1 (return)
[ He travelled with the Duke of Braganza, in 1768 (Zimmermann, Briefe, p. 96).]

2 (return)
[ Grimm, Corr. Litt., VI., pp. 263, 314.]

3 (return)
[ Griesinger, Biogr. Not., p. 66. One was performed by Mozart (Vol. II., p. 284).]

4 (return)
[ MÜller praises the liberal support which he received from him in Berlin, in 1776 (Abschied, p. 116).]

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

6 (return)
[ Schneider, Gesch. d. Oper in Berlin, p. 14.]

7 (return)
[ Burney, Reise, III., p. 67.]

8 (return)
[ N. Ztschr. fÜr Mus., IX., p. 130.]

9 (return)
[ Zelter, Fasch, p. 22.]

10 (return)
[ Reichardt, Kunstmagaz., I., p. 158.]

11 (return)
[ Zelter, Fasch, p. 49. The parallel which Reichardt (Briefe cine» aufmerks. Reisenden, I., p. 15) institutes between Hasse and Graun well expresses the general views.]

12 (return)
[ Rtlchardi, Mus. Monatsschr., p. 69. A. M. Z., XV., p. 680. Schletterer, Reichardt, p. 261, where detailed and interesting information is given.]

13 (return)
[ A. M. Z., XV., p. 605. Schletterer, Reichardt, I., p. 257.]

14 (return)
[ Reichardt, Mu. Zeitg., I., p. 74.]

15 (return)
[ Burney, Reise, III., p. 116.]

16 (return)
[ Autobiographische Mittheilungens. in Marpurg's Histor. Kril Beitr., I., p 197.]

17 (return)
[ Burney, Reise, III., p. 111. Zelter, Fasch, p. 47.]

18 (return)
[ A. M. Z., III., p. 171. Reichardt, Mus. Wochenblatt. p. 70.]

19 (return)
[ His autobiography is given in N. Berl. Mus. Ztg., 1856, No. 32.]

20 (return)
[ His autobiography; s. Burney, Reise, III., p. 199. Cf. Rochlitz, FÜr Freunde der Tonkunst, IV., p. 273.]

21 (return)
[ Zelter, Fasch, pp. 14, 47.]

22 (return)
[ Griesinger, Biogr. Not., p. 15. Rochlitz, FÜr Freunde der Tonkunst, IV.', p. 274. Bach told him once that he was the only man who had ever quite understood his works (Dies, Biogr. Nachr., p. 38).]

23 (return)
[ Compare, for instance, Burney's account (Reise, III., p. 209) with Reichardt's opinions expressed at different times (Briefe e. aufmerks. Reisenden, I., p. m; II., p. 7. Kunstmagaz., I., p. 24. Musik. Alman., 1796. A. M. Z., XVI., p. 28. Schletterer, Reichardt, I., p. 163).]

24 (return)
[ Nicolai, Reise, IV., p. 558.]

25 (return)
[ Zelter, Briefw. m. Goethe, V., p. 210: "His extemporising, especially when he was in the vein, was the admiration of men such as Marpurg, Kirnberger, Benda, Agrikola, Bertuch, Ring—most of them excellent organ-players, who all felt how far he surpassed them." He used to say of his brother, Ph. Emanuel, with a compassionate air: "Mein Bruder, der Hamburger, hat einige artige SÄchelchen gemacht"; and the latter made use of the same family expression in speaking of the London brother (Reichardt, Musik. Zeitg., II., p. 159).]

26 (return)
[ Forkel, Musik. Alman., 1784, p. 201. Reichardt, Musik. Alman., 1796. Zelter, Briefw., V., p. 209.]

27 (return)
[ I need only allude to the vocal compositions of Ph. Em. Bach; and the union of both schools in Graun's "Tod Jesu" is very apparent.]

28 (return)
[ A. M. Z., II., p. 585: "Berlin is perhaps the only place in Germany where the most ardent enthusiasm for modern music is still (1800) combined with a zealous defence of the older school. Joh. Seb. Bach and his celebrated sons still strive for pre-eminence with Mozart, Haydn, and Clementi." Zelter writes (Briefw. m. Goethe, V., p. 208): "I have been accustomed to honour the Bach genius for the last fifty years. Friedemann died here, Emanuel Bach was royal chamber musician here, Kirnberger and Agrikola were pupils of old Bach; Ring, Bertuch, Schmalz, &c., performed scarcely anything but the old Bach pieces, and I myself have taught here for the last thirty years, and have pupils who play all Bach's music well."]

29 (return)
[ A characteristic instance of this reverence is given by Zelter (Briefw., V., p. 163).]

30 (return)
[ A. M. Z., III., p. 598. Zelter, Briefw., III., p. 17.]

31 (return)
[ This testimony is afforded by his grateful pupil, Schulz, and also by Eberhardt (A. M. Z., II., p. 872) and Z[elter] (Berlin Mus. Ztg., 1793, p. 129. Cf. Zelter, Fasch, p. 59. Rintel, Zelter, p. 116).]

32 (return)
[ Reichardt was badly received by Kimberger (Schletterer, I., p. 98), who retaliated by a highly coloured picture of a theoretical critic in his "Briefen eines aufmerks- Reisenden" (I., p. 128), which was recognised as Kimberger (A.M. Z., II., p. 597). But in after-times he did him honourable justice (A. M. Z., III., p. 169),]

33 (return)
[ Thus Reichardt relates (A. M. Z., III., p. 17a) what is alluded to in the critical letters (I., pp. 15, 23, 41, 175, 231).]

34 (return)
[ Justi, Winckelmann, I., p. 48.]

35 (return)
[ Spazier, A. M. Z., II., pp. 569, 593.]

36 (return)
[ The anecdotes which he published with the title of "Legende einiger Musikheiligen von Simeon Metaphrastes d. j." (CÖlln, 1786), are characteristic of his bitterness and his cynicism.]

37 (return)
[ He spared Ph. Em. Bach as little as the latter spared him (Zelter, Briefw. m. Goethe, VI., p. 321).]

38 (return)
[ Schulz gives an account of this himself, which does not altogether agree in details with Reichardt's story (A. M. Z., II., p. 276; III., p. 597).]

39 (return)
[ Glocking, Fr. Nicolai's Leben, p. 95 (cf. 29). Schletterer, Reichardt, I., pp. 97,140.]

40 (return)
[ Burney, Reise, III., pp. 58, 74.]

41 (return)
[ Reichardt, Brief, e. aufmerks. Reis., I., p. 32. Schletterer, Reichardt, I., p. 139. Muller, Abschied, p. 117. It existed, together with other similar institutions, until the beginning of this century (Cramer, Mag. d. Mus., I., p. 565. A. M. Z., II., p. 586).]

42 (return)
[ Nicolai mentions these three oratorios as well known to him in 1781 (Reise, IV., p. 534). An enthusiastic account of "Judas MaccabÆus" after a performance at a Liebhaberconcert in 1774, was given by Reichardt in Briefe e. aufmerks. Reis., I., p. 82. Zelter describes the great effect which a performance of the "Messiah" in 1783 made upon him (Rintel, Zelter, p. 137). The "Messiah" had been performed in Hamburg as early as 1775 (Joh. Heinr. Voss, Briefe, I., p. 295).]

43 (return)
[ Marpurg, Krit. Briefe, II., p. 141.]

44 (return)
[ Nicolai, Reise, IV., p. 525.]

45 (return)
[ Reichardt, A. M. Z., XV., p. 666 (Schletterer, Reichardt, I., p. 325).]

46 (return)
[ A. M. Z., III., p. 601. It was certainly not to the taste of Frederick the Great. When it was proposed to sing the choruses in Racine's "Athalie," the King put a stop to it with the remark (January 10,1774): "La musique franÇaise ne vaut rien, il faut faire dÉclamer le chour, alors cela revient au mÊme (Preuss, Friedrich der Grosse, III., p. 310).]

47 (return)
[ L. Schnieder, Gesch. der Oper in Berlin, p. 49.]

48 (return)
[ Burney, Riese, III., p. 149.]

49 (return)
[ Schletterer, Reichardt, I., p. 140.]

50 (return)
[ Rochlitz, Fur Freunde der Tonkunst, III., p. 191.]

51 (return)
[ A. M. Z., III., p. 176.]

52 (return)
[ A. M. Z., III., p. 605. Even the Princess Amalie expressed to Schulz her dislike to his choruses to "Athalie" (A. M. Z., III., p. 614) in two very emphatic letters (Echo, 1857, Nos. 10, 14).]

53 (return)
[ A. M. Z., II., p. 575. Cf. Nohl, Musikerbr., p. 76.]

54 (return)
[ Nicolai, Reise, IV., pp. 526, 534.]

55 (return)
[ He has given some interesting particulars as to his position to Frederick (A. M. Z., XV., pp. 601, 633. Schletterer, Reichardt, I., p. 260).]

56 (return)
[ Cramer, Mag. d. Mus., I., p. 565. Schletterer, I., p. 357.]

57 (return)
[ At the same time he published the Musical Magazine (1-4, 1782), and was concerned in Nicolai's "Allgemeiner Deutscher Bibliothek." Cf. Schletterer, I., P. 432.]

58 (return)
[ The influence exerted by the Crown Prince, afterwards King Frederick William III. upon the musical taste of Berlin, belongs to a later time than that under consideration.]

59 (return)
[ Griesinger, Biogr. Not., p. 69.]

60 (return)
[ Reichardt, A. M. Z., XVI., p. 28 (Schletterer, Reichardt, I., p. 163).]

61 (return)
[ A. M. Z., I., p. 252.]

62 (return)
[ Nicolai, Reise, III., pp. 358, 363.]

63 (return)
[ G. Forster, SÄmmtl. Schr., VII., p. 273. Van Swieten's activity and influence are very differently estimated by R. Kink (Gesch. d. Univers, in Wien, I., p. 539).]

64 (return)
[ So Neukomm informed me. G. Forster was affronted by Van Swieten's stiff, cold manner (SÄmmtl. Schr., VII., p. 270). Cf. Jahrb. d. Tonk., 1796, p. 72.]

65 (return)
[ Dies, Biogr. Nachr., p. 158.]

66 (return)
[ Dies, Biogr. Nachr., p. 210. Griesinger, Biogr. Not., p. 66.]

67 (return)
[ Musik. Corresp., 1792, p. 4) Niemetschek, who had called him the father of Mozart's orphan children, omitted this in the second edition.]

68 (return)
[ Dies, Biogr. Nachr., p. 180.]

69 (return)
[ He often played at Van Swieten's with the famous lute-player Kohaut (Griesinger, Biogr. Not., p. 66).]

70 (return)
[ I cannot say whether Anton Teyber (b. 1754), whom Mozart met at Dresden in 1789, or Franz Teyber (b. 1756) is intended. Both were natives of Vienna, probably brothers of the two female singers of the same name (Vol. I., p. 69), and they both died at Vienna—Anton as court chamber composer in 1822, and Franz as kapellmeister and court organist in 1810.]

71 (return)
[ Nicolai's opinion is in accordance with this; he speaks of the church music in Vienna, in 1781, as inferior both in composition and performance (Reise, IV., p. 544).]

72 (return)
[ Kircher, Musurgia, I., p. 466. Weitzmann, Gesch. d. Klavierspiels, p. 214.]

73 (return)
[ Rochlitz's assertion (A. M. Z., I., p. 115) that Mozart wrote a great deal in Handel's style that he did not publish, is unfounded.]

74 (return)
[ It is observed in Reichardt's Musik. Zeitg., I., p. 200, that J. S. Bach was in advance of his age, and that long after his death his mantle had descended upon Mozart, who was the first thoroughly to admire and reverence the spirit of his art, and to reproduce it in his own works. Zelter also declares that Mozart is a truer successor of Seb. Bach than his son Philipp Emanuel or Joseph Haydn (Briefw., IV., p. 188); he recalls how the music of Seb. and Eman. Bach was at first unintelligible to him; how Haydn was blamed for having travestied what was intense earnest to them; and, finally, how Mozart appeared and gave the proper interpretation to all three (Briefw., II., p. 103).

75 (return)
[ Rochlitz is mistaken in trying to discover a mixture of Bach's gloominess with Mozart's youthful fire in the latter's Salzburg compositions (A. M. Z., II., p. 642).]

76 (return)
[ Beethoven wrote out this fugue in score; the autograph is in the possession of A. Artaria.]

77 (return)
[ Muller, proprietor of the art museum on the Stockameisenplatz, announces (Wien. Ztg., 1791, No. 66, Anh.) that he has on view there "the magnificent mausoleum erected to the memory of the great Field-Marshal Laudon. There will be performed also funeral music composed by the famous Kapellm. Mozart, which is very well suited for the occasion which has called it forth."]

78 (return)
[ The Andante composed on May 4, 1791, "for a waltz on a little organ" (616 K.), is a graceful little piece, with no pretence alter anything deeper, either in execution or expression.]

79 (return)
[ Nicolai, who notices this reformation (Reise, IV., p. 550), has adduced proofs of it (Beil., X., z, 2).]

80 (return)
[ Forkel, Musik. Alman., 1784, p. 187.]

81 (return)
[ A four-part vocal fugue, "In Te Domine speravi," of which Mozart has written thirty-four bars (23 Anh., K.), appears to belong to this time, and is very fresh and forcible:—[See Page Image]]

82 (return)
[ Rochlitz, A. M. Z., III., p. 230; cf. XXVII., p. 447. The parts of the Mass are made use of in the following manner:—[See Page Image]]

83 (return)
[ Reichardt criticises favourably on the whole a cantata composed of the last numbers (8, 9, zo) of the oratorio arranged by Hiller (Musik. Zeitg., I., p. 368; cf. 382); another cantata borrowed from it is mentioned (A. M. Z., IX., p. 479).]

84 (return)
[ Gerber's assertion in the TonkÜnstlerlexicon, I., p. 976: "Lucky for him that he was moulded into perfect form while still young by the pleasing and playful muses of Vienna; otherwise he could hardly have escaped the fate of Friedemann Bach, whose soaring flight could be followed by few mortals," is only half true, for Mozart's deepest studies were made not in Salzburg, but in Vienna.]