1 (return)[ Metastasio cites Justinian (XI., 10) and Curtius (IV., 3), who relate that Alexander set on the throne of Sidon a distant descendant of the royal house, Abdalonymus, who was living in poverty as a gardener, but who was worthy of the honour by reason of his beautiful form and noble mind.]
2 (return)[ The care with which Metastasio avoids this discordant name (un nome ipocondriaco) is characteristic. (Cf. Opp. post., II., pp. 12, 35.)]
3 (return)[ Metastasio, Opp. post., II., p. 34.]
4 (return)[ Cf. Grimm, Corresp. litt., VI., p. 17.]
5 (return)[ Metastasio, Opp. post., II., p. 33.]
6 (return)[ Metastasio, p. 31.]
7 (return)[ Metastasio, p. 34, cf. p. 4.]
8 (return)[ Metastasio, p. 30.]
9 (return)[ By Sarti, 1752; Jomelli, 1755; Hasse, Gluck (Metastasio, lett. V., p. 35), 1756; Guglielmi, 1767.]
10 (return)[ Metastasio himself counselled Farinelli to make this alteration. (Opp. post., II., p. 31.)]
1 (return)[ His father tells him (December 15, 1780) that Fr. Duschek considered herself indebted to him for the former song, and pressed for another, which he had refused as impossible at that time.]
2 (return)[ A song (119 K.) printed only with German words, "Der Liebe himmlisches Gefuhl," is a bravura song in the old style, of undoubted early Italian origin.]
3 (return)[ [Koch-Stemfeld] Die leiten dreissig Jahre des Erzbisthums Salzburg, p. 255. Cf. Burney, Reise, III., p. 260. Schubart, Aesthetik, p. 157.]
4 (return)[ Cf. "Nachricht von dem gegenwartigen Zustande der Musik St. Hoch-furstlichen Gnaden des Erzbischofs zu Salzburg im Jahre 1757," in Marpurg's Krit. Beitr., III., p. 183, probably by L. Mozart. Many notices are given in the Mozart correspondence. Ben. Pillwein's Lexikon Salzburgischer Künstler (Salzburg, 1821), and the Biographien Salzburgischer Tonkünstler (Salzburg» 1845), are too superficial for musicians.]
=
3 (return)[ Schubart, Teutsch. Chron., 1775, p. 408; Dressier, Theaterschule, p. 42.]
4 (return)[ J. E. Altenburg, Anleitg. zur heroisch-musik. Trompeter- Pauker-Kunst. (Halle, 1795,1., p. 26).]
5 (return)[ [Schinn und Otter] Biographische Skizze von Michael Haydn (Salzburg, 1808).]
6 (return)[ K. R[isbeck] expresses himself to the same effect, Briefe e. reis. Franz, I. p. 357. Michael Haydn became very industrious later in life.]
7 (return)[ Wolfgang says of Schweizer (December 3, 1777), that he is as "dry and sleek as our Haydn, only his language is more refined."]
8 (return)[ This book (mentioned in Cäcilia IV., p. 290) contains the following scores, in Mozart's handwriting:—
M. Haydn, In Te Domine speravi, fuga, a 4 voci, 2 viol., org.
Eberlin, Missa canonica, a 4 voci, org.
Eberlin, Hymnus, Recessit Pater noster, a 4 voci.
Eberlin, Hymnus, Tenebræ factæ sunt, a 4 voci, org.
Eberlin, Graduale pro dominica in palmis, Tenuisti a 4 voci, org.
Eberlin, Offertorium pro dominica in palmis Improperium, a 4 voci, org. Eberlin, Communio pro dominica in palmis, Pater si potest, a 4 voci, org.]
M. Haydn, Tenebræ, a 4 voci, org.
Eberlin, Three Motetti. In nomine Domini; Christus factus est; Domine Jesu, a 4 voci.
M. Haydn, Ave Maria, pro adventu Domini, a sopr. solo c. rip.
Eberlin, Benedixisti, a 4 voci, org.
Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.
Eberlin, Kyrie, fuga, a 4 voci.
Eberlin, Cum Sancto Spiritu, fuga, a 4 voci.]
9 (return)[ Frz. Lorenz's "Haydns, Mozarts und Beethovens Kirchenmusik und ihre katholischen und protestantischen Gegner," is a plea for impartial judgment. Breslau, 1866.]
10 (return)[ Cf. A. M. Z., XXIII., p. 683.]
11 (return)[ Marpurg, Krit. Beitr., III., p. 195.]
12 (return)[ A similar disposition is described by Mattheson (Neu eröff. Orch., I., p. 158).]
13 (return)[ A short account is given by L[orenz], Deutsche Mus. Ztg., 1862, p. 265.]
14 (return)[ The text of the masses and of other important church compositions is given in Appendix VI. [to the German original of this work].]
15 (return)[ They are denoted in the text by large initial capitals.]
16 (return)[ Biogr. Skizzen von Michael Haydn, p. 48.]
17 (return)[ The beginning of such a Kyrie is preserved. (Anh. 18 K.).]
18 (return)[ The first words "Gloria in excelsis Deo" are intoned by the priest from the altar in the prescribed way, and the choir fall in with the words "et in terra pax"; the same thing occurs at the beginning of the Credo, which the choir takes up at the words "Patrem omnipotentem." The first words are consequently frequently left uncomposed; sometimes, however, the choir repeat the words intoned by the priest.]
19 (return)[ In accordance with this, the word "quoniam" is repeated before each comma in some masses. (257 K.)]
20 (return)[ The Credo of this mass (257 K.) is mutilated in the printed score, the repeated—[See Page Image] with all that belongs to it having been struck out.]
21 (return)[ In earlier times the chief emphasis was laid on the words "et homo factus est," which Beethoven makes so emphatic in his Mass in D.]
22 (return)[ Mozart writes from Mannheim (November 4, 1777): "It is not the custom here to write a Benedictus, but the organist has to go on playing all the time."]
23 (return)[ L. Mozart mentions a mass for Count Spaur, which may be this.]
24 (return)[ In Italy three independent movements were made of the Kyrie, Christe, Kyrie, the last being an elaborate fugue. In Dresden also this was customary, and is to be found in the masses of Hasse, Naumann, and other Dresden composers, as also in Bach's B minor mass.]
25 (return)[ A. M. Z., XIX., p. 368.]
26 (return)[ A. Reissmann's Gesch. d. Mus., III., p. 39.]
27 (return)[ A. M. Z., XI., p. 460.]
28 (return)[ The date upon a copy at St. Peter's, in Salzburg, December 22, 1777, can only refer to the performance.]
29 (return)[ Biogr. Skizze von Michael Haydn, p. 18.]
30 (return)[ The Masses (220, 257-59,262, K.), were bound together in a little blue book, with the title in the father's hand, "V. Missæ in C," and a suggestion of the subjects. The first has been taken out, and was evidently the one which Wolfgang gave to the Abbot of the Holy Cross at Augsburg, as he writes to his father (November 20, 1777).]
31 (return)[ Sometimes his church music was mutilated and distorted, sometimes operatic and other compositions were arranged for church performance. A great deal was given out with his name in which he had little part, such as a Mass in G Major (Anh., 23a K.), rightly omitted by Seyfried (Cäcilia, V., p. 77; cf. VI., p. 129), another doubtful Mass in B flat major (Anh., 233 K.), and finally, an unauthenticated Mass in G major (140 K.), which, in my opinion, is unworthy of Mozart, but which Köchel and Lorenz consider to be genuine.]
32 (return)[ A. M. Z., XVI., p. 612. The criticism of Rochlitz (fur Freunde der Ton-kunst, IV., p. 237) is feeble and colourless. Thibaut does not scruple to include Haydn and Mozart in his censure on those who write "our new masses and other church music in a purely amorous style, giving them an altogether operatic stamp, and imitating the most popular, and therefore the least refined operas" (Ueber Reinheit der Tonkunst, p. 10). The tendency of the romantic school was to favour the early Italian church music, very often ignorantly, and to the prejudice of Mozart. Cf. Tieck Phantas., I., p. 468.]
33 (return)[ Ueber Reinheit der Tonkunst, p. 11.]
34 (return)[ A. M. Z., III., p. 494.]
35 (return)[ A. M. Z., III., p. 493.]
36 (return)[ A. M. Z.f I., p. 116.]
37 (return)[ It is very interesting to compare Michael Haydn's Litaniæ de venerabili sacramento in G minor (Leipzig: Breitkopf and Härtel), which was written at the same time and under similar circumstances. It is an excellent work, displaying the cultivation of a master both in design and execution. The fact of its being on the whole less graceful, and more serious, only shows the difference of the artistic nature of the two masters; the general conception is not essentially different, and Michael Haydn also yields to operatic influence.]
38 (return)[ This movement ended originally in B flat major. Mozart rightly preferred to close the introduction in the dominant (F major), and thus gave greater breadth to the finale.]
39 (return)[ Mozart has abbreviated it in three places, and has altered wherever necessary. The shortened fugue is printed in Cantate I.]
40 (return)[ L. Mozart wrote at the beginning: "The solo of the Agnus Dei is written in the bass for Herr Meissner."]
41 (return)[ One of these Regina coeli—we do not know which—was composed for Frau Haydn, and afterwards sung, as L. Mozart writes (April 12,1778), by Ceccarelli.]
42 (return)[ I have grave doubts of the genuineness of a short Salve Regina for solo voices and chorus (92 K.).]
43 (return)[ Perhaps this is one of the motetts which Wolfgang composed in Milan in 1771. A second aria in cavatina form, "Quaere superna," with an introductory recitative, "Ergo, inter est," in G major (143 K.), was evidently intended for an interpolation.]
44 (return)[ When Mozart was travelling in 1777, his father wrote to him (October 4): "I inclose the chorale, which may be useful and even necessary to you at some time or other; you ought to know everything."]
45 (return)[ P. Martini, Storia Univ., II., p. 281.]
46 (return)[ Stadler's Defence of the Authenticity of Mozart's Requiem, p. 10.]
47 (return)[ An analysis is given in A. M. Z., X., p. 43; cf. XIII., p. 305.]
48 (return)[ Ulibicheff, II., p. 333: Pour rompre la monotonie que des paroles tant de fois répétées sur le même sujet devaient introduire dans un morceau de 160 mesures, d'un mouvement grave, le compositeur avait les ressources inépuisables de la modulation et de l'analyse contrapontique. Il les employa avec la science de Bach, avec la gravité onctueuse des maîtres catholiques du XVIIme siècle, avec le sentiment profond et le goût qui n'appartenaient qu'à Mozart.]
49 (return)[ Thibaut, Ueber Reinheit der Tonkunst, p. 109.]
50 (return)[ Zelter was not satisfied with Thibaut's judgment (Briefw. m. Goethe, IV., p. 37). Rochlitz (A. M. Z., XXVII., p. 461) attempts a lame apology for Mozart.]
51 (return)[ Two violin parts,ad libitum, meant for support, are added.]
52 (return)[ The Offertory, Sub tuum præsidium (198 K.), a duet for soprano and tenor, is simple and melodious, and has the soft and tender character appropriate to the worship of the Virgin.]
53 (return)[ Marpurg, Krit. Beitr., III., p. 195.]
54 (return)[ Altenburg, Anl. z. Tromp.-Kunst, p. 108.]
55 (return)[ Marpurg, Krit. Beitr., III., p. 195.]
56 (return)[ Rochlitz's remarks on Bach's influence over Mozart are unfounded (A. M. Z II., p. 641).]
1 (return)[ Burney cites instances in Milan (I., p. 66), Bologna (I., p. 167), Brussels (II., p. 43), Vienna (II., p. 239).]
2 (return)[ Burney, Reise, I., p. 67; II., p. 276.]
3 (return)[ Burney writes of a church symphony by Galuppi, which he heard in Venice (I., p. 108): "In the symphony, which was full of charming passages, the orchestra imitated an echo. There were two organs and two pairs of French horns"; and of a similar one by Furlanetto (I., p. 126): "Then followed a long symphony, in the form of a dialogue between two orchestras."]
4 (return)[ Barney frequently mentions concertos at church performances (L, pp. 116, 177; II., p. 85).]
5 (return)[ Dies, Jos. Haydn, p. 104.]
6 (return)[ Ditteradorf, Selbstbiogr., p. iro.]
7 (return)[ Biogr. Skizze von Mich. Haydn, p. 18.]
8 (return)[ Schubart, Aesthetik, p. 123. Selbstbiogr., 14 I., j-. 20c. Schlosser, Gesch. d. achtz. Jahrh., II., p. 252.]
9 (return)[ Cramer, Magaz. f. Mus., I., p. 776; cf. p. 783.]
10 (return)[ Reichardt, Briefe e. aufm. Reis., II., p. 121.]
11 (return)[ Dittersdorf, Selbstbiogr., p. 13.]
12 (return)[ Burney, Reise, II., p. 75.]
13 (return)[ Dies, Biogr. Nachr., p. 55. Griesinger, Biogr. Not, p. 29.]
14 (return)[ Cramer, Magaz. f. Mus., II., p. 959.]
15 (return)[ Hiller, Wöch. Nachr., 1770, pp. 178, 207.]
16 (return)[ Burney, Reise, III., p. 260.]
17 (return)[ [Koch-Stemfeld] Die letzten dreissig Jahre des Erzstiftes Salzburg, p. 3x4.]
18 (return)[ The Elector Friedrich August of Saxony was so nervous at playing before other people, that his wife scarcely ever heard him (Burney, Reise, III-, p. 18).]
19 (return)[ Characteristic traits are given in Dittersdorf 8 description of the musical establishment of the Prince von Hildburghausen (Selbstbiogr., p. 43).]
20 (return)[ Burney, Reise, I., p. 69.]
21 (return)[ Dittersdorf, Selbstbiogr., p. 50.]
22 (return)[ Burney, Reise, II., p. 102.]
23 (return)[ Freiherr von Böcklin, who visited Salzburg in his eightieth year, gave it as his opinion that though the church music was good, and some of the wind instruments worth hearing: "the orchestra is not brilliant on the whole; nevertheless there are some excellent and well-known musicians among them, who soften the shadows by their enchanting playing of concertos and sonatas, and even transmit so much of their own light to their defective accompaniers as to give strangers a favourable idea of the whole performance" (Beiträge zur Geschichte der Musik, 1790, p. 28).]
24 (return)[ Marpurg, Beitr., III., p. 186.]
25 (return)[ Dittersdorf, Selbstbiogr., p. 141.]
26 (return)[ Carpanï, Le Haydine, p. 56.]
27 (return)[ Burney (Reise, II., p. 73): "Here it was that Stamitz first overstepped the usual limits of the opera overture, which hitherto had only consisted of a sort of summons to silence and attention on the entry of the singers."]
28 (return)[ Griesinger, Biogr. Notizen, p. 15.; Dies, Biogr. Nachr., p. 37.]
29 (return)[ Burney, Reise, III., p. 209.]
30 (return)[ It may be considered characteristic of our times that modern musicians so seldom excel in this particular direction. Schumann, who repeatedly remarks on the phenomenon, considers that it is an extinct branch of musical art, and that a new character must be invented for middle movements (Ges. Schr., I., p. 283, 289).]
31 (return)[ Mattheson, Vollk. Kapellmeister, p. 223; cf. Neu eroffnetes Orch., pp. 174, 184. Kircher gives a description of the dances with examples by Capsberger (Mus., I., p. 586).]
32 (return)[ Nottebohm, Monatschr. f. Theat. u. Mus., 1855, pp. 408, 456; 1857, PP* 288, 341, 391.]
33 (return)[ The minuet of Beethoven's eighth symphony is in slower tempo than any other movement, and its solemn yet graceful dignity contrasts humorously with the liveliness of the other movements. The charming minuet of Mendelssohn's A major symphony again provokes an involuntary smile.]
34 (return)[ The orchestral minuets written for dancing by Mozart, of which there must have been more than the sixty known to exist (103,104, 105, 122, 164,176;), are, like the Contretanze (106,123,267, K.), very simple, and practically arranged, with a few modest instrumental effects.]
35 (return)[ I made acquaintance with them through André's autograph collection» and also through three little blue books placed at my disposal by the owner, A. Cranz, of Hamburg. (A. M. Z., XXXIII., p. 733.) The first of these contains nine symphonies, the second a concertone and three serenate, the third a serenata. The dates are erased, but Sonnleithner has fortunately discovered and replaced them (Recensionen, 1862, Nr. 39, p. 614). In Breitkopf and Härtel's old warehouse, twenty symphonies in parts were also preserved. Since ten of these are among André's, and two belong to "Lucio Silla" and "Sogno di Scipione," we may conclude the rest to be equally genuine; and since none of those known belong to a later date than 1772, and "Lucio Silla" was performed at the Carnival of 1773, the others can scarcely be put later. In confirmation of this it will be remembered that on February 7, 1772, Leopold Mozart offered Breitkopf some of his son's compositions, and among them symphonies.]
36 (return)[ Still shorter and more precise is a serenade in four movements that, according to the first superscription, was originally a contretänz.]
37 (return)[ Where stringed instruments are employed the bass part is only indicated as basso; and no hint is given as to whether the double-bass or violoncello, or both together, were intended.]
38 (return)[ The same five instruments were employed for two divertimenti for wind instruments (166, 168, K.), of which one is dated 1773. The paper and handwriting are identical.]
39 (return)[ Mozart had employed four horns earlier, two being in another key, in symphonies (130. 132, 183, K., and that to the "Betuüa Liberata"), and in. operatic accompaniments ("Ascanio." ii; "Finta Giardiniera," 13. 26; "Re Pastore," 12).]
40 (return)[ To the first of these belongs the march written for the same instruments (248 K.).]
41 (return)[ Mozart, who, in October, 1877, mentions only two cassations, asks from Vienna (July 4, 1781) for the three cassations in F, B, and D.]
42 (return)[ Three pages of the first allegro of a similar divertimento in F major are preserved (288 K.); since Mozart only mentions three such pieces by name in Vienna, it is not probable that a fourth was completed.]
43 (return)[ A scherzo-like pastorale (Anh., 294 K.), in which a corno pastoriccio is added to the quartet, has been ascribed to Mozart without sufficient grounds, and is more likely by his father.]
44 (return)[ Mozart must have composed more than a few of such compositions, which were always in request but many are included among his published harmonie-musik, arranged in very arbitrary fashion, and altogether unauthentic.]
45 (return)[ The trio has been struck out and written again by the father, who has transposed the first violins an octave lower throughout.]
46 (return)[ n. Ztschr. f. Mus., XLV., p. 60.]
47 (return)[ 'The trio of the minuet has also been written again, but here it is an altogether new composition, far superior to the first.]
48 (return)[ A little piece for two violins and bass (266 K.), consisting of a polonaiselike movement following some slow introductory bars, and of a minuet, is not of importance.]
49 (return)[ When the Vienna quartets appeared, and Toricella announced "Six quartets by Mozart at a low price," the publisher Artaria drew the attention of the public to the fact that these quartets were old works of Mozart's, written fifteen years previously (Wien. Ztg., 1785; Nr. 75 Anh.). To this Toricella replied in a fresh announcement: "Concerning the quartets of fifteen years ago, I believe that they need no recommendation but the name of their author, and I am equally convinced that, being in their whole style completely new to many amateurs, they may be considered as novelties, and as genuine compositions of Mozart."]
50 (return)[ Mozart afterwards composed a rondo, mentioned by his father (September 25, 1777), to the Concerto in B major (207 K.) for Brunetti.]
51 (return)[ Car. Pichler, Zeitbilder, p. 149.]
52 (return)[ The piece is in E flat major; the viola part is written in D major, and was to be tuned half a tone higher, both to give it a clear sound and to make the execution easier.]
53 (return)[ Schubart, Aesthet. d. Mus., p. 233.]
54 (return)[ Mus. Real-Ztg., 1789, p. 240.]
55 (return)[ The musical collection of Baron von Dürnitz is in the possession of Herr Oec. Rabl, at Münchshofen.]
56 (return)[ Among these may be included an arrangement of three clavier sonatas by Joh. Chris. Bach (p. 38) as a concerto (107 K.) with quartet accompaniment. I cannot decide how much of this is Mozart's.]
57 (return)[ Cf. Kelly, Remin., I., p. 9.]
58 (return)[ An unfinished Sonata in G major (357 K.) was perhaps completed and afterwards lost.]
59 (return)[ Yet Dressier mentions in his Theaterschule in 1777 (p. 46): "Die Hrn. Mozart und Schröder, zwei ausserordentliche Genies, Musici, Klavierspieler, und Compositeurs der Deutschen," whose merit is acknowledged in foreign countries.]
60 (return)[ The close of the adagio in Beethoven's C major symphony will occur to every musician; the opening of his E flat major concerto is also founded on a similar idea to this of Mozart's.]