1 (return)
[ Wien. Ztg., 1789, No. 69, Anh., advertises FrÛhlingslied and Kriegslied by Mozart.]

2 (return)
[ In the grand pasticcio arranged by Da Ponte, "L'Ape Musicale," a couple of airs by Mozart are inserted (Wien. Ztg., 1789, No. 23, Anh.).]

3 (return)
[ I owe these particulars to the courtesy of Sonnleithner.]

4 (return)
[ Wien. Ztg., 1791, No. 44, Anh., announces thirteen German waltzes, thirteen trios and coda, among which are the "Leyer" and "Schlittenlahrt."]

5 (return)
[ AndrÉ's Catalogue includes, besides five minuets signed "Di Wolfgango Amadeo Mozart, Vienna, 1784" (461 K.), and the Prague "Teutschen" (509 K.) already mentioned (Vol. III., p. 125), several other dances, certainly belonging to an earlier date. Printed and written collections of dances in the most varied arrangements have been circulated under Mozart's name, although of very doubtful authenticity.]

6 (return)
[ Under Mozart's name an "Anleitung soviel Walzer oder Schleifer mit zwei Wurfeln zu componiren, soviel man will, ohne musikalisch zu verstehen," was published in four languages by Hammel (Amsterdam, Berlin and elsewhere). I am not aware whether he had any share in it.]

7 (return)
[ The often-expressed opinion that Mozart arranged "Judas MaccabÆus" (A. M. Z., XXII., p. 30) has been corrected by Sonnleithner (CÄcilia, XVIII., p. 242). "Judas MaccabÆus" was performed as early as 1779, at the Concert for the Pensionsinstitut (Wien. Mus. Ztg., 1842, p. 70).]

8 (return)
[ These particulars, communicated to me by Sonnleithner, rest partly on the testimony of the University Apparitor, Joh. SchÖnauer, who had assisted at these performances as a boy.]

9 (return)
[ Car. Pichler, Denkw., IV., p. 21. SchÖnauer said that Mozart gave a benefit performance of "Acis and Galatea" in Jahn's Hall, at which Mdlle. Cavalieri, Adamberger, and Gsur sang the solo parts.]

10 (return)
[ Carpani mentions a performance of the "Messiah" in the Schwarzenberg Palace; perhaps a later one (Hayd., p. 64).]

11 (return)
[ Burney's "Nachricht," translated by Eschenburg (Berlin, 1785). The first time there were over 500, the second time over 660 performers. In consequence of this the "Messiah" was performed in Copenhagen in March, 1786. (Cramer, Mag. f. Mus., II., p. 960.)]

12 (return)
[ J. A. Hiller, Nachricht von der Auftuhrung des HÄndelschen Messias (Berlin, 1786, 4), with Hiller's portrait. There were about 300 performers.]

13 (return)
[ This again gave rise to some explanatory pamphlets from Hiller: Fragment aus Handel's Messias; Ueber Alt und Neu in der Musik; Der Messias von Handel nebst angehÄngten Betrachtungen darÛber. On this occasion there were more than 200 performers; the enthusiasm of the audience was great, as was testified by a then youthful member of it (Reichardt's Mus. Ztg., I., p. 126. Cf. Rochlitz, FÜr Freunde der Tonk., I., p. 22. A. M. Z., XXX., p. 491).]

14 (return)
[ Hiller gave explanatory comments on the words. They were published in the Schles. Provinzial-BlÄtter, 1788, p. 549. Particulars are given by Baumgart, Abh. d. Schles. Ges. Phil. hist. Abth., 1862, I., p. 46.]

15 (return)
[ The pastoral, "Acis and Galatea," was composed by Handel at Cannons in 1720 (Chrysander, Handel, I., p. 479).]

16 (return)
[ In pursuance of an old custom of celebrating St. Cecilia's Day by music, a musical society had been founded in London, which instituted a grand performance on that day; the music and words were expressly written for the occasion, and the praise of music formed the subject. A long list of celebrated poems and compositions by the first masters was the result. W. H. Husk (An Account of the Musical Celebrations on St. Cecilia's Day, London, 1857. Chrysander, Handel, II., p. 412. Pohl. Mozart u. Haydn in London, p. 12). Dryden's Song for St. Cecilia's Day, "From harmony, from heavenly harmony, this universal frame began," was written in 1687, and set to music by Draghi; Handel composed the same poem in the autumn of 1739. (Chrysander, Handel, II., p. 430.)]

17 (return)
[ Dryden's "Alexander's Feast" was written in 1697, and performed with Jer. Clark's music. Handel composed it in 1736; at the second performance in 1737, a duet and chorus, the words by Newburgh Hamilton, were added, but are not included in Mozart's arrangement. (Chrysander, Handel, II., p. 413).]

18 (return)
[ The excellent pianoforte arrangement, which is published by the German Handel Society with the score of "Acis and Galatea," shows throughout a similar working-out and arrangement.]

19 (return)
[ Mozart is not answerable for all that stands in the printed score. The air, "If God is for us" (No. 48), with bassoon accompaniment, is, as Baumgarten has proved (Niederrh. Mus. Ztg., 1862, No. 5, p. 35), taken from Hiller's arrangement.]

20 (return)
[ Thibaut, Ueb. Reinheit d. Tonk., p. 66.]

21 (return)
[ In Fr. Th. Mann's musik. Taschenb. for 1805, we read (p. 3): "Der genielle Mozart erhob jene bis zur Manier getriebene Simplicitat, jene lang-weilige ermÜdende Leere durch Ausfullung der Begleitung. GÖttliche Zierden sind es, die Mozart aus der FÜlle seiner Harmonie hier zusetzte, die aber bei diesem fur solche SchÖnheit unorganisirten Werk so isolirt stehen, dass sie einen zweiten Bestandtheil ausmachen!"]

22 (return)
[ A notice from Hamburg (Reichardt's Mus. Ztg., I., p. 197) says of Mozart's arrangement: "Michel Angelo's GemÄlde muss kein David Über-malen wollen." Setzte doch Handel zu Mozart's Opern keine Orgel u. s. w. oder vielmehr strich keine—weg"; whereupon Reichardt remarks that the omitted word is illegible in the "esteemed correspondent's" handwriting.]

23 (return)
[ Jen. Allg. Litt. Ztg., 1804, I., p. 601. Rochlitz names himself as the author of the detailed review (Fur Freunde der Tonk., I., p. 259). Cf. A. M. Z., IX., p. 476; XV., p. 428; XXIX., p. 692.]

24 (return)
[ Reichardt's Mus. Ztg., I., p. 41. Zelter, who owns to this review to Goethe (Briefw., II., p. 302; III., p. 418), used to perform the "Messiah" in Mozart's version, with alterations and omissions (Berl. Allg. Mus. Ztg., 1824, p. 427).]

25 (return)
[ Cf. Parke, Mus. Mem., II., 76.]

26 (return)
[ Thus Hiller not only rearranged the instrumentation of Pergolese's "Stabat Mater," but adapted it partially as a four-part chorus; J. A. Schulze turned six instrumental adagios, by J. Haydn, into a cantata, "Der VersÖhnungstod," for chorus and orchestra. And how was Mozart's church music treated! (App. 2.)]

27 (return)
[ Gerber undertook, in all seriousness, to perform the choruses of the "Messiah" in Mozart's version, but to have all the airs recomposed by approved composers (A. M. Z., XX., p. 832).]

28 (return)
[ The conclusion to Gluck's overture to "Iphigenie in Aulis," which has been, without proof, ascribed to Mozart, is, according to Marx (Gluck, II., p. 71), by J. P. Schmidt.]