1 (return)[ At Wolfgang's request he sent the Baroness a couple of Salzburg tongues, which were esteemed a delicacy.]
2 (return)[ Hamburger Litt. u. Krit. Blatter, 1856, No. 72, p. 563.]
3 (return)[ Unfortunately Wolfgang's letters to his father are only preserved in anything like completeness up to his visit to Salzburg (July, 1783); after that we have only detached ones. His sister believed, so Nissen says (Vorr., p. XVI.), that the later letters were destroyed by the father, on account of containing allusions to Freemasonry, which is probable enough. There is no sort of evidence that Mozart ever actually neglected his father's correspondence; but it was not in his power to continue to keep a journal such as he had been in the habit of writing while travelling, or such as the daughter kept up after her marriage.]
4 (return)[ The firstborn son, Leopold, "der arme dicke fette and liebe Buberl," as he is called in a letter (December 10, 1783), died in the same year.]
5 (return)[ On January 19, 1786, L. Mozart wrote to his daughter that the Archbishop had opened a letter of Wolfgang's, but without finding anything in it.]
6 (return)[ Nissen, p. 476.]
7 (return)[ A. M. Z., I., p. 291. Biograph. Skizze von Mich. Haydn (Salzburg, 1808), p. 38.]
8 (return)[ Lipowsky, Bayersch. Mus. Lex., p. 36.]
9 (return)[ Rochlitz, Für Freunde d. Tonk., üI., p. 179.]
10 (return)[ Wien. Mus. Ztg., 1817, p. 289.]
11 (return)[ Nissen, Vorr., p. 18.]
12 (return)[ On L. Mozart's return from Vienna in 1785, he stopped at Linz, as the guest of Count Thun; here he met the new Bishop, Count Herberstein (I., p. 25).]
13 (return)[ Instances might be multiplied on closer examination; I content myself with quoting from the C major symphony the unexpected entry of E minor (p. 6, bar 8) and C major (p. 6, bar 12), the loud notes for the wind instruments (p. 25, bars 3,4), the original theme with which the basses interpose (p. 28, bar 5), and most especially the mocking conclusion of the minuet (p. 36, bars 12-16).]
14 (return)[ Nissen asserts (Vorr., p. 18) that L. Mozart's letters from Vienna to his daughter (of which I have unfortunately only seen a few), betray considerable coldness towards his son.]
15 (return)[ Kelly, Reminisc., I., p. 240. Holmes conjectures that as Haydn was a good violinist, but no solo-player, Kelly has substituted him for Mozart by a slip of memory (p. 267); it is more probable that Dittersdorf, the most celebrated violin-player of the day, played first violin, and Haydn second.]
16 (return)[ Mozart lost no time in communicating the sorrowful news to his friend, Gottfried von Jacquin: "I must inform you that on my return home to-day I received the sad intelligence of the death of my dear father. You can imagine the state I am in."]
17 (return)[ "My son wrote to me some time ago," writes L. Mozart to the Baroness Waldstädten (August 23, 1782), "that as soon as he was married he would cease to live with the mother. I hope he has already actually left the house; if not, it will be a misfortune both for him and his wife."]
18 (return)[ Prefixed to the first volume of the "Ephemeriden der Literatur und des Theaters" (Berlin, 1785), are the portraits of Lange and his wife in a medallion. Her features are regular and good, but, probably owing to her delicate health, less youthful than one might have expected.]
19 (return)[ Lange, Selbstbiogr., p. 118.]
20 (return)[ Friedel, Briefe aus Wien, p. 409.]
21 (return)[ A. M. Z., üI., p. 659.]
22 (return)[ On the same day Mozart writes to his father full of anxiety about his own circumstances, thus proving again that the true artist can divest himself during his hours of production of the cares and anxieties of his ordinary life.]
23 (return)[ The Berl. Litt. u. Theat. Ztg., 1783, p. 559, announces from Vienna: "June 30, 1783, 'Il Curioso Indiscreto' was performed for the first time. Madame Lange sang to-day for the first time in the Italian opera, and the public, in spite of all cabals, showed their appreciation of her talents." Cf. Lange's Selbstbiogr., p. 119.]
24 (return)[ Written on the autograph is (June 21, 1783): "All the parts are to be extracted and augmented—theparte cantanteto be done at once, and returned to Herr Adamberger."]
25 (return)[ The completely written-out melody of a soprano air (178 K.) is preserved, the words of which, "Ah spiegarti, oh Dio vorrei," differ very little from the above; it is probably a first attempt abandoned. The voice part of Adamberger's air sketched in the same way still exists, and the bravura air is on the same leaf.]
26 (return)[ The performance took place on January 25, 1784, and was repeated on February 1 (Wien. Ztg., 1784, No. 7, Anh., No. g, Anh.).]
27 (return)[ Kelly, Reminisc., I., p. 253.]
28 (return)[ The notices of her professional tour in the year 1784, from Berlin, Dresden, Leipzig, Schwedt, and Hamburg, are full of admiration (Berl. Litt. II. Theat. Ztg., 1784, I., p. 160; II., p. 138).]
29 (return)[ Wien. Ztg., 1785, No. 97.]
30 (return)[ It was so in Amsterdam in 1798 (A. M. Z., üI., p. 659), and in Paris in 1802 (A. M. Z., IV., p. 322).]
31 (return)[ Cf. Jahrb. d. Tonk., 1796, p. 39.]
32 (return)[ Alsatia, 1853, p. 92.]
33 (return)[ Magaz. d. Mus., II., p. 185.]
34 (return)[ The autograph has on the title-page "Composta per la Sgra. Storace dal suo servo ed amico W. A. Mozart, 26 di Dec., 1786."]
35 (return)[ Wien. Ztg., 1785, Nr. 97, Anh. I do not know whether Bianchi wrote his opera for Vienna or Venice. The statement (A. M. Z., XXIV., p. 485) that the Emperor Joseph II. caused it to be composed in the form of a pasticcio is incorrect. The overture, which was given in Leipzig (A. M. Z. XIII., p. 168) and Vienna (A. M. Z., XXIV., p. 485) as having been composed by Mozart for this opera, is the one which was written in Salzburg in 1779 (319 K.; Cf., I., p. 516).]
36 (return)[ Kelly, Reminisc., I., p. 48.]
37 (return)[ Wien. Ztg., 1785, No. 29, Anh.]
38 (return)[ Wien. Ztg., 1785, No. 46, Anh.]
39 (return)[ Kelly, Reminisc., I., p. 234.]
40 (return)[ Cramer, Mag. d. Mus., II., p. 62. Reichardt, Musik. Monatsschr., p. 38. Scudo, Mus. Ane. et Mod., p. 18.]
41 (return)[ Wien. Ztg., 1789, No. 52, Anh.]
42 (return)[ It is only known to me in an old copy among Mozart's remains.]
43 (return)[ Müller, Abschied, p. 156.]
44 (return)[ It was just noticed in the Wien. Ztg., 1788, No. 23, Anh.]
45 (return)[ The song: "Beim Auszug in das Feld," dated August 11, 1788, in the Thematic Catalogue, was probably written for a similar use; but I am not acquainted with it.]
46 (return)[ A German air, "Ohne Zwang aus eigenem Triebe" (569 K.), noted by Mozart, under date "Jenner, 1789," has quite disappeared.]
47 (return)[ Mus. Corr., 1790, p. 170; 1791, p. 69.]
48 (return)[ She announced (Wien. Ztg., 1791, No. 66, Anh.) that in her concert on June 19, she would play "an entirely new and beautiful 'Konzertantquintet,' with wind instruments, accompanied by Herr Kapellmeister Mozart." CL Mus. Correspondenz, 1792, p. 146. A. M. Z., üI., p. 127. Among the sketches in the Mozarteum at Salzburg is the commencement of another quintet for the same instruments in C major.]
49 (return)[ Both in Berlin and Leipzig complaints were made that Mar. Kirchgassner had sought to attract admiration by a rapidity and an affected manner quite out of keeping with the character of the harmonica (Reichardt, Mus. Monatsschr., p. 25. Berl. Mus. Ztg., 1793, p. 150. A. M. Z., II., p. 254).]
50 (return)[ Cf. Schink, Litt. Fragm., II., p. 286.]
51 (return)[ It is entered in the Thematic Catalogue under April 21, 1784.]
52 (return)[ In the Wiener Zeitung (1784, No. 54, p. 1560), Torricella announces the composition by the celebrated Kapellmeister Mozart of three new clavier sonatas, the third of which, with a violin accompaniment, had a short time before been played with great success in the theatre by the celebrated Mdlle. Strinasacchi and Herr Mozart, which is sufficient recommendation in itself.]
53 (return)[ The story is told by the widow (A. M. Z., I., p. 290), and more in detail by Rochlitz (Für Freunde der Tonk., üI., p. 285).]
54 (return)[ Dittersdorf, Selbstbiogr., p. 50.]
55 (return)[ According to a communication of Sonnleithner's, who also asserts that Leutgeb died in good circumstances on February 27, 1811.]
56 (return)[ Cäcilie, IV., p. 306; VI., p. 203.]
57 (return)[ Schink, Litt. Fragm., II., p. 236. Musik. Wochenbl., p. 118.]
58 (return)[ So Parker asserts, Mus. Mem., II., p. 179, "from authentic sources."]
59 (return)[ Cf. Niemetschek, p. 75. Rochlitz, A. M. Z., I., p. 115.]
60 (return)[ Rochlitz, A. M. Z., üI., p. 591. Compare Mozart's remarks on Gabrielli and Aloysia Weber, I., p. 427.]
61 (return)[ Rochlitz, whose opinions were identical, describes a bravura scena for a prima donna, which Mozart has also recorded (A. M. Z., üI., p. 591).]
62 (return)[ "Deceit and flattery were alike foreign to his artless character," says Niemetschek (p. 96), "and any restraint upon his intellect was insupportable to him. Free and unreserved in his expressions and answers, he frequently wounded the susceptibilities of self-love, and made many enemies." An article upon him after his death contains the following passage (Reichardt, Musik. Wochenbl., p. 94): "Now that he is dead, the Viennese will know what they have lost in him. During his life he was much harassed by cabals, whose hostility he sometimes provoked by hissans-soucimanner."]
63 (return)[ Blumauer, who mentions this characteristic in his observations on the culture and literature of Austria, asserts that within eighteen months 1,172 publications of this kind appeared at Vienna (Pros. Schr., I., p. 72).]
64 (return)[ Prutz, Deutsch. Museum, II., p. 28.]
65 (return)[ The few opera scores found among Mozart's remains are Gluck's "Arbre Enchanté," "Le Diable ä Quatre," Grétry's "Zemire et Azor," "Bamevelt," Mich. Haydn's "Endimione."]
66 (return)[ Rochlitz, A. M. Z., I., p. 116. Cf. Siever's Mozart u. Süssmayer, p. 22.]
67 (return)[ A. M. Z., iiI., p. 493. He did not think highly of Jomelli as a church composer, although he admired his operas (A. M. Z., I., p. 116), while of Gass-mann he formed an exactly opposite opinion (A. M. Z., XX., p. 247).]
68 (return)[ Burney, Reise, I., p. 22. Busky, Gesch. d. Mus., II., p. 584.]
69 (return)[ So Jos. Frank asserts in Prutz, Deutsch. Museum, II., p. 24. There are interesting notices in Kelly's Reminisc., I., p, 238.]
70 (return)[ Rochlitz, A. M. Z., I., p. 185.]
71 (return)[ Kelly, Reminisc., I., p. 238.]
72 (return)[ Bridi, Brevi Notiz., p. 47.]
73 (return)[ The theme "Come un agnello" is from Sarti's opera, "Fra i Due Litiganti Il Terzo Gode," which was then the rage in Vienna, and is the same which is made use of in the second finale of "Don Giovanni."]
74 (return)[ Sarti's "Esame acustico fatto sopra due frammenti di Mozart" has, as far as I know, never been printed; an extract was given in A. M. Z., XXXIV., p. 373 (cf. XXVI., p. 540).]
75 (return)[ According to a letter from Bonn of April 8, 1787 (Cramer's Magaz., II., p. 1,386) he was still in Bonn at that time, and returned home just before the death of his mother, on July 17, 1787.]
76 (return)[ Schindler (Biogr. Beethoven, I., p. 15) apparently did not know of this interview, which Beethoven was fond of alluding to; the above account was communicated to me in Vienna on good authority. The anecdote is embellished in Beethoven's Studien (Anh., p. 4), and alludes to studies in counterpoint and theory which Beethoven had not even attempted at the time. According to Ries (Biogr. Not., p. 86) he received a few lessons from Mozart, but never heard him play.]
77 (return)[ "Mozart willingly listened to criticism, even when it was adverse," says Rochlitz (A. M. Z., I., p. 145); "he was susceptible only to blame of one kind, and that was the kind which he most often received—that is, blame for his too fiery imagination and intellect. This sensitiveness was but natural; for if the blame were justifiable, then all that was most original and characteristic in his music was valueless."]
78 (return)[ The anecdote is given by Niemetschek, p. 94; Rochlitz (A. M. Z., I., p. 53); Griesinger (Biogr. Notizen uber J. Haydn, p. 105); Nissen, p. 681, who names Kozeluch.]
79 (return)[ Bohemia, 1856, p. 127.]
80 (return)[ This remark was communicated to me by Neukomm, who heard it from Haydn.]
81 (return)[ A. M. Z., II., p. 516.]
82 (return)[ Rochlitz, A. M. Z., I., p. 53; cf. p. 116.]
83 (return)[ So Reichardt asserts, A. M. Z., XV., p. 667 (Schletterer, Reichardt, I., p. 325). Reise nach Wien, II., p. 91, and Dittersdorf (Selbstbiogr., p. 238).]
84 (return)[ Sending a sonata to Artaria, he writes (February 8,1780): "I hope at least to gain credit for this work with people of cultivation; it is sure to be criticised by the envious (who are very numerous)"; and similar remarks frequently occur.]
85 (return)[ Parke, Mus. Mem., I., p. 170.]
86 (return)[ Niemetschek, p. 78 (A. M. Z., I., p. 182; XI., p. 780. Nissen, p. 643. Wien. Musikzeitg., 1817, p. 288. Nohl, Musikerbr., p. xoi). Griesinger asserts by mistake (Biogr. Notizen, p. 104), followed by Carpani (Le Haydine, p. 202), that in 1791, Haydn (who was then in London) was summoned to Prague for the coronation of Leopold II., but refused the invitation in the words, "Where Mozart is, Haydn cannot show himself."]
87 (return)[ Rochlitz, A. M. Z., I., p. 52.]
88 (return)[ Nohl, Musikerbr., pp. 84, 93. Cf. Griesinger, Biogr. Not., p. 25.]
89 (return)[ Stadler, Vertheidigung der Echtheit des Mozartschen Requiem, p. 27.]
90 (return)[ Griesinger, Biogr. Not., p. 104.]
91 (return)[ Carpani, Le Haydine, p. 201.]
92 (return)[ Karajan, Haydn in London, p. 66. Nohl, Musikerbr., p. 114.]
93 (return)[ Griesinger, Biogr. Not., p. 23.]
94 (return)[ Griesinger, Biogr. Not., p. 35. Dies, Biogr. Nachr., p. 75.]
95 (return)[ Dies, Biogr. Nachr., p. 77.]
96 (return)[ Karajan, J. Haydn in London, p. 97. Nohl, Musikerbr., p. 135.]
97 (return)[ I have heard from Neukomm that Haydn spoke of it with emotion (Cf. Wien. Ztg. fur Theat., 1808, üI., p. 107). "I am childishly glad to be at home," he wrote (December 20, 1791), "and welcomed by my old friends. I only regret to miss the greeting of the great Mozart, whose death I deplore. Posterity will not see such talent for a century to come" (Karajan, p. 102; Nohl, Musikerbr., p. 140).]
1 (return)[ Besides the Countess Thun, these were the Princesses Liechtenstein, Schwarzenburg, Lobkowitz. Kelly, Reminisc., I., p. 209. Car. Pichler, Denk-würd., I., p. 141. Hormayr, Gesch. Wiens., V., p. 94. Vehse, Gesch. des Osterr. Hofes, VIII., p. 304.]
2 (return)[ Burney, Reise, II., p. 160. She told him that she had formerly played much better, but that she had borne six children, each of whom had carried away something of her musical power.]
3 (return)[ Burney, pp. 188, 215.]
4 (return)[ A. M. Z., XV., p. 668. Schletterer, Reichardt, p. 327.]
5 (return)[ G. Forster, Sämm. Schr., VII., p. 272.]
6 (return)[ Meyer, L. Schroder, I., p. 380.]
7 (return)[ He possessed a house with a beautiful garden, on the high road. At a concert there given, Nicolai admired the promising pianoforte-playing of Spielmann's little daughter, who had been instructed by her talented mother (Reise, IV., p. 554; cf. üI., p. 37, 291).]
8 (return)[ G. Forster, Sämmtl. Schr., VII., p. 269.]
9 (return)[ Jahrb. d. Tonk., 1796, pp. 19, 70.]
10 (return)[ Car. Pichler, Denkw., I., p. 92.]
11 (return)[ Cristini, Vita di Metastasio, p. 206.]
12 (return)[ Griesinger, Biogr. Not., p. 13. Carpani, Le Haydine, p. 86.]
13 (return)[ Barney, Reise, II., pp. 181, 227, 254. Jahrb. d. Tonk., 1796, p. 41.]
14 (return)[ Barney, Reise, II., p. 260.]
15 (return)[ Mancini, Rifl. Prat, sul Canto Fig., p. 229.]
16 (return)[ Wiener Musikzeitg., 1842, p. 70.]
17 (return)[ Cristini, Vita di Metastasio, p. 211.]
18 (return)[ Jahrb. d. Tonk., 1796, p. 71.]
19 (return)[ Kelly, Reminisc., I., p. 252.]
20 (return)[ Wien. Ztg., 1796, No. 29.]
21 (return)[ Gyrowetz, Selbtsbiogr., p. 9. Cf. Nohl, Musikerbr., pp. 116,136,145.]
22 (return)[ Dittersdorf (Selbstbiogr., p. 233) is of this opinion.]
23 (return)[ Rochlitz gives a comical example (A. M. Z., I., p. 49).]
24 (return)[ Niemetschek, p. 95.]
25 (return)[ Rochlitz, A. M. ft, XIV., p. 106. Fur Freunde der Tonkunst, üI., p. 222.]
26 (return)[ Car. Pichler, Denkw., I., p. 179.]
27 (return)[ On April 24,1787, he wrote in Mozart's album: "Tibi qui possis blandus auritas fidibus canons, ducere quercus in amicitiæ tesseram.—Jos. Franc, a Jacquin."]
28 (return)[ The Botanic Garden was laid out by Maria Theresa, in the suburbs (Nicolai, Reise, III., p. 34); Mozart lived in the neighbourhood, which facilitated his intercourse with the Jacquins.]
29 (return)[ Wien. Zeitschr., 1842, No. 79, p. 627.]
30 (return)[ Wien. Zeitschr., 1842, No. 79, p. 625.]
31 (return)[ Jahrb. d. Tonk., 1796, p..10. Reichardt, Reise n. Wien, I., p. 466.]
32 (return)[ He was Kelly's companion on a visit to Haydn (Reminisc., I., p. 221).]
33 (return)[ A. M. Z., XXVI., p. 92.]
34 (return)[ Brevi Notizie int. ad ale. compositori di musica (Rover., 1827), p. 51.]
35 (return)[ It is illustrative of Mozart's way of working that at the place where a very bold and striking harmony occurs in the otherwise simple air, the bass is figured in the transcription—[See Page Image] as if he wished to assure himself of the effect of the harmonic succession.]
36 (return)[ Kelly, Reminisc., I., p. 226.]
37 (return)[ Mozart writes to Gottfr. von Jacquin (Prague, February 14,1787): "You may be sure that we managed to get up a little quatuor incaritatis camera, and the 'schöne Bandl hammera." Allusions are also made to it in his letters to his wife.]
38 (return)[ I was informed in Vienna that Mozart's widow related the circumstance in this way, only Van Swieten was erroneously substituted for Jacquin. A fragment of the original score (with quartet accompaniment) gives the names of Constanze, Mozart and Jacquin as singers. In the short preliminary notice to the published "Terzett" (Ouvres, V., 8), the detail was omitted as unnecessary to be made public. A quintet which appeared in Vienna in 1856, as Canto a 5 voci di Mozart, "Oh, come lieto in seno" (244 Anh. K.), is from Ant. Cartellieri's opera, "Il Segreto," composed in 1804 (Bohemia, 1860, No. 50, p. 448).]
39 (return)[ Jos. Haydn hung his rooms round with forty-six canons of his own composition, framed and glazed (Griesinger, Biogr. Notizen, p. 97. Carpani, Le Haydine, p. 121. Cf. Biogr. Skizze von Mich. Haydn, p. 29).]
40 (return)[ Hiscanoni berneschewere, according to Carpani (Le Haydine, p. 113), widely disseminated.]
41 (return)[ Neukomm informed me that a canon by Mich. Haydn, ascribed to Mozart, was composed in Salzburg with reference to a particular person; another of his comic canons, suggested by the joking rhymes of the organ-builder Egedacher in Salzburg, is given in facsimile in the Cäcilia (XVI., p. 212).]
42 (return)[ One, known as "Im grab ists finster," is very doubtful, and one mentioned by Zelter (Briefw., II., p. 128); "Hätts nit gedacht das Fischgraten so stechen thaten," is by Wenzel Müller.]
43 (return)[ Especially 553, 554 K.]
44 (return)[ Especially 555, 562 K., and the above-mentioned "Nascoso" (557 K.).]
45 (return)[ Meyer, L. Schroder, II., 1, p. 81.]
46 (return)[ 559 K.: "Décile lectu mihi Mars et jonicu" (the last word is so managed that it becomes cujoni in singing).]
47 (return)[ The leaf on which Mozart has hurriedly written down the two canons is given in facsimile in the Cäcilia (I., p. 179), where a more detailed account of them is also to be found. The time may be conjectured from the information which Lipowsky (Baiersches Musik-Lexicon, p. 239) gives about Peierl.]
48 (return)[ It appears in the Thematic Catalogue as: "O du eselhafter Martin," and is generally known as such. André, and afterwards Prof. Dehn, of Berlin, possessed this canon in Mozart's handwriting, but withJacob, Jacobischsubstituted throughout for Martin, Martinsch; and in this way the quizzing may have been extended to several persons.]
49 (return)[ A. M. Z., üI., p. 450.]
50 (return)[ I will only mention the three-part comic or "schoolmaster" mass which goes under Mozart's and also under Haydn's name; Carpani asserts (Le Haydine, p. 112) that it is by Aumann, an Augustine monk of St. Florian, and a learned musician. He also says that it was formerly customary in Vienna to perform this kind of comic music on St. Cecilia's Day, at musical parties.]
51 (return)[ An anonymous quartet "for people who know their notes, and who, without moving their fingers, only move their bows up and down the open strings," published with the title "Neugebornes musikalisches Gleichheitskind" (Prague: Haas), and ascribed to Mozart by the Breslauer Zeitung (1855 No. 170, p. 1090), with a very unlikely anecdote, is but a dull affair.]
52 (return)[ Reissmann, Das deutsche Lied in seiner histor. entwickelung, p. 77. K. E. Schneider, Das musikalische Lied in geschichtl. Entwickelung, III., p. 195.]
53 (return)[ Sacred songs do not come within the scope of this observation.]
54 (return)[ W. H. Riehl, Gluck als Liedercomponist (Augsb. Ahg. Ztg., 1861. Beil. Echo, 1862, No. 1-3).]
55 (return)[ A. M. Z., XVI., p. 22. Schletterer, Reichardt, pp. 157, 164.]
56 (return)[ Musik. Kunstmagazin, I., p. 22.]
57 (return)[ Reichardt drew attention in 1782 (Musik. Kunstmagazin, I., p. 3) to the national songs, to which the composer ought to turn for materials (Cf. Schletterer, Reichardt, I., p. 408).]
58 (return)[ The first collection of national songs by J. A. P. Schulz appeared in Berlin, 1782. The character indicated by the title is more definitely stated in the preface.]
59 (return)[ Schneider gives a criticism of Mozart as a song-writer (Das musikal. Lied, III., p. 282).]
60 (return)[ The news of the repulse of the Spaniards by the English at the siege of Gibraltar, in 1782, excited the greatest enthusiasm in Vienna, where sympathy was entirely on the side of the English. Mozart wrote to his father (October 19, 1782): "I have, indeed, heard the news of the English victory, to my great delight, for you know that I am an arch-Englishman!"]
61 (return)[ Wiener Realzeitg., 1782, p. 765. Retzer, Nachlese zu Sineds Liedern (Wien, 1784), p. 84.]
62 (return)[ Three songs (390-392 K.), date unknown, were, judging by the handwriting, composed early in the Vienna period, if not before Mozart left Salzburg.]
63 (return)[ Das Lied der Freiheit (506 K.) appeared in the Wiener Musenalmanach for 1786. Besides this, so far as I am aware, no songs of Mozart appeared in his lifetime, except the "Veilchen" (476 K.) and "Trennung und Wieder-vereinigung" (519 K.), with the title, "Zwei Deutsche Arien zum Singen beim Klavier in Musik gesetzt von Herr Kapellmeister Mozart" (Wien bei Artaria, 1790); perhaps, also, "An Chloë" (524 K.) and "Abendempfindung" (523 K.) (with the same title).]
64 (return)[ Soon after Mozart's death, many songs, genuine and unauthentic, appeared singly or in collections. A professedly complete collection, entitled: "Sämmt-liche Lieder und Gesänge beim Fortepiano von Kapellm. W. A. Mozart" (Berlin: Rellstab), contains thirty-three songs, of which only five are genuine (Cf. A. M. Z., I., p. 744). The collection in the fifth volume of the "Oeuvres" (Breit-kopf and Härtel) is supported by the authority of the widow, and is thoroughly to be relied on; it contains, exclusive of compositions not strictly belonging to our category, twenty-one songs, properly so-called. Of these, the "Gesellen-reise" (468 K.) and two other Freemasons' songs (483, 484, K.) were originally written with organ accompaniments: the "Zufriedenheit" (349 K.), and an unpublished "Komm liebe Zitter" (351 K., composed "1780 fur Herr Lang") with accompaniment for the mandoline. A "Wiegenlied" with pianoforte accompaniment, "Schlafe mein Prinzchen" (350 K.), was published subsequently by Nissen (Nachtrag).]
65 (return)[ Reichardt regrets that his "Lieder geselliger Freude " (1796) can include none of the compositions of "men so highly esteemed as Haydn, Mozart, and Dittersdorf," on account of the coarseness of the words (Vol. I., p. vüi.).]
66 (return)[ The facsimile of the song, after the original in the possession of my friend Wilh. Speyer, of Frankfort, is appended to this work.]
67 (return)[ A reviewer in the Musik Realzeitung (1790, p. 1), extolling the "Trennungslied," and the "Veilchen," remarks on the taste and delicate feeling they display, and adds: "Very striking is the treatment of the words at the close of the song, the pathetic repetition of 'Das arme Veilchen! es war ein herzigs Veilchen I Cf. Reissmann, "Das deutsche Lied," p. 146.]