1 (return)
[ The initiated will see at once that an outsider is speaking, and that the expressions used are on that account additionally cautious.]

2 (return)
[ A survey of the most important phenomena attendant on this movement is given by Schlosser (Geschichte des Achtzehnten Jahrh., III.; I., p. 278).]

3 (return)
[ Gervinus, Gesch. d. Deutschen Nationality, V., p. 274.]

4 (return)
[ Goethe, Werke, XXI., p. 329.]

5 (return)
[ Wieland, Werke, LIII., p. 435.]

6 (return)
[ "To do good, to lighten the burden of mankind, to assist in the enlightenment of his comrades, to cause enmity to decrease among men, and to do all this with indefatigable zeal, is the duty of the mason and the true secret of his order. The ceremonies are minor mysteries, by means of which a man becomes a Freemason outwardly. The part taken by the order in the spread of toleration, especially among Christian sects, has been too plainly demonstrated to need mention here" [Kessler von Sprengseisen] (Anti-Saint-Nicaise, p. 62).]

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[ L. Lewis, Gesch. d. Freimaurerei in Oesterreich: Wien, 1861.]

8 (return)
[ There were eight lodges in Vienna in 1785. The oldest of them, "Zur gekrÖnten Hoffnung," was the one to which Mozart belonged; it contained many rich and noble members, and was said to lay great stress on gorgeous banquets (Briefe eines Biedermanns Üb. d. FreimÄurer in Wien: MÜnch., 1786, p. 40).]

9 (return)
[ K. L. Reinhold's Leben, p. 18.]

10 (return)
[ Blumauer, Pros. Schr., I., p. 69.]

11 (return)
[ Car. Pichler, Denkw., I., p. 105.]

12 (return)
[ Wien. Ztg., 1785, No. 102.]

13 (return)
[ Cf. Voigt an Hufeland (Aus Weimars Glanzzeit, p. 46. Baggesen'e Briefw., I., p. 304).]

14 (return)
[ Mozart's widow, who communicated his plan for this order to HÄrtel (November 27, 1799; July 21, 1800), stated that Stadler, with whom Mozart had discussed the whole subject, could give more information, but hesitated to reveal the circumstances connected with it. Although it says little for Mozart's knowledge of mankind that he should have chosen such a man for a confidant, the general interest taken in all matters relating to secret societies may serve to explain Mozart's partiality for them.]

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[ Maurer rede auf Mozart's Tod. Vorgelesen bei einer Meisteraufnahme in der sehr ehrw. St. Joh. zur gekrÖnten Hoffnung im Orient von Wien vom Bdr. H.... r. Wien, gedruckt beym Br. Ignaz Alberti, 1792, 8.]

16 (return)
[ Lewis, Gesch. d. Freim. in Oesterreich, p. 162.]

17 (return)
[ In the Salzburg Mozarteum there is a complete autograph score of the first chorus and part of the first air; but the chorus is in four parts, for soprano, alto, tenor, and bass, and the wind instruments are limited to two oboes and two horns; no doubt a subsequent arrangement.]

18 (return)
[ Wien. Ztg., 1785, No. 32.]

19 (return)
[ Lewis, Gesch. d. Freim. in Oesterreich, p. 119.]

20 (return)
[ In the library of the Munich Conservatoire there is a manuscript score of this cantata, in which the original words, "Sehen, wie dem starren Forscherauge," are changed into "Sehen jenes Irrthums Nacht verschwinden," for use in church services; also the final chorus is arranged in four parts, for soprano, alto, tenor, and bass, and strengthened by trumpets and drums.]

21 (return)
[ Lewis, p. 39.]

22 (return)
[ Wien. Ztg., January 25, 1792, No. 7, p. 217: "Reverence and gratitude for the departed Mozart caused a number of his admirers to announce the performance of one of his works for the benefit of his necessitous widow and children; the work may be termed his swan's song, composed in his own inspired manner, and performed by a circle of his friends under his own direction two days before his last illness. It is a cantata upon the dedication of a Freemasons' lodge in Vienna, with words by one of the members." The score, with the original words, appeared at Vienna, with the title, "Mozarts letztes Meisterstuck eine Cantata gebeben vor seinem Tode im Kreise vertrauter Freunde." Appended to the cantata is a song, "Lasst uns mit verschlungnen HÄnden," which may also be by Mozart. The cantata was published later, with other words, and the title, "Das Lob der Freundschaft."]

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[ The inducement to this composition was briefly hinted at in the A. M. Z. I., p. 745, and afterwards given at greater length by G. Weber (CÄcilia, XVIII., p. 210).]

24 (return)
[ This book of 633 pages bears the title: "Lehre vom richtigen VerhÄltnisse zu den Schopfungswerken und die durch Öffentliche Einfurung derselben allein zu bewÜrkende allgemeine MenschenbeglÜckung herausgegeben von F. H. Ziegenhagen. Hamburg, 1792, 8." Mozart's composition is appended, printed on four pages. Ziegenhagen was born in 1753, at Salzburg; late in life he fell into bad circumstances, and put an end to his life at Steinthal, near Strasburg, in 1806.]

25 (return)
[ The employment of three basset-horns, as in the vocal terzet (Vol. II., p. 361) and in an adagio for two clarinets and three basset-horns (411 K.), is no doubt the result of circumstances. The beginning of an adagio and allegro for these instruments exists among the fragments (93, 95 Anh., K.).]

26 (return)
[ Mozart has jotted this melody hastily down upon an extra leaf, in order to make no mistake in the working-out. According to my colleague Heimsoeth the first six bars render the first psalm-tune with the first difference (from the Cologne Antiphonary); what follows is very probably a local compilation of several psalm-tunes for the penitential psalm "Miserere mei Deus," different tunes being customary in different places. The melody of the first phrase is from the beginning of the first psalm-tune, the melody of the second phrase occurs in the seventh tune.]

27 (return)
[ Vol. I., p. 197; c£. also pp. 272, 277.]