1 (return)
[ A. M. Z., I., p. 290; cf. p. 52. Nissen, p. 520.]

2 (return)
[ Genast, Aus d. Tageb. e. alten Schausp, I., p. 3.]

3 (return)
[ Hoffmann, FantasiestÜcke (Ges. Schr., VII., p. 68). The story has lately been discussed (cf. Signale, 1862, p. 531).]

4 (return)
[ C. M. von Weber deduces from his own experience "the ill results upon the student's youthful mind of these marvellous anecdotes concerning the masters whom he reverences and strives to follow." (Lebensb., I., p. 177.)]

5 (return)
[ Rochlitz has frequently expressed correct views as to Mozart's method of working, especially in the article "Ein guter Rath Mozarts" (A. M. Z., XXII., p. 297. FÜr Freunde der Tonk., II., p. 281).]

6 (return)
[ A letter from Mozart to a certain Baron von P. upon this subject, first printed by Rochlitz (A. M. Z., XVII., p. 561), and often subsequently, is incontestably a fabrication as it stands. As it is impossible to determine how far it is founded upon truth, it must remain entirely out of the question.]

7 (return)
[ Niemetschek, p. 84.]

8 (return)
[ Rochlitz, A. M. Z., I., p. 115. FÜr Freunde der Tonkunst, IV., p. 239.]

9 (return)
[ Beethoven's expression is well known: "Handel is the unrivalled master of masters; go and learn from him how with limited resources to produce such grand results!" (Studien, Anhang, p. 22). Gluck took Kelly (Reminisc., I., p. 255) into his bedroom, and showed him Handel's portrait hanging near his bed, which he used reverently to greet each morning on awaking.]

10 (return)
[ Haydn declared that Handel was grand in his choruses, but mediocre in vocal solos (Griesinger, Biog. Not., p. 115).]

11 (return)
[ Rochlitz, A. M. Z., I., p. 117.]

12 (return)
[ A. M. Z., I., p. 147.]

13 (return)
[ Nissen, p. 627.]

14 (return)
[ Nissen, p. 694.]

15 (return)
[ Niemetschek, p. 85. Rochlitz, A. M. Z., I., p. 113. Fur Freunde der Tonkunst, II., p. 287.]

16 (return)
[ Nissen, p. 560.]

17 (return)
[ Niemetschek, p. 82.]

18 (return)
[ Rochlitz, A. M. Z., XXII. p. 298. FÜr Freunde der Tonkunst, ÜI., p. 283.]

19 (return)
[ An old leather case which was used for the purpose was jokingly called by him his portfolio, for the preservation of his valuable documents.]

20 (return)
[ Cf. Niemetschek, p. 73.]

21 (return)
[ When Stadler once complained to him of an awkward passage, and wished it altered, Mozart said: "Have you the notes in your instrument?" "Yes," said he. "Then," answered Mozart, "it is your business to bring them out." Neukomm told me this anecdote.]

22 (return)
[ The facsimile of the "Veilchen" affords an instance of Mozart's handwriting during the time of the Vienna visit.]

23 (return)
[ The list compiled by AbbÉ Stadler (Rechtf. der Echth. d. Req., is given by Nissen (Anh., p. 18), and carefully revised by KÖchel (Anh., 12-109).]

24 (return)
[ Nissen, p. 561. Bohemia, 1856, No. 22, p. 118. There are four quadrilles, each with a country dance; some of them are specially named, "La Favorite," "La Fenice," "La Piramide." In one of them a theme is delivered by the piccolo and big drum, which Weber has employed as an Austrian grenadier march in "Kampf und Sieg" (Schr., ÜI., p. 97). He had probably heard it in Prague.]

25 (return)
[ A. M. Z., I., p. 855; Nissen, p. 473.]

26 (return)
[ Kelly, Reminisc., I., p. 258,]

27 (return)
[ "From his childhood," says the article in Schlichtegroll's Nekrolog, "he preferred playing at night; he seated himself at the clavier at nine o'clock in the evening, and would remain at it until midnight, having to be forced away even then; otherwise he would have played through the whole night."]

28 (return)
[ So a contemporary asserts (Wien. Allg. Mus. Ztg., 1818, No. 3, p. 62). Rochlitz speaks of Mozart's humour as one of his special characteristics (A. M. Z., III., p. 590): "I have heard most of the distinguished performers on this instrument since Mozart, except Beethoven; the playing of many of them was admirable, but the inexhaustible wit of Mozart was never approached by any."]

29 (return)
[ N. Wien. Mus. Ztg., 1856, No. 25.]

30 (return)
[ Cf. Schink, Litt. Fragm., II., p. 288. An article on Beethoven says (A. M. Z., I., p. 525): "He shows to the utmost advantage in improvisation. Since Mozart's death, who will always remain to my mind the non plus ultra in this respect, I have never had so much enjoyment as from Beethoven."]

31 (return)
[ Deutsche Mus. Ztg., 1861, p. 322.]

32 (return)
[ A. M. Z., I., p. 113.]

33 (return)
[ Nissen, p. 517.]

34 (return)
[ Cf. Nissen, p. 622. Niemetschek, p. 66.]

35 (return)
[ Nissen, p. 692.]