1 (return)
[ The Greiners had quartet parties every Tuesday during Advent and Lent (Car. Pichler, Denkw., I., p. 127. Jahrb. d. Tonk., 1796, p. 71).]

2 (return)
[ Luigi Boccherini (1740-1805), who was almost a contemporary, followed his own bent in numerous quartets, quintets, and trios, uninfluenced by the works of others, and not himself exerting any lasting influence (Piquot, Notice sur la Vie et les Ouvrages de L. Boccherini. Paris, 1851).]

3 (return)
[ The advertisement (Wien. Ztg., 1785, No. 75, p. 2191) ran: "Mozart's works require no praise, and to quote any would be superfluous; we can only assure the public that we are offering them a masterpiece. This is confirmed by the fact that the quartets are dedicated to his friend Joseph Haydn, Kapellmeister to Prince Estcrhazy, who honoured them with all the approbation which one man of genius can bestow upon another."]

4 (return)
[ Dittersdorf, Selbstbiogr., p. 238.]

5 (return)
[ Nissen, Nachtrag, p. 62.]

6 (return)
[ Cramer, Magazin der Musik, II., p. 1273.]

7 (return)
[ Gyrowetz, Selbstbiogr., p. xx. Jahrb. d. Tonkunst, 1796, p. 77.]

8 (return)
[ A. M. Z., I., p. 855.]

9 (return)
[ FÉtis attacked this introduction in the Revue Musicale, V., p. 601, and maintained his opinion against Pernes (Ibid., VI., pp. 25, 32). An equally lively onslaught upon FÉtis was made in a detailed analysis by C. A. Leduc (A. M. Z., XXXII., p. 117), and renewed (A. M. Z., XXXIII., pp. 81, 101) after an answer by FÉtis (Rev. Mus., VIII., p. 821), and also by C. M. Balthasar (A. M. ZM XXXIII., p. 493). Thereupon G. Weber subjected the passage to a searching examination, and acknowledged finally that the combinations of sound were unpleasing to his own ear.]

10 (return)
[ CÀcilia, XIV., p. 2.]

11 (return)
[ Ulibicheff, II., p. 254.]

12 (return)
[ The conjecture of FÉtis that the first violin follows the second at the second instead of the third crotchet of the second bar, by reason of a printer's error, is disproved by Mozart's own manuscript (also by his Thematic Catalogue).]

13 (return)
[ Lenz, Beethoven, II., p. 78.]

14 (return)
[ The same object is entirely fulfilled by Beethoven in the introduction to the Symphony in B flat major, to say nothing of the Quartet in C major. The cheerful serenity pervading the symphony, and the occasional stronger accents of passionate feeling, are, as it were, prefigured in the introduction, where we hear the rolling of the storm which is to clear and freshen the atmosphere.]

15 (return)
[ A. M.Z., III., p. 350.]

16 (return)
[ Joh. Bapt. Schaul, Briefe Über den Geschmack in der Musik, p. 8.]

17 (return)
[ Cf. Musik. Briefe von einem Wohlbekannten, II., p. 40.]

18 (return)
[ Two bars are added as an extension of the conclusion as in the minuet of the Quintet in C major (515 K.).]

19 (return)
[ There are groups of seven bars in the minuet of the later Quartet in F major (590 K.), and of five bars in the trio.]

20 (return)
[ This movement has been scored by Beethoven; the original is in Artaria's possession.]

21 (return)
[ A siciliana occurs among the variations in a sonata for pianoforte and violin (377 K., 3), simpler and shorter than the one under consideration, and altogether omitting the transition to the major key. The same form is the basis of the rondo to the pianoforte Trio in G major (496 K.), but freely carried out. The siliciana is employed, according to old usage, for the slow middle movements of an early Sonata in F major (280 K.), and of the pianoforte Concerto in A major (414 K.).]

22 (return)
[ The Hadyn quartets, written in 1787 for the King of Prussia, are well known.]

23 (return)
[ From 1787 to 1797 Boccherini drew a considerable pension from Frederick William II., for which he had to furnish annually some quartets and quintets, compositions much loved and often played by the King (Reichardt, Musik. Monatsschr., p. 17. Mus. Ztg., 1805, p. 232. Picquot, Not. sur L. Boccherini, pp. 16, 112).]

24 (return)
[ In March, 1788, Mozart announced (Wien. Ztg., 1788, No. 27 Anh.) three new quintets—these two, and the one arranged in C minor—at four ducats a copy.]

25 (return)
[ Wien. Ztg., May 18, 1793, p. 1462.]

26 (return)
[ So also in the unfinished sketches of a number of qointet movements (79.84 Anh., K.).]

27 (return)
[ Picquot, Not. sur L. Boccherini, pp. 19, 28, 123]

28 (return)
[ Prince Grassalcovicz reduced his full band to a "Harmoniemusik" (Jahrb. d. Tonk., 1796, p. 77).]

29 (return)
[ TrÛbensee and Wendt as oboists, the brothers Stadler as clarinetists, Rub and Eisen hornists, Kautzner and Druben bassoonists (Cramer, Magaz. Mus., I., p. 1400. Musik. Korresp., 1790, p. 31).]

30 (return)
[ Mozart arranged the "Entfuhrung" for wind instruments (Vol. II., p. 210).]

31 (return)
[ A. M. Z., XV., p. 668 (Schletterer, Reichardt, I., p. 327).]

32 (return)
[ Mozart praised Albert's good "Harmoniemusik" to his father from Munich (October 3, 1777). A special wind band was engaged for the table music at the Augarten (Jahrb. d. Tonk., 1796, p. 78).]

33 (return)
[ Nicolai speaks highly of the "Harmoniemusik," which was performed every evening before the main guard at the court (Reise, IV., p. 558).]

34 (return)
[ Carpani, Le Haydine, p. 81. Gyrowetz, Biogr., p. 5.]

35 (return)
[ Musik. Korr., 1791, p. 366.]

36 (return)
[ The serenata has two minuets, the second of which is especially Haydnlike in character. Perhaps they were intended to be omitted in the rearrangement, for in Mozart's autograph score they are only copied and inserted.]

37 (return)
[ The beginning of an eight-part allegro is among the sketches.]

38 (return)
[ The first bars of an adagio for clarinets and three basset-horns were written out (93 Anh., K.), and an allegro for two clarinets and three basset-horns (95 Anh., K.) was somewhat further advanced.]

39 (return)
[ So it is given by Meyer (L. SchrÖder, I., p. 357) for the year 1781 (cf. A. M. Z., XXIV., p. 268), and the tables in the Jahrb. d. Tonkunst, 1796, p. 92, agree with his statement.]

40 (return)
[ K. R[isbeck], Briefe Ûb. Deutschld., I., p. 279.]

41 (return)
[ Nicolai, Reise, IV., p. 542.]

42 (return)
[ Nicolai, Reise, VI., p. 702.]

43 (return)
[ So Kalkbrenner told me in Paris, in 1837.]

44 (return)
[ Niemetschek, Biogr., p. 41. (Note: Misnumbered in the print edition—DW)]

45 (return)
[ Rich. Wagner, Kunstwerk der Zukunft, p. 85. It was just this "CantabilitÄt" with which NÀgeli reproached Mozart, who according to him "cannot be termed a correct composer of instrumental music, for he mingled and confounded 'cantabilitÄt' with a free instrumental play of ideas, and his very wealth of fancy and emotional gifts led to a sort of fermentation in the whole province of art, causing it rather to retrograde than to advance, and exercising a very powerful influence over it" (Vorlesungen, p. 157). It certainly appears strange in our times to see Mozart considered as the disturbing and exciting element in the development of art; and NÄgeli was thoroughly sincere and in earnest in his musical judgments.]

46 (return)
[ E. T. A. Hoffmann says of this symphony (called the "swan song"): "Love and melancholy breathe forth in purest spirit tones; we feel ourselves drawn with inexpressible longing towards the forms which beckon us to join them in their flight through the clouds to another sphere." A. Apel attempted to turn the symphony into a poem, which was to imitate in words the character of the different movements (A. M. Z., VIII., p. 453). Cf. Ludw. Bauer's Schriften, p. 471.]

47 (return)
[ It is characteristic that in the first and last movements the second theme is only fully expressed when it enters for the second time in the minor; in the major key it is far less expressive.]

48 (return)
[ A mistake long perpetrated in the andante has been pointed out by Schumann (N. Ztschr., XV., p. 150. Ges. Schr., IV., p. 62). In both parts four bars (I., 29-32; II., 48-51) are repeated twice, with altered instrumentation; this is altogether inexcusable, for it causes the same transition from D flat major to minor (G flat major, A flat minor) to occur twice in succession. A glance at the original score makes the matter clear. Mozart originally wrote the four bars 33-36 (II., 52-55), and then added the other version on a separate page, probably as being easier; they were copied one after the other by mistake. That he intended the demisemiquaver passage for the wind instruments may be inferred from the arrangement with clarinets to be presently noted, where it is given to those instruments.]

49 (return)
[ Palmer (Evangel. Hymnologie, p. 246) finds no pain in this symphony, only pure life and gaiety.]

50 (return)
[ H. Hirschbach says, apparently quite seriously (N. Zeitschr. Mus., VIII., p. 190): "There are many people who fight shy of Beethoven's music, finding his earlier symphonies tolerable, but the later bizarre, obscure, and so on; but Mozart's G minor symphony is acknowledged to be a masterpiece, though here and there may be one who thinks this so-called symphony really does not deserve the name, for it is distinguished neither by originality nor workmanship, and is a commonplace mild piece of music, requiring no great effort for its production (even if we set aside the greater demands of the present day), and it was apparently not considered as a great work by Beethoven."]

51 (return)
[ It has been called, I do not know when or by whom, the "Jupiter" symphony, more, doubtless, to indicate its majesty and splendour than with a view to any deeper symbolism.]

52 (return)
[ Sechtcr gave a technical analysis in the appendix to Marpurg's Kunst der Fuge (Wien: Diabelli) II., p. 161. Lobe, Compositionslehre, III., p. 393.]

53 (return)
[ NÄgeli (Vorlesungen, p. 162) subjects this symphony to a searching criticism, in order to prove that Mozart (to whom he allows great originality and power of combination, extolling him as the first to form the orchestra into a perfect organic whole) was wanting in repose, and often shallow and confused.]

54 (return)
[ Ad. Kullak (Das Musikalisch SchÖne, p. 80) remarks that numerous calculations undertaken by him serve to show that Hadyn and Mozart, in the majority of their works, keep pretty close to the law of proportion laid down by Zeising (according to which a whole divided into unequal parts will not give the effect of symmetry unless the smaller parts bear the same ratio to the larger as the larger to the whole), and that in some cases they follow it exactly.]

55 (return)
[ Mendelssohn's Briefe, II., p. 337.]

56 (return)
[ Marx, Musik. des Neunzehnten Jahrh., p. 68.]

57 (return)
[ Ad. Kullak, Das Musikalisch SchÖne, p. 149.]

58 (return)
[ Ambros, GrÄnzen der Musik und Poesie, pp. 64,123, 141.]