1 (return)
[ The more detailed accounts of the composition and completion of the Requiem have been given chiefly on the authority of SÜssmayr (A. M. Z., IV., p. 2) and Stadler (Vertheidigung der Echtheit des Mozartschen Requiems, mit zwei Nachtr.; Wien, 1827), and they have been verified and elucidated by the discovery of the score delivered over to Count Walsegg. Cf. Deutsche Mus. Ztg., 1861, p. 380. The narrative in the text, therefore, is given without regard to the dust-clouds of controversy in which a dispute carried on with so much animosity on all sides was sure to envelop the facts of the case.]

2 (return)
[ Mozart made the following declaration, May 30, 1790: "I, the undersigned, hereby declare that I consider the bearer of this, Herr Joseph Eybler, to be a worthy pupil of his famous master, Albrechtsberger, a thoroughly learned composer both in chamber and church music, experienced in the art of composition, and also an accomplished organ and pianoforte-player; in short, it is only to be regretted that young musicians of his talents and attainments are so seldom to be met with" (N. Berl. Mus. Ztg., 1858, p. 244).]

3 (return)
[ KÖchel, Recensionen, 1864, p. 753.]

4 (return)
[ Stadler, Nachtr., p. 40.]

5 (return)
[ These two movements are written on five sheets of twelve-line Italian music-paper in quarto, which Mozart generally used, and are, according to his custom folioed, not paged, from one to ten, the last three pages being left blank. The signature is "Di me W. A. Mozart, 1792." This mistake, or anticipation of the date, was destined to give rise to much confusion.]

6 (return)
[ An accurate copy of these sheets by Mozart was published by AndrÉ in 1829, with the title: "Partitur des Dies irÆ welche AbbÉ Stadler bald nach Mozart's Tode fur sich copirt hatte,—Hostias von W. A. Mozart's Requiem, so wie solche Mozart eigenhÄndig geschrieben und AbbÉ Stadler in genauer Uebereinstimmung mit dem Mozartschen Original copirt hat, nebst Vorschrift und Anhang." The "Anhang" is a similar sketch of the Requiem and Kyrie, evolved by AndrÉ himself—a curious idea and a very useless labour.]

7 (return)
[ Stadler, Vertheidigung, p. 13.]

8 (return)
[ The sister and heiress of Count Walsegg, the Countess Sternberg, sold his collection of music to his steward, Leitner, from whom the score of the Requiem was obtained by his clerk, Karl Haag; it was bequeathed by the latter to Katharina Adelpoller. Commissary Novak, of Schottwien, who had formerly been steward to Count Walsegg, drew the attention of Count Moritz von Dietrichstein, Imperial Librarian, to the existence of the treasure, and it was purchased for fifty ducats and placed in the Library.]

9 (return)
[ A. M. Z., XLI., p. 81. N. Ztschr. f. Mus., X., p. 10. CÄcilia, XX., p. 279.]

10 (return)
[ J. F. von Mosel, Ueber die Original-Partitur de Requiem von W. A. Mozart (Wien, 1839). Cf. A. M. Z., XLI., p. 317.]

11 (return)
[ Niemetschek, who had his information from the widow, says that directly after Mozart's death the messenger demanded and received the work, "incomplete as it was" (p. 52). The Count himself signified that the Requiem was only Mozart's as far as the Sanctus.]

12 (return)
[ CÀcilia, IV., p. 288.]

13 (return)
[ A. M. Z., I., p. 178.]

14 (return)
[ Stadler, Nachtr., p. 6.]

15 (return)
[ A. M. Z., XXIX., p. 520.]

16 (return)
[ CÀcilia, IV., p. 308. The singer, Mariottini, of Dresden, made a copy of the Requiem, Kyrie, and Dies irÆ, and appended the following observation: "L' Offertorio, il Sanctus e l' Agnus Dei non gl' ho transcritti, perche non mi anno parso essere del valore del precedente, ne credo ingannarmi nel crederli opera di un' altra penna" (CÀcilia, VI., pp. 303, 310).]

17 (return)
[ Frederick William II. paid her 100 ducats for one (CÀcilia, VI., p. 211).]

18 (return)
[ HÀfer relates that a "Thomaner" Jost, who wrote music very well, copied the score twice for the widow during her stay in Leipzig (CÀcilia, IV., p. 297).]

19 (return)
[ Rochlitz, FÜr Freunde der Tonk., I., p. 25.]

20 (return)
[ In a letter to HÄrtel (October 10, 1799) she sends him a draft of such an appeal: "The noble Unknown, who, a few months before Mozart's death, commissioned him to compose a Requiem, not having declared himself during the seven years which have elapsed since that time, the widow of the composer gratefully accepts this silence as a permission to her to publish the work to her own advantage. At the same time she considers it as safer for herself, and more in accordance with the sentiments inspired in her by the noble patron of her late husband, to call upon him to express his wishes on the subject to her within three months through the Wiener, Hamburger, or Frankfurter Zeitung, at the expiration of which time she will consider herself justified in publishing the Requiem among the collected works of her late husband."]

21 (return)
[ The "Requiem Brevis" in D minor (237, Anh., K.), published by Simrock, of Bonn, under Mozart's name, may be at once pronounced spurious, having neither external nor internal credibility.]

23 (return)
[ A. M. Z., I. Int. Bl., p. 97. Stadler, Vertheidigung, p. 14.]

24 (return)
[ Nissen, Nachtrag, p. 169.]

25 (return)
[ There were only a few emendations in the score published by Breitkopf and HÀrtel in 1800, and these had been communicated to HÀrtel by the widow (August 6, 10, 1800; cf. A. M. Z., IV., p. 30). The revised copy served as a foundation for AndrÉ's pianoforte arrangement, and his edition of the score (1827). In this the letters M. and S. distinguish what is Mozart's and what Sussmayr's. The preface was reprinted in the CÀcilia (VI., p. 200).]

26 (return)
[ Stadler, Vertheidigung, p. 46.]

27 (return)
[ Even Seyfried only conjectures this (CÀcilia, IV., p. 296).]

28 (return)
[ A searching notice, written by Schwencke and revised by Rochlitz, appeared after the publication of the score (A. M. Z., IV., p. 1). It was soon after translated into French in the Journal de Paris, and then noticed in the German papers as an example of French criticism (A. M. Z., XXX., p. 209).]

29 (return)
[ The minor compositions of the "Ave verum corpus" (Vol III., p. 281) and the Freemasonic Cantata (Vol. II., p. 408) complete this parallel.]

30 (return)
[ Cf. Lorenz, Deutsche Mus. Ztg., 1861, p. 257. A. Hahn, Mozart's Requiem (Bielef., 1867). Kriebitzsch, Fur Freunde d. Tonk., p. 61.]

31 (return)
[ Mich. Haydn has introduced the same into his unfinished Requiem, at the words "Te decet hymnus"; according to Rochlitz (A. M. Z., IV., p. 7) and Zelter (Briefw. m. Goethe, IV., p. 353 ) the chorale "Meine Seel erhebet den Herrn," is sung to this melody. The treatment of this passage is decided by the ritual. In Jomelli's Requiem both verses of the Psalm are intoned, in Hasse and Zelenka the first ("Te Jerusalem" in Asola; Proske's Musica Divina) only the words "Te decet hymnus in Sion in Pitoni both verses are freely composed.]

32 (return)
[ Rochlitz, Fur Freunde der Tonknnst, I., p. 159. A detailed analysis is given by Lobe (Compositionslehre, III., p. 195).]

33 (return)
[ According to KÀgeli the violent changes of key and arbitrary alternations of major and minor have turned the fugue into a barbarous confusion of sounds (Vorlesungen Üb. Musik., p. 99).]

34 (return)
[ CÄcilia, III., p. 216.]

35 (return)
[ Schwencke, A. M. Z., IV., p. 8.]

36 (return)
[ The theme stands with its counter-theme in doubled counterpoint of the twelfth. It is perhaps worthy of note that the Christe begins in the minor passages a third above the Kyrie, and in its major passages a third below the Kyrie—an arrangement not wanting in original effect.]

37 (return)
[ Marx remarks, in answer to Weber's criticism (Lehre v. d. Mus. Compos. III., p. 500), that "here—following the whole spirit of the work—the point to be considered was not so much a literally faithful expression of the words as a thoroughly religious and solemn rounding and balancing of a whole section of the service, the prayer for the departed in all its amplitude of detail" (Cf. Berl. Mus. Ztg., 1825, p. 881).]

38 (return)
[ Stadler, Vertheidigung, p. 17.]

39 (return)
[ Chrysander, HÄndel, II., p. 436.]

40 (return)
[ Tucker, Schatz d. evang. Kirchenges., II., p. 151, No. 282.]

41 (return)
[ This has been already pointed out by Cramer (Anecd. sur Mozart, p. 26), whose attention was drawn to it by J. A. P. Schulz.]

42 (return)
[ G. C. P. Sievers says (Mozart u. SÜssmayr, p. 15) that a kapellmeister at Ferrara told him that in one of Mozart's Masses a whole piece was copied from an early Italian master, which was confirmed by Santini; Sievers had forgotten the key of the Mass and the name of the ill-used composer. That Mozart should have inserted a strange piece in a Mass written for Salzburg Cathedral under the eye of his father is incredible. A. Schiffner asserted (A. M. Z., XLV., p. 581) that Handel and Mattheson, Telemann and Mozart, had all stolen from Reinhard Keiser. Al. Fuchs (CÄcilia, XXIII., p. 95) called on him for proof; Schiffner, who probably knew as little of Reiser's scores as did Mozart, made no response to the challenge.]

43 (return)
[ Ferd. Wolf, Ueb. die Lais, Sequenzen und Leiche, pp. 29, 76, 91.]

44 (return)
[ Schubiger, Die SÀngerschule St. Gallens, p. 39.]

45 (return)
[ Mohnike, Kirchen-u. litterar-histor. Studien u. Mittheilungen, I., p. 3.]

46 (return)
[ The translations have been collected by F. G. Lisco (Dies irÆ, Hymnus auf das Weltgericht, Beitrag zur Hymnologie. Berlin, 1840).]

47 (return)
[ Hiller, in consequence of the unsatisfactory trombone-players, transposed the solo after bar 5 to the bassoons, which was copied in the printed score (CÄcilia, VIII., p. 54. Cf. A. M. Z., IV., p. 10).]

48 (return)
[ In this a very enthusiastic admirer of the Requiem (A. M. Z., XVI., p. 617) and (as to the close) Ulibicheff agree (I., p. 252).]

49 (return)
[ Indescribably beautiful is the occurrence here of the chord of the minor sixth on G, instead of the minor common chord which one expects.]

50 (return)
[ The close in D minor of the movement in G minor appeared so striking to Schwencke (A. M. Z., IV., p. 11), that he conjectured that Mozart must have intended a further revision of these choruses. But the different movements of the Sequence, although detached, are yet in immediate relation with each other; and Mozart made the transition into D minor because the following movement is in F major.]

51 (return)
[ Hogarth, Mem. of the Opera, II., p. 199.]

52 (return)
[ G. Weber could not bring himself to attribute to Mozart a treatment which "emphasises, con amore, the egotistical baseness of the words, and by the ferocious unison of the stringed instruments maliciously incites the Judge of the World to hurl the cursed crowd of sinners into the deepest abyss, and then to call the singers to all the joys of the blessed" (CÀcilia, III., p. 220). He has clearly misunderstood both the words and the intention of the composer so to bring before the imagination the torments of the damned as to lead to an intenser longing for the mercies of Redemption.]

53 (return)
[ CÄcilia, III., p. 222.]

54 (return)
[ CÄcilia, IV., p. 296.]

55 (return)
[ A. M. z., IV., p. 4.]

56 (return)
[ CÄcilia, IV., p. 289. A. M. Z., XXV., p. 687.]

57 (return)
[ CÄcilia, III., p. 226; IV., p. 279.]

58 (return)
[ Berl. Mus. Ztg., 1825, p. 378.]

59 (return)
[ CÄcilia, IV., p. 307.]

60 (return)
[ The Wiener Zeitung announces that the music of the opera "L' Incanto Superato," first performed July 8,1793, is arranged by Herr Franz Siessmayr, "pupil of Herr Salieri."]

61 (return)
[ Jahrb. d. Tonk., 1796, p. 61: "It is no small recommendation to him that he was a pupil of Mozart, and very highly thought of by him. He has also completed some works left unfinished by this great genius"—which can only refer to the Requiem.]

62 (return)
[ CÄcilia, III., p. 295.]

63 (return)
[ G. L. P. Sievers, Mozart u. Sussmaier, p. 8.]

64 (return)
[ Zelter, Briefw. m. Goethe, IV., p. 353.]

65 (return)
[ A correspondent of G. Weber had heard that AndrÉ possessed MSS. which would prove that every note of the Benedictus was an adaptation of an earlier and favourite air of Mozart (CÄcilia, IV., p. 292). It need scarcely be said that there is not a word of truth in this.]

66 (return)
[ Berl. Mas. Ztg., 1825, p. 379.]

67 (return)
[ Zelter (Briefw. m. Goethe, IV., p. 353) pronounces the Requiem to be "disjointed, unequal; some of the pieces might be inserted, and it would be a mistake to consider it as a whole; the same thing is the case with many excellent composers; and though the Requiem consists entirely of detached pieces, it is the best production that I know of the last century." The story of the Requiem may have had some influence on this judgment.]

68 (return)
[ A. M. Z., XVI., p. 812: "Mozart has disclosed his whole inner being in this one sacred work, and who can fail to be affected by the fervour of devotion and holy transport which streams from it? His Requiem is unquestionably the highest and best that modern art has to offer for sacred worship." Unfavourable criticism was not wanting. "I should be without feeling," says Ernst, in Tieck's Phantasus (Schriften, IV., p. 426), "if I failed to love and honour the marvellous depth and richness of Mozart's mind—if I failed to be carried away by his works. Only, let me have none of his Requiem."]

69 (return)
[ Cf. O. Lindner, Zur Tonkunst, p. 176.]

70 (return)
[ Stadler, Vertheidigung, p. 27.]

71 (return)
[ Rochlitz, FÜr Freunde d. Tonk., I., p. 25. HÄser, CÄcilia, IV., p. 297.]

72 (return)
[ Zur Geschichte der Singakademie, p. 15.]

73 (return)
[ It was performed in memory of the Queen in 1805; of the Akademie-director Frisch in 1815; of Prince Radziwill in 1833; of Count BrÜhl in 1837; of Frederick William III. in 1840; and of Frederick William IV. in 1861.]

74 (return)
[ At Leipzig, in memory of Schicht, in 1823; at Berlin, in memory of Andr. Romberg, in 1821; of Bemh. Klein, in 1832; of Ludwig Berger, 1839; in Vienna, in memory of C. M. von Weber and Beethoven; and in Munich, 1867, in memory of P. von Cornelius.]

75 (return)
[ Zelter, Briefw. m. Goethe, VI., p. 243.]

76 (return)
[ Rochlitz has attempted to prove (A. M. Z., XXV., p. 685) how Vogler, in composing his Requiem, had Mozart's always in view, in order to avoid imitating it; a similar negative influence is apparent in Cherubini's magnificent Requiem in C minor, with which the second in D minor is quite in keeping (Cf. Gum-precht, Recensionen, 1864, No. 21).]

77 (return)
[ Berl. Mus. Ztg., 1805, p. 26.]

78 (return)
[ A lover of music in Venice left a considerable legacy for the performance annually of three Requiems, of which one was to be Mozart's (A. M. Z., XLII., p. 54). A society was founded at' Senftenberg in Bohemia, 1857, in order to perform Mozart's Requiem annually on June 18 (N. Wien. Mus. Ztg., 1857, p. 167; Niederrh. Mus. Ztg., 1857, p. 343).]

79 (return)
[ Neukomm mentions an excellent performance in Rio Janeiro in 1819 (A. M. Z., XXII., p. 501).]