic succession.]

36 (return)
[ Kelly, Reminisc., I., p. 226.]

37 (return)
[ Mozart writes to Gottfr. von Jacquin (Prague, February 14,1787): "You may be sure that we managed to get up a little quatuor in caritatis camera, and the 'schÖne Bandl hammera." Allusions are also made to it in his letters to his wife.]

38 (return)
[ I was informed in Vienna that Mozart's widow related the circumstance in this way, only Van Swieten was erroneously substituted for Jacquin. A fragment of the original score (with quartet accompaniment) gives the names of Constanze, Mozart and Jacquin as singers. In the short preliminary notice to the published "Terzett" (Ouvres, V., 8), the detail was omitted as unnecessary to be made public. A quintet which appeared in Vienna in 1856, as Canto a 5 voci di Mozart, "Oh, come lieto in seno" (244 Anh. K.), is from Ant. Cartellieri's opera, "Il Segreto," composed in 1804 (Bohemia, 1860, No. 50, p. 448).]

39 (return)
[ Jos. Haydn hung his rooms round with forty-six canons of his own composition, framed and glazed (Griesinger, Biogr. Notizen, p. 97. Carpani, Le Haydine, p. 121. Cf. Biogr. Skizze von Mich. Haydn, p. 29).]

40 (return)
[ His canoni bernesche were, according to Carpani (Le Haydine, p. 113), widely disseminated.]

41 (return)
[ Neukomm informed me that a canon by Mich. Haydn, ascribed to Mozart, was composed in Salzburg with reference to a particular person; another of his comic canons, suggested by the joking rhymes of the organ-builder Egedacher in Salzburg, is given in facsimile in the CÄcilia (XVI., p. 212).]

42 (return)
[ One, known as "Im grab ists finster," is very doubtful, and one mentioned by Zelter (Briefw., II., p. 128); "HÄtts nit gedacht das Fischgraten so stechen thaten," is by Wenzel MÜller.]

43 (return)
[ Especially 553, 554 K.]

44 (return)
[ Especially 555, 562 K., and the above-mentioned "Nascoso" (557 K.).]

45 (return)
[ Meyer, L. Schroder, II., 1, p. 81.]

46 (return)
[ 559 K.: "DÉcile lectu mihi Mars et jonicu" (the last word is so managed that it becomes cujoni in singing).]

47 (return)
[ The leaf on which Mozart has hurriedly written down the two canons is given in facsimile in the CÄcilia (I., p. 179), where a more detailed account of them is also to be found. The time may be conjectured from the information which Lipowsky (Baiersches Musik-Lexicon, p. 239) gives about Peierl.]

48 (return)
[ It appears in the Thematic Catalogue as: "O du eselhafter Martin," and is generally known as such. AndrÉ, and afterwards Prof. Dehn, of Berlin, possessed this canon in Mozart's handwriting, but with Jacob, Jacobisch substituted throughout for Martin, Martinsch; and in this way the quizzing may have been extended to several persons.]

49 (return)
[ A. M. Z., ÜI., p. 450.]

50 (return)
[ I will only mention the three-part comic or "schoolmaster" mass which goes under Mozart's and also under Haydn's name; Carpani asserts (Le Haydine, p. 112) that it is by Aumann, an Augustine monk of St. Florian, and a learned musician. He also says that it was formerly customary in Vienna to perform this kind of comic music on St. Cecilia's Day, at musical parties.]

51 (return)
[ An anonymous quartet "for people who know their notes, and who, without moving their fingers, only move their bows up and down the open strings," published with the title "Neugebornes musikalisches Gleichheitskind" (Prague: Haas), and ascribed to Mozart by the Breslauer Zeitung (1855 No. 170, p. 1090), with a very unlikely anecdote, is but a dull affair.]

52 (return)
[ Reissmann, Das deutsche Lied in seiner histor. entwickelung, p. 77. K. E. Schneider, Das musikalische Lied in geschichtl. Entwickelung, III., p. 195.]

53 (return)
[ Sacred songs do not come within the scope of this observation.]

54 (return)
[ W. H. Riehl, Gluck als Liedercomponist (Augsb. Ahg. Ztg., 1861. Beil. Echo, 1862, No. 1-3).]

55 (return)
[ A. M. Z., XVI., p. 22. Schletterer, Reichardt, pp. 157, 164.]

56 (return)
[ Musik. Kunstmagazin, I., p. 22.]

57 (return)
[ Reichardt drew attention in 1782 (Musik. Kunstmagazin, I., p. 3) to the national songs, to which the composer ought to turn for materials (Cf. Schletterer, Reichardt, I., p. 408).]

58 (return)
[ The first collection of national songs by J. A. P. Schulz appeared in Berlin, 1782. The character indicated by the title is more definitely stated in the preface.]

59 (return)
[ Schneider gives a criticism of Mozart as a song-writer (Das musikal. Lied, III., p. 282).]

60 (return)
[ The news of the repulse of the Spaniards by the English at the siege of Gibraltar, in 1782, excited the greatest enthusiasm in Vienna, where sympathy was entirely on the side of the English. Mozart wrote to his father (October 19, 1782): "I have, indeed, heard the news of the English victory, to my great delight, for you know that I am an arch-Englishman!"]

61 (return)
[ Wiener Realzeitg., 1782, p. 765. Retzer, Nachlese zu Sineds Liedern (Wien, 1784), p. 84.]

62 (return)
[ Three songs (390-392 K.), date unknown, were, judging by the handwriting, composed early in the Vienna period, if not before Mozart left Salzburg.]

63 (return)
[ Das Lied der Freiheit (506 K.) appeared in the Wiener Musenalmanach for 1786. Besides this, so far as I am aware, no songs of Mozart appeared in his lifetime, except the "Veilchen" (476 K.) and "Trennung und Wieder-vereinigung" (519 K.), with the title, "Zwei Deutsche Arien zum Singen beim Klavier in Musik gesetzt von Herr Kapellmeister Mozart" (Wien bei Artaria, 1790); perhaps, also, "An ChloË" (524 K.) and "Abendempfindung" (523 K.) (with the same title).]

64 (return)
[ Soon after Mozart's death, many songs, genuine and unauthentic, appeared singly or in collections. A professedly complete collection, entitled: "SÄmmt-liche Lieder und GesÄnge beim Fortepiano von Kapellm. W. A. Mozart" (Berlin: Rellstab), contains thirty-three songs, of which only five are genuine (Cf. A. M. Z., I., p. 744). The collection in the fifth volume of the "Oeuvres" (Breit-kopf and HÄrtel) is supported by the authority of the widow, and is thoroughly to be relied on; it contains, exclusive of compositions not strictly belonging to our category, twenty-one songs, properly so-called. Of these, the "Gesellen-reise" (468 K.) and two other Freemasons' songs (483, 484, K.) were originally written with organ accompaniments: the "Zufriedenheit" (349 K.), and an unpublished "Komm liebe Zitter" (351 K., composed "1780 fur Herr Lang") with accompaniment for the mandoline. A "Wiegenlied" with pianoforte accompaniment, "Schlafe mein Prinzchen" (350 K.), was published subsequently by Nissen (Nachtrag).]

65 (return)
[ Reichardt regrets that his "Lieder geselliger Freude " (1796) can include none of the compositions of "men so highly esteemed as Haydn, Mozart, and Dittersdorf," on account of the coarseness of the words (Vol. I., p. vÜi.).]

66 (return)
[ The facsimile of the song, after the original in the possession of my friend Wilh. Speyer, of Frankfort, is appended to this work.]

67 (return)
[ A reviewer in the Musik Realzeitung (1790, p. 1), extolling the "Trennungslied," and the "Veilchen," remarks on the taste and delicate feeling they display, and adds: "Very striking is the treatment of the words at the close of the song, the pathetic repetition of 'Das arme Veilchen! es war ein herzigs Veilchen I Cf. Reissmann, "Das deutsche Lied," p. 146.]