1 (return)[ A marvellous account is given in the Historisch moralischen Belustigungen des Geistes (Hamb., 1765), Stüclc VII. Aristide ou le Citoyen, XVI. discours du 11 Octobre, 1766 (Lausanne). Hiller wöch. Nachr., 1766,1., p. 174.]
2 (return)[ Those who please can make an approximate calculation from L. Mozart's different entries, of the whole sum received and expended on the tour. The children received so many presents in jewellery and trinkets that they might have set up a shop with them.]
3 (return)[ So says Marianne Mozart (A. M. Z., II., p. 300).]
4 (return)[ L. Mozart, who was well versed in theoretical literature, possessed the original edition in Latin. (Vienna, 1725.)]
5 (return)[ According to Kochel's probable conjecture, Joh. Adam Wieland was born 1710; Curate in 1734; Vicar of Gotting and Anthering, 1766; Pastor of Friedorfing, 1767; and died, 1774.]
6 (return)[ The autograph was found by F. Pohl, in the Royal Library at Windsor, A. M. Z., 1865, p. 225.]
7 (return)[ The Agnus of L. Mozart's Lauretanian Litany in E flat major is a solo, with obbligato alto trombones.]
8 (return)[ These traditions, resting on the authority of Max Keller, the Hofkapell-organist at Altötting, are alluded to by Prof Schafhutl in his preface to the Offertorium, published at Munich, 1851.]
9 (return)[ Hist. Univ. Salisb., p. 110.]
10 (return)[ A list of the pieces produced from 1621 to 1727 is given in Hist. Univ. Salisb., p. 112.]
=
1 (return)[ The extracts from L. Mozart's letters given by Nissen are almost our only sources of information for this journey.]
2 (return)[ G. Forster, Schriften VII., p. 270.]
3 (return)[ A.M. Z., II., p. 301.]
4 (return)[ Burney, Reise, II., p. 182. Duten's Mém., I., p. 353.]
5 (return)[ Garat. Mém. sur Suard, II., p. 218. Duten's Mém., I., p. 347.]
6 (return)[ Zimmermann, Briefe, p. 96.]
7 (return)[ Burney, Reise, II., p. 189.]
8 (return)[ Gervinus, Gesch. der poet. National-Litteratur, IV., p. 384. Devrient, Gesch. der deutschen Schauspielkunst, II., p. 191; and see also how Sonnenfels expresses himself (Ges. Schr., V., pp. 157, 191, or in a letter to Klotz, I., p. 2) in the same year, 1768.]
9 (return)[ Sonnenfels gives a detailed description of the company (Ges. Schr., V., p. 290).]
10 (return)[ Metastatio, Opp. post., II., pp. 278, 290, cf. Arteaga, Le rivoluzioni del teatro musicale Italiano, III., p. 126 (II., p. 397).]
11 (return)[ Cramer, Magasin d. Mus., I., p. 365. Metastatio, Lettere ined. (Nirza, 1796), p. 46.]
12 (return)[ Burney, Reise, II., p. 188.]
13 (return)[ Mane ini, Rifless. prat, sul canto fig., p. 30.]
14 (return)[ Burney, Reise, II., p. 172.]
15 (return)[ Dittersdorff, Selbstbiographie, p. 7.]
16 (return)[ Muller, Ab8chied v. d. Bühne, p. 72.]
17 (return)[ Müller, zuverl. Nachr., I., p. 13.]
18 (return)[ Carpani, Le Haydine, p. 82. Kelly, Remin., I., p. 103.]
19 (return)[ It is mentioned only, so far as I am aware, by Biedenfeld. Die Komische Oper., p. 69.]
20 (return)[ Nicolai, Reise, IV., p. 574.]
21 (return)[ Sonnenfels, Ges. Schr., V., p. 296. He reappeared in Rome in 1780, a toothless old man. (Teutsch. Merc., 1789, III., p. 210.)]
22 (return)[ Sonnenfeu, Ges. Schr., V., p. 300.]
23 (return)[ Sonnenfels, Ges. Schr., V., p. 291. Burney, Reise, I., p. 63. Müller zuverl. Nachr., I., p. 73. He died at Vienna in 1772, at the age of sixty-seven. (Ibid. II., p. 132.)]
24 (return)[Sonnenfels, Ges. Schr., V., p. 301.]
25 (return)[ Sonnenfels, Ges. Schr., V., p. 293.]
26 (return)[ Sonnenfels, Ges. Schr., V., p. 293. Müller, zuverl. Nachr., I., p. 73. Kelly, Remin., I., p. 66.]
27 (return)[ Sonnenfels, Ges. Schr., V., p. 299.]
28 (return)[ One of Fracasso's songs was twice composed, so was the middle movement of another, and an inserted song for Ninetta.]
29 (return)[ In the beautiful aria for Polidoro, before described, a tedious passage was afterwards judiciously struck out by Mozart.]
30 (return)[ Nissen has incorrectly given the idea that "the well-known Dr. Messmer, the friend of the Mozarts," was the celebrated magnetiser of that name. Helfert (Die österr. Volkschule, I., p. 132.) identifies Mozart's Messmer, who became a member of the medical faculty in 1767. In 1773 his wife inherited a half share in a house on the Landstrasse, consistently with which L. Mozart writes to his wife from Vienna (August) that Fr. v. Messmer has come into considerable property since the death of her mother. A "young Herr. v. Messmer," a cousin, was director of the Normal School in 1773.]
31 (return)[ E. Schelle, Berl. Mus. Ztg. Echo, 1864, No. 38.]
32 (return)[ "'Le Devin du Village' est un intermède charmant dont les paroles et la musique sont de M. Rousseau," writes Grimm (June 23, 1753) to Gottsched (Danzel, Gottsched, p. 351). He speaks of it again on December 15, 1753 (Corr. Litt., I., p. 92), as an "intermède agréable, qui a eu très-grand succès à Fontainebleau et à Paris;" and again, in February, 1754, as an "intermède français très-joli et très-agréable" (Ibid.,p. 112). He passes it over, however, in his account at a later date of Rousseau's musical works, and mentions only his unsuccessful opera, "Les Muses Galantes."]
33 (return)[La Harpe. Corr. Litt., II., p. 59.]
34 (return)[ A. M. Z., XXI., p. 841. XXIII., p. 141. Berlioz, Voy. Mus., I., p. 389.]
35 (return)[ Adam (Souv. d'un Music., p. 198), suggests that Rousseau's score may have been revised by Francoeur.]
36 (return)[ On the subject of recitative, Rousseau speaks exhaustively and to the point, both in his Dictionnaire de Musique, and in the Lettre sur la Musique Française. (Ouvres, XI., p. 296.)]
37 (return)[ It was maintained by some that Rousseau only wrote the words, and intrusted the composition to a musician in Lyons (A. M. Z., XIV., p. 469; Castil-Blaze; Molière Musicien, II., p. 409), an accusation which Grétry contradicted. Rousseau tried to refute it by a second opera, which, however, did not succeed. (La Harpe, Corr. Litt., II., p. 370. Adam, Souv. d'un Mus., p. 202.)]
38 (return)[ An English adaptation by Burney failed in London in 1766 (Parke, Mus. Mém., II., p. 93). German versions were produced by Leon (Teutsch. Merc., 1787, II., p. 193) and C. Dielitz (Berlin, 1820).]
39 (return)[ Théätre du Favart, V., 1 (Paris, 1763). A book of the words, printed at Amsterdam in 1758, has the remark: "Représenté à Bruxelles, Nov., 1753, par les Comédiens François sous les ordres de S. Alt. Roy."]
40 (return)[ Grimm, Corr. Litt., IV., pp. 400, 417.]
41 (return)[ Dictionn. d. Théätre, VI., p. 228; Theaterkal. 1776.]
42 (return)[ "Bastienne, eine französische opéra-comique. Auf Befehl in einer freien Uebersetzung nachgeahmt von Fr. W. Weiskern. Wien, 1764." The French melodies were retained for some of the songs, and new ones composed for others. The piece was produced at Vienna (Müller, Zuverl. Nachr., I., p. 31), also in 1770 at Brünn (Ibid., II., p. 213), in 177a at Prague (Ibid., II., p. 163), and in 1776 at Hildesheim (Müller, Abschied v. d. Bühne, p. 137).]
43 (return)[ Nissen gives Schachtner as the librettist. His co-operation was probably confined to the versification of the prose dialogue, a few scenes of which Mozart afterwards composed in recitative; a useless labour, never completed.]
44 (return)[ A comparison of the examples which Hiller (über Metastasio, p. 17) quotes from a translation of Metastasio, which appeared in Vienna in 1769, will show some similarity.]
45 (return)[ A similar instance may be found in Weber's composition of Voss's songs
46 (return)[ This is noticed also by Hiller as especially characteristic in style (Wöehentl. Nachr., I., p. 376; II., p. 118).]
47 (return)[ Neue Sammlung zum Vergnügen und Unterrich (Wien, R. Graffer, 1768), IV., pp. 80, 140.]
48 (return)[ Nicolai, Reisc, IV., p. 648.]
49 (return)[ Nicolai, Reise, III., p. 228.]
50 (return)[ Burney, Reise, II., p. 107.]
51 (return)[ Müller, Abschied v. d. Bühne, p. 237.]
52 (return)[ "Wien. Diarium," 1768, 10 Christmon. No. 99.]
1 (return)[ A. M. Z., 1864, p. 495. "La Finta Semplice," dramma giocoso per musica, da rappresentarsi in corte per ordine di S. A. Rev. Monsigr. Sigismondo Conte di Schrattenbach,Arcivescovo di Salisburgo, &c. Salisb., 1769.]
2 (return)[ Metastasio speaks of the different ways of delivering these. (Opp. post, I., p. 300.)]
3 (return)[ Communicated to me by Köchel, from the autograph in the possession of R. v. Pfuesterschmied, at Vienna.]
4 (return)[ Dominicus Hagenauer became "Prälat des St. Peterstifts," in 1786. [Footnote Koch-Sternfeld.] Die letzten dreiss. Jahre., pp. 78, 299, 326.]
5 (return)[ Burney, Reise, I., p. 101. Cf. the extracts from Th. Fr. Maier's description of Venice. I., 1787, in the Musik. Realzeitung, 1788, p. 108.]
6 (return)[ Zelter Briefw. mit Goethe, II., p. 177.]
7 (return)[ A remarkable exception, and a fortunate one for the development of German music, was Joseph Haydn, although even he was initiated into the Italian school through his lessons from Porpora, and his intercourse with Metastasio. But his numerous Italian operas, which he himself considered as equal to the works of any of his contemporaries, brought him no renown. His fame always rested on his instrumental compositions, which were thoroughly German; and his two great oratorios were composed at a time when Italian music was on the decline.]
8 (return)[ L. Mozart's letters during the tour, of which Nissen gives extracts, are almost all in the Mozarteum. at Salzburg.]
9 (return)[ The portrait has been recovered by Sonnleithner's exertions, and in now in his possession.]
10 (return)[ S. Mayr, Die ehem. Univ. Salzburg, p. 12.]
11 (return)[ Winckelmann, Briefe, pp. 271,279, 324; II., p. 48.]
12 (return)[ Schlozer's Life, I., pp. 96, 276, 313. Cf. Duten's Mém., I., p. 327. Teutsch. Mercur, 1789, III., p. 301.]
13 (return)[ Teutsch. Mercur, 1775, III., p. 247.]
14 (return)[ Griesinger, Biogr. Not., p. 15. Carpani, Haydine, p. 56.]
15 (return)[ The song "Misero tu non sei" (Anh. 2 K.), which Wolfgang composed in Milan, is from Metastasio's "Demetrio" (Act i, sc. 4), which he had heard shortly before in Mantua; it has not been preserved.]
16 (return)[ A gigliato, Florentine goldgulden, was about equal to a ducat.]
17 (return)[ Cf. Kelly's Remin., I., p. 74.]
18 (return)[ G. Gaspari, La Musica in Bologna, p. 19.]
19 (return)[ Esemplare osia saggio fondamentale pratico di contrappunto. Bol., 1774-75.]
20 (return)[ Burney, Reise, I., p. 144.]
21 (return)[ This was shown in his conduct to Grétry (Mém., I., p. 91), Naumann (Meissner, Biogr., I., p. 150), and Burney (Reise, I., p. 142).]
22 (return)[ Chrysander, Handel, II., p. 378.]
23 (return)[ Burney, Reise, I., p. 150.]
24 (return)[ Mancini, Rifless. sul Canto Figurato, p. 152.]
25 (return)[ Dittersdorfs account in his Autobiography of his stay at Bologna in 1762, and his intercourse with P. Martini and Farinelli, will be found interesting (p. 110).]
26 (return)[ Burney, Reise, I., p. 149.]
27 (return)[ A short Osanna in four parts, with accompaniment for strings, in complicated canon form (223 K.) shows the same tendency.]
28 (return)[ Cf. for the mottoes of these, Padre Martini, Esemplare, II., p. xxv.]
29 (return)[ Cf. Barthold, Die geschichtl. Persdnl., in Casanova's Memoiren, II., p. 177.]
30 (return)[ Cf. Schubart, Deutsche Chron., 1776, pp. 499, 554, 613.]
31 (return)[ Barney, Reise, I., p. 185.]
32 (return)[ Kelly, Remin., I., p. 225.]
33 (return)[ He was drowned at a water party (Parke, Mus. Mem., I., p. 204). Holmes says that his brother Ozias Linley preserved an Italian letter from Mozart to Thomas Linley.]
34 (return)[ Rochlitz (Für Freunde d. Tonk., II., p. 284), highly coloured as usual.]
35 (return)[ On Holy Thursday, the Misereres of Anerio, Naldini, and Scarlatti were performed in turns, until in 1714 Bai's Miserere displaced them. Since 1821 Allegri's Miserere has only been sung once. Baini, Mem. Stor. Crit., II., p. 195. Kandler, G. Pierluigi da Palestrina, p. 96.]
36 (return)[ Cf. Burney's more critical account (Reise, I., p. 203) and Mendelssohn's (Reise-briefe, pp. 122, 163).]
37 (return)[ So at least it was said; but Burney says that the Pope had copies made for the Emperor Leopold, the King of Portugal, and Padre Martini, and that the Papal kapellmeister, Santarelli, gave him a copy, which he had printed in London, 1771 (Reise, I., pp. 202, 208): he heard it again in Florence, and was offered a copy. In face of these statements, Baini's assurance (Cäcilia, II., p. 69) that no copy or score of the Miserere had ever been made, must be held to be exaggerated.]
38 (return)[ Metastasio declares (Lett., I., p. 99) that the Miserere, which had thrown him into ecstasies in Rome, made no impression at all in Vienna, performed by singers who weresecondo il corrente stilo eccellentissimi.]
39 (return)[ Metastasio, Opp. post., III., p. 258.]
40 (return)[ Burney, Reise, I., p. 241. Cramer, Magaz. d. Mus., I., p. 341. Kelly, Remin., I., p. 29.]
41 (return)[ Burney, Reise, I., p. 252. L. Mozart writes (December 22, 1770) from Milan, "Jomelli's opera has so completely fallen to the ground, that it is to be withdrawn. This is the celebrated maestro about whom the Italians make such an astounding fuss. But he was a little foolish to undertake to write two operas in the year for the same theatre, particularly as he might have seen that the first was no great success."]
42 (return)[ Dittersdorf, Selbstbiographie, p. 84: "The order is bestowed in Rome, and the members bear the title of 'Comités Palatina Romani.' They receive a diploma written on parchment, and authenticated by a great seal. They enjoy all the rights of the nobility in Rome and the Papal States, have free entry into the Papal palace, and hold the same position there as the kammerherren of other reigning courts. Their insignia is a yellow enamelled gold Maltese cross. They wear it round the neck with a purple ribbon, and sometimes a smaller one of plain gold, with a red ribbon on the breast."]
43 (return)[ Three short movements in counterpoint for four voices, with a figured bass. "Adoramus" (327 K.), "Justum deduxit Dominus," and "0 sancte fac nos captare" (326 K.), are preserved among Wolfgang's sketches in L. Mozart's handwriting. They may be examples, perhaps by Padre Martini, copied for study. Not even a conjecture can be made concerning two four-part movements, "Salus infirmorum," and "Sancta Maria" (324, 325, K.), of which only the commencing bars are preserved by André.]
44 (return)[ Burney, Reise, I., p. 166: "I must not neglect to inform my musical readers that I recognise in the son of Mozart the musician, that little German, whose precocious and supernatural talent amazed us all in London some years ago, when he was a mere child. He has been much admired, both in Rome and Naples."]
45 (return)[ Grétry, Mém., I., p. 91. Kandler, G. A. Hasse, p. 21.]
46 (return)[ Statuti ovyero costituzioni de' Signori Accademici Filarmonici di Bologna. Bologna, 1721.]
47 (return)[ Gaspari, La Musica in Bologna, p. 27.]
48 (return)[ Gaspari, p. 28. Fétis, Biogr. Univ., VI., p. 226. Köchel, A.M.Z., 1864, P- 495.]
49 (return)[ Nissen, p. 226. A. M. Z.. XXII., Beil. I.]
50 (return)[ Rudhart, Gesch. d. Oper zu München, I., p. 138.]
51 (return)[ Burney, Reise, I., p. 96.]
52 (return)[ It consisted, according to L. Mozart, of 14 first and as many second violins, 2 claviers, 2 double-basses, 6 violoncelli, 2 bassoons, 6 viols, 2 oboes, and 2 "flautraversen," "which always play with 4 oboes when there are no flutes," 4 corni di caccia, and 2 clarini, in all, 60 performers.]
53 (return)[ A Bolognese exclaimed of Dittersdorf's playing, "Come è mai possibile, che una tartaruga tedesca possa arrivare a tale perfezione!" (Selbstbiogr., p. III.)]
54 (return)[ The score remained in Milan after their departure, for the copyist had orders for five complete copies, besides single songs.]
55 (return)[ L. Mozart here relates a musical event that seemed to him hardly credible in the Italy of that day: "We heard two beggars, man and wife, singing in the street, and they sang in fifths without missing one note. I never heard the like in Germany. In the distance I thought it was two persons, each singing a song; but as we came nearer we found it was a duet in exact fifths."]
56 (return)[ L. Mozart here relates a musical event that seemed to him hardly credible in the Italy of that day: "We heard two beggars, man and wife, singing in the street, and they sang in fifths without missing one note. I never heard the like in Germany. In the distance I thought it was two persons, each singing a song; but as we came nearer we found it was a duet in exact fifths."]
57 (return)[ Burney, Reise, I., p. 94.]
58 (return)[ Meissner, Biographie Naumanns, I., p. in.]
59 (return)[ Hasse declared that six months were necessary for a good opera (Man-fredini reg. armon., p. 134), that was plenty of time; Naumann writes, that in Venice an opera had to be written, learnt, and produced within a month.]
60 (return)[ Metastasio, Opp. post., III., pp. 116, 164.]
61 (return)[ Orelli, Beitr. z. Gesch. der Ital. Poesie, II., p. 3.]
62 (return)[ Carpani, Le Haydine, p. 83. Kandler, Cenni int. alia vita del G. A. Hasse, p. 27: "Questo ragazzo ci farà dimenticar tutti"]
63 (return)[ Marpurg, Krit. Beitr., I., p. 227.]
64 (return)[ Meissner, Biogr. Naumanns, I., pp. 120, 227, 283.]
65 (return)[ Cf. Betrachtungen d. Mannh. Tonsch, I., p. 307.]
66 (return)[ Parini's Descrizione delle feste celebrate in Milano per le nozze delle L.L.A.A.R.R. l'arcid. Ferdinando e l'arcid. Maria Beatrice. Milan, 1825.]
67 (return)[ Mozart bequeathed this watch to Joseph Strebl, a Vienna merchant, with whom he used to play bowls.]
68 (return)[ Teutsch. Mercur, 1775, III., p. 240.]
69 (return)[ L. Mozart writes to Breitkopf (February 7, 1772): "We arrived at home from Milan on the 15th of December, and my son, having gained great credit by the composition of his dramatic serenata, has been commissioned to write the first Carnival Opera for Milan next year, and the second opera for the same Carnival at the Theatre of S. Benedetto, in Venice. We shall, therefore, remain in Salzburg until the end of next September, and then for the third time repair to Italy."]
70 (return)[ Meissner, Biographie Naumanns, I., p. 279.]
71 (return)[ This is inferred from a statement made by his sister to Regierungsrath Sonnleithner (Salzburg, July 2, 1819) about a portrait of Mozart, that "it was painted when he returned from the Italian tour, at sixteen years of age; but as he was just recovering from severe illness, the picture is sickly and yellow."]
72 (return)[ [Koch-Sternfeldj Die letzten dreissig Jahre des Hochstifts und Erzbisthums Salzburg (1816), p. 36.]
73 (return)[ Leopold Mozart had ordered new oboes and bassoons from Dresden in a great hurry, when the election of an archbishop was imminent.]
74 (return)[ It would almost appear that it was performed a second time later on, at least the songs of the "Licenza" occur in a second composition, which may be referred to a later period, and is far superior to the first; but it might be that they were used for an altogether different composition.]
75 (return)[ Burney, Reise, III., p. 263.]
76 (return)[ Burney, Reise, II., pp. 93, no.]
77 (return)[ Naumann, also, in whose "Armida" he appeared in Padua, says of him, "he has every good quality, sings like an angel, and is an excellent actor." From the year 1778 he lived in England as a singer, and then as a teacher till 1810. Kelly, Remin., I., p. 10. Parke, Mus. Mem., II., p. 51. Rudhart, Gesch. d. Oper. zu München, I., p. 149.]
78 (return)[ Afterwards she sang only in private society. Berl. Musik. Wochenblatt, p. 4.]
79 (return)[ The Abbé Cardanelli, a contemporary of Mozart, relates that de Amicis required Wolfgang to submit the sketches of his songs for her approval, but that he brought her a finished song, which she found excellent; and he then composed the same words again twice over, and placed them at her disposal (Folchino, Elogio Stor. di W. A. Mozart. Cremona, 1817, p. 26). A. M. Z., XX., p. 93. Not very likely!]
80 (return)[ The result of the opera appears to have been the subject of great anxiety. Naomann notes in his Diary for January 2, 1773: "I went to Colloredo, to hear the news of the Milan opera."]