1 (return)
[ Cf. A. M. Z., I., p. 157.]

2 (return)
[ So Rochlitz says (FÜr Freunde der Tonk., IV., p. 309), and the expression sounds very like Mozart. But when he speaks of a visit paid by Mozart to Bach in Hamburg, shortly before he went to Leipzig (1789), he forgets that Bach died in 1788, and Mozart was never in Hamburg.]

3 (return)
[ His "Versuch Über die wahre Art das Klavier zu spielen" appeared first in the year 1752; his numerous and widely known pianoforte compositions aim principally at the enforcing of practical principles.]

4 (return)
[ An account of J. S. Bach's scientific method is given by Forkel (Ueb. J. S. Bach, p. 11); a notice of the system of fingering formerly in use will be found in Becker (Hausmusik in Deutschland, p. 58).]

5 (return)
[ A. E. MÜller, in his "Anweisung zum genauen Vortrag der Mozartschen Klavierkonzerte" (Leipzig, 1796), has applied the principles of Bach's fingering to the more difficult passages of five concertos of Mozart.]

6 (return)
[ "Nothing made Mozart so angry as the maltreatment of his operas in public performances, principally by exaggerating the rate of the tempos," says Rochlitz (A. M. Z., I., p. 84).]

7 (return)
[ "It was his greatest and oft-lamented grievance," says Rochlitz (A. M. Z., I., p. 49), "that he was generally expected to perform mechanical juggling tricks and tight-rope antics on the instrument, which it amused people to see."]

8 (return)
[ "Mozart is the most finished and best pianoforte-player that I have ever heard," writes a correspondent from Vienna in 1787 (Cramer, Mag. f. Mus., II., p. 1273). "Never shall I forget the divine pleasure afforded me," says Rochlitz (A. M. Z., I., p. 113), "partly by the spirituality of his compositions, partly by the brilliancy, as well as the heart-melting tenderness of his execution." (Cf. I., p. 387).]

9 (return)
[ Frz. Lorenz, W. A. Mozart als Clavier-Componist (Breslau, 1866); a fine description, rich in characteristic traits.]

10 (return)
[ Cf. Vol. I., pp. 177, 200, 285.]

11 (return)
[ Mus. Real-Ztg., 1788, p. 49.]

12 (return)
[ In 1785 Torricella announced "Neueste Fantasie-Variationen von Mozart," as follows: "The eagerness with which the works of this famous master are everywhere looked for, and the certainty with which they command the esteem of the connoisseur by their art and elegance, and touch the hearts of all by their tender melodiousness, have induced me to publish these very beautiful variations for the benefit of the most fastidious lovers of music, to whom I offer a new work calculated to do honour to its author. I shall endeavour from time to time to place all the remaining variations of this admirable master in the hands of an appreciative public." FrÄulein Aurnhammer supervised the publishing of several of Mozart's variations (Cramer, Magaz. d. Mus., II., p. 1274).]

13 (return)
[ The variations on a theme by Dittersdorf (287 Anh., K.) are by Eberl, according to his assertion in the Hamburg Correspondent (July 25, 1798, No. 118, Beil ), and his are also the variations so often printed under Mozart's name on the theme, "Zu Steffen sprach im Traume" (288 Anh., K.). The variations on a theme from Sarti's "I Finti Eredi" (289 Anh., K.) are by Forster. Mozart's widow, in letters to Hartel (May 25, June 15, 1799), appealed to well-informed friends to support her assertion that the variations "Une fiÈvre brÛlante" (285 Anh., K.), whose genuineness had already been doubted by Siebigke (Mozart, p. 68), were not by Mozart, and she is undoubtedly right. 54 K. (after 547 K.) and 137 Anh., K. (after 581 K.) are arrangements.]

14 (return)
[ The following should certainly be placed earlier: 14, 15 (24, 25 K), composed in his ninth year. 16 (179 K.), on Fischer's minuet, composed in 1774 (Vol. I., p. 323). 17. "Mio caro Adone," from Salieri's "Fiera di Venezia" (180 K.). 18. "Je suis Lindor,"from Beaumarchais'"Barbier" (354 K.). The two latter were published in Paris (Vol. II., p. 70). In July, 1781, Mozart mentions three airs with variations, without specifying them more exactly.]

15 (return)
[ In the sonatas for piano and violin (377, 379, 481 K.), and in the trios (496, 564 K. I.]

16 (return)
[ Compare the remarks by Marx on Mozart's variations (Lehre von der Musik. Kompos., III., p. 84).]

17 (return)
[ It has been arbitrarily but not altogether unsuitably combined into one sonata with two other movements, composed on January 8, 1788 (533 K.).]

18 (return)
[ The second Rondo in F major (616 K.) was originally written for a musical box.]

19 (return)
[ Cf. Widmann, Formenlehre, p. 111.]

20 (return)
[ This Rondo is analysed by Marx (Lehre v. d. Mus. Kompos., III., p. 150).]

21 (return)
[ It was composed May 20,1785, and published by Mozart, together with the sonata in C minor (457 K.), as Op. 11.]

22 (return)
[ A poetical exposition of this fantasia is given by Kanne (Wien. Mus. Ztg., 1821, p. 386).]

23 (return)
[ Cf. Im. Faiszt, BeitrÄge zur Geschichte der Klaviersonate bis C. P. Em. Bach (CÄcilia, XXV., pp. 129, 201; XXVI., pp. 1, 73).]

24 (return)
[ Cf. the excellent remarks by Marx (Lehre von der Musik. Kompos., III., p. 588), and for a more profound criticism (Ibid., III., p. 215).]

25 (return)
[ Musik. Real-Ztg., 1788, p. 50.]

26 (return)
[ Ph. E. Bach says in the preface to his six sonatas for the piano with altered repetitions (Berlin, 1759): "The alteration at the repeat is in the present day indispensable. It is expected from every performer that he should change every idea in repetition, without any allowance being made for the construction of the piece or the ability of the performer."]

27 (return)
[ An analysis of them is given by Kanne (Wien. Mus. Ztg., 1821, Nos. 3-8, 19-30, 44-50). Cf. Lorenz, Deutsche Mus. Ztg., 1861, p. 321.]

29 (return)
[ The variations for four hands in G major (Oeuvr., VIII., 3) have already been noticed (Vol. II., p. 446).]

30 (return)
[ Cf. the account iÛ C. Pichler's DenkwÜrdigkeiten, I., p. 90.]

31 (return)
[ Cramer, Magaz. d. Musik, I., p. 485.]

32 (return)
[ Notes and alterations have been inserted by Mozart in red ink.]

33 (return)
[ The finale is extant in a second and unfinished arrangement.]

34 (return)
[ By way of example I may remind the reader of the tender, yearning, almost dreamlike impression made by the wonderful harmonic progression in the larghetto of the Quartet in E flat major.]

35 (return)
[ A. M. Z., III., p. 27.]

36 (return)
[ Journal des Luxus und der Moden, 1788, p. 230.]

37 (return)
[ Forkel, who otherwise takes no notice of Mozart, says of this article that it is evident that the author is a dilettante, without any knowledge of art, and therefore only capable of judging from outward appearances (Musik. Alman., 1789, p. 119).]

38 (return)
[ A second quintet for piano, oboe, clarinet, basset-horn, and bassoon, was only commenced by Mozart (54 Anh., K.).]

39 (return)
[ A kind of legend has grown up among reminiscence hunters, to the effect that the few and unimportant motifs which recall Mozart, especially in the second movement, were introduced by Beethoven as a homage to Mozart. A comparison of the two quintets is given after his fashion by Lenz (Beethoven, III., p. 160).]

40 (return)
[ The most complete collection of Mozart's concertos in score, agreeing with Breitkopf and Hartel's issue of the parts, is that published in Paris by Richault; the collection begun in Offenbach by AndrÉ is not finished.]

41 (return)
[ Sketches of pianoforte concertos (56-61 Anh., K.) bear further testimony to Mozart's lively interest in this species of composition. A Concerto Rondo in A major belonging to October 19, 1782, is completed, with the exception of some gaps in the instrumentation (386 K.).]

42 (return)
[ This is with justice emphasised by Rochlitz (A. M. Z., III., p. 28). NÄgeli also testifies how Mozart "broke new ground for orchestral compositions with his pianoforte concertos" (Vorles., p. 159).]

43 (return)
[ Siebigke, Mozart, p. 69.]

44 (return)
[ A collection of cadenzas to several concertos (175, 271,414, 435, 449, 451, 453, 456, 459, 488, 537, 595 K.) is preserved, and partially published (624 K.). They appear to have been written down by Mozart for pupils; they are neither difficult nor elaborate, and certainly give no idea of his improvised cadenzas. Beethoven wrote cadenzas of his own to the D minor concerto (466 K.) (Wien. Modeztg., 1836, Beil., 10. Werke, 70, 11, 12).]

45 (return)
[ The last movement of the Concerto in F major (433 K.) is a rondo-like "Tempo di menuetto," after the old style (Vol. I. p. 325), similar to one in a violin sonata (377 K.).]

46 (return)
[ The sketch of the beginning of a rondo first intended for this concerto is prefixed to the Offenbach score of the Concerto in B flat major (450 K.). Mozart rightly gave the preference to the very dissimilar fiery theme of the present rondo.]