1 (return)
[ Mus. Corresp., 1790, p. 30.]

2 (return)
[ Mus. Wochenbl., p. 15. Cf. Lange, Selbstbiogr., p. 167.]

3 (return)
[ Muller, Abschied, p. 286.]

4 (return)
[ Da Ponte, Mem., I., 2, p. 114.]

5 (return)
[ Mosel, Salieri, p. 138. Mus. Wochenbl., p. 62. Leopold's most severe remarks upon Salieri are quoted by Da Ponte (Mem., II., p. 135): "So tutte le sue cabale e so quelle della Cavalieri. É un egoista insopportabile, che non vorrebbe che piacessero nel mio teatro che le sue opere e la sua bella; egli non È solo nemico vostro, ma lo È di tutti i maestri di capella, di tutte le cantanti."]

6 (return)
[ An official table was published, showing that during the King's stay in the imperial dominions, from September 3,1790, to March 18,1791, he followed the chase thirty-seven times, and himself shot 4,110 head of game (Wien. Ztg., 1791, No. 29).]

7 (return)
[ Wien. Ztg., 1790, No. 75, Anh.]

8 (return)
[ Mus. Corresp., 1790, p. 145. Griesinger, Biogr. Not., p. 36.]

9 (return)
[ Mus. Corresp., 1790, p. 146. Mosel, Salieri, p. 138.]

10 (return)
[ Wahl-und KrÖnungs-Diarium, 2 Anh., p. 5.]

11 (return)
[ In the Councillors and Deputy-Councillor's Register for the imperial town of Frankfort on the election and coronation of the Emperor Leopold II., is the following entry (p. 400): "Mittwoch, 13 October, 1790. Als vorkame, dass der Kayseri. Conzert-Meister Mozart um die Erlaubniss nachsuche Morgen Vor-mittag im Stadtschauspielhaus ein Concert geben zu dÖrfen: sol le man ohne Consequenz auf andere Falle hierunter willfahren." I am indebted for this, as for other information, to my friend W. Speyer.]

12 (return)
[ Lewezow, Leben und Kunst der Frau Schick, p. 14.]

13 (return)
[ Lipowsky, Baier. Mus. Lex., p. 16.]

14 (return)
[ Breslau Ztg., 1855, No. 240, p. 1366.]

15 (return)
[ Nohl, Musik. Skizzenb., p. 190.]

16 (return)
[ Koffka, Iffland und Dalberg, p. 185.]

17 (return)
[ So it is stated in the KurfÜrsl. gnÄdigst privil., MÜnchner Wochen-und Anzeigeblatt, 1790, No. 44.]

18 (return)
[ According to the KurfÜrstl. gnÄdigst privil. MÜnchner Ztg., 1790, Nos. 173-175, the arrival of the King of Naples, on November 4, was celebrated by a court gala and concert, and on the following day by a court hunt, and a theatrical performance and supper.]

19 (return)
[ The story rests on the authority of Tonerl herself, now Frau Haradauer of Graz (Wien. Fremdenbl., January 22, 1856).]

20 (return)
[ At this place he had a performance of "Count Waltron" upon the ramparts, in a camp of 200 tents (Wien. Ztg., 1782, No. 68).]

21 (return)
[ Berliner Litt. u. Theat. Ztg., 1783, I., p. 94.]

22 (return)
[ Wien. Ztg., 1784, No. 102, Anh.]

23 (return)
[ MÜller, Abschied, p. 273. Berl. Litt. und Theat. Ztg., 1785, I., p. 304.]

24 (return)
[ Mettenleiter, Musikgesch. d. Stadt Regensburg, p. 265.]

25 (return)
[ Hormayr, Wien., VI., p. 75. Castelli, Memoiren, I., p. 46.]

26 (return)
[ Journal der Moden, 1790, p. 149. Theaterkal., 1789, p. 202. Cf. Varn-hagen, Denkw., VIII., p. 57.]

27 (return)
[ Seyfried gives this description, which can scarcely be exaggerated, since it has an apologetic tendency (N. Zeitschr. fur Mus., XII., p. 380). Schikaneder died in poverty, and insane, 1812 (SÜdd. Mus. Ztg., 1860, p. 21).]

28 (return)
[ Treitschke gives many particulars of the composition and first performance of the "ZauberflÖte" (Orpheus, Mus. Taschenb., 1841, p. 242) in the Illustr. Familienbuch des Österr. Lloyd (1852, II., p. xig), and in the Monatsschrift fur Theater und Musik (September 1857, p. 444); valuable old traditions are paixed with demonstrable falsehoods.]

29 (return)
[ Allg. Wiener Mus. Ztg., 1841, p. 128.]

30 (return)
[ C. F. Becker, N. Ztschr. fur Mus., XII., p. 112.]

31 (return)
[ Da Ponte, Mem., I., 2, p. 124.]

32 (return)
[ The story of the Requiem is familiar in all its details, and has been deprived of every trace of mystery or uncertainty. Niemetschek's simple account (p. 40), and Rochlitz's more highly coloured one (A. M. Z., I., pp. 149, 177), are both founded on statements by Frau Mozart. Full light has been thrown on the other side by the communications of the musicians J. Zawrzel (AndrÉ, Vorber. zu Mozarts Requiem, CÄcilia, VI., p. 212), KrÜchten (CÄcilia, VI., p. 217), Herzog (KÖchel, Recensionen, 1854, No. 48, p. 753), who were all acquainted with Count Walsegg, and are trustworthy on the whole, although they differ from each other in matters of detail. Some facts, which it was thought unadvisable to publish, were vouched for to me in Vienna by A. Schmid and Al. Fuchs.]

33 (return)
[ Niemetschek (p. 52) saw a short note from the Unknown, in which Mozart is urged to send the Requiem, and to name a sum for which he would undertake to supply annually a certain number of quartets.]

34 (return)
[ The entry in the Autograph Catalogue is as follows: "September 5 (performed in Prague, September 6), La Clemenza di Tito, opera seria in due atti, per I' incoronazione di sua MaestÀ l' imperatore Leopoldo II., ridotta a vera opera dal Sgre Mazzoli, poeta di sua A. S. l' Elettore di Sassonia—24 pezzi." (In the printed score there are twenty-six pieces, not counting the overture; but the obbligato recitatives are counted separately here, and not in the original score.)]

35 (return)
[ Seyfried, CÀcilia, IV., p. 295.]

36 (return)
[ Nothing is omitted but the duettino (3) (which, however, is included in "A Revised Copy of Mozart's Original," by Abbe Stadler) and the accompanied recitative (25).]

37 (return)
[ The first three scenes were by P. Travaglia, in the service of Prince Ester-hazy, the fourth was by Preising of Coblenz, and the costumes were by ChÉrubin Babbini of Mantua.]

38 (return)
[ J. Debrois, Urkunde uber die KrÖnung Sr. Maj. des KÖnigs von Bohmen, Leopolds II., p. no.]

39 (return)
[ Musik. Wochenbl., pp. 70, 94.]

40 (return)
[ According to an anecdote in the Bohemia (1856, No. 23, p. 122) there was in Prague an old harpist named Hoffman, a familiar figure in every coffee-house. Mozart had him up in his room when he was living at the "Neuwirthshaus" (now "Der goldene Engel"), and played an air to him on the pianoforte, desiring him to improvise variations upon it. This he did, to Mozart's satisfaction. Ever after, this theme was the show-piece of the harpist, and he would never play it except by special desire; then he would go off into reminiscences of Mozart, and nothing would shake his firm persuasion that the great man must be a native of Bohemia.]

41 (return)
[ It was composed, among others, by Leon. Leo, 1735; by Hasse, 1737; by Jomelli; by Perez, 1749; by Gluck, 1751; by Jos. Scarlatti, 1760; by Nau-mann, 1769.]

42 (return)
[ It would be ascribing to Mozart a merit to which he has no claim to credit him with the reconstruction of the libretto (A. M. Z., I., p. 151. CÄcilia, XX., p. 191).]

43 (return)
[ The numbers taken unaltered from Metastasio are: 2,5, 6, 8, 9,11,16, 20, 21, 25, and the obbligato recitatives, n, 17, 22, 24. Those for which new words were written are the songs for Annius (13, 17), for Sextus (19), and for Vitellia]

44 (return)
[ This scene is all Mazzola's invention, but it does not form one of the longer ensemble movements.]

45 (return)
[ Zelter, Briefw. m. Goethe, III., p. 26.]

46 (return)
[ Curiously enough this very motif has become a type for a long list of overtures and symphonies by Mozart's immediate successors, and may even be recognised in Beethoven's first symphony and Prometheus overture.]

47 (return)
[ The second air (8) is apparently of later composition, for it is not included in the consecutive numbering, and the score is written on the same paper as the march (3), the obbligato recitative, and the overture, all composed after the completion of the other pieces, which are written on one kind of paper.]

48 (return)
[ Seyfried, CÀcilia, XX., p. 193.]

49 (return)
[ The second air (17), with Mazzola's words, was inserted subsequently, and numbered 13 1/2.]

50 (return)
[ The ritomello is added on a separate page by a copyist; so is the concluding ritornello. Probably the air originally passed into an accompanied recitative for Titus, which is not preserved.]

51 (return)
[ Schaul, Briefe Üb. d. Geschmack, p. 51.]

52 (return)
[ C. M. von Weber, Lebensbild, III., p. 4.]

53 (return)
[ Gerber, N. Lex., II., p. 75. Cf. A. M. Z., IV., p. 318. Reichardt, Mus. Ztg., 1805, I., p. 112. In a notice from Berlin of the year 1799 it is described as a caricature (A. M. Z., I., p. 348).]

54 (return)
[ The fact that the clarinet and basset-horn alone were employed as obbligato instruments, and that with an evident supposition of great proficiency, would lead to the inference that Stadler had come to Prague for the coronation.]

55 (return)
[ A striking organ point in Gluck's composition gave rise to much debate; he employed it afterwards in "Iphigenie en Tauride," in the last air of the second act (Schmid, Gluck, pp. 48, 353).]

56 (return)
[ The alleged reminiscence in the first finale in "Titus" of the great scene in "Idomeneo" (24) (A. M. Z., I., pp. 54, 152) is not supported by a closer examination.]

57 (return)
[ A. M. Z., IV., p. 822.]

58 (return)
[ Deutschland, I., p. 269; II., p. 363. Reichardt, to whom this article was ascribed (Mus. Ztg., 1805, I., p. 6), declared that the criticism on Mozart's arrangement of the "Messiah," which had been attributed to Reichardt, was no more by him than many other reviews of Mozart's works for which he had been attacked during many years past with great acrimony.]

59 (return)
[ A. M. Z., I., p. 154.]

60 (return)
[ Reichardt, Mus. Ztg., II., p. 123. Parke, Mus. Mem., II., p. 3. Pohl, Mozart u. Haydn in London, p. 145.]

61 (return)
[ A. M. Z., XVIII., p. 463.]

62 (return)
[ A. M. Z., XIX., pp. 174, 190.]