"Doch im Hui schwand meineFreude Trennung war mein banges;Und nun schwimmt mein Aug' inThränen Kummer ruht in meinem Schooss."]
37 (return)[ It must be kept in mind that German operatic poets confined themselves to imitating Italian opera libretti, which were all cast in the same mould. Krause's pamphlet, highly esteemed by contemporaries, Von der musikalischen Poesie (Berlin, 1752) takes this for granted; Hiller (Ueber Metastasio, 1786, p.6) refers the German librettists to Metastatio; even Goethe, although in another way, endeavoured to form German vaudeville after an Italian type. Views of the subject, similar to those of Mozart and Reichardt, are carried out in detail in Cramer's Magazin der Musik, II., p. 1061.]
38 (return)[ Gluck's intentions were unquestionably the same. He warred against the mechanical formalism of musicians, and strove to free the composer from the fetters of form and make him a poet. But he was in some danger of going too far, and making the musician merely the interpreter of the poet.]
39 (return)[ Cf. Hanslick, Vom Musikalisch-Schönen, p. 27.]
40 (return)[ The same difficulty has led composers of the present day to write their own libretti. But it is not in nature that the highest aims can thus be attained. Burney quotes Metastatio's utterances on this point (Reise, II., p. 222). Cf. O. Jahn, Ges. Aufs. üb. Musik, p. 70.]
41 (return)[ Cf. Hanslik Vom Musikalisch-Schönen, p. 78.]
42 (return)[ Lessing has some excellent observations on the relations of music to poetry in the continuation of his Laokoon (Werke, XI., p. 153).]
43 (return)[ Hiller, Wochentl. Nachr., I., p. 256. Lebensbeschreibungen, I., p. 312. Reichardt, Ueb. d. Com. Oper, p. 8.]
44 (return)[ He was perfectly aware that comic opera must follow its own laws. "You cannot imagine,'' he wrote to his father (June 16,1781), "that I should write an opéra comique in the same style as an opera seria. Just as in an opera seria there must be a display of much learning and good sense, and very little playfulness, so in an opera buffa there must be very little display of learning and a great deal of playful merriment. It cannot be helped if people will have comic music in an opera seria; but there is a great difference. I believe that buffoonery is not quite rooted out of music yet; and in this case the French are right."]
45 (return)[ The autograph score of the "Entfùhrung" (384 K.), in three volumes (453 pages), was presented by Mozart to his sister-in-law, Madame Hofer, one evening when she had especially gratified him by her singing; it is now in the possession of Paul Mendelssohn-Bartholdv. of Berlin. Some of the odd sheets are in Andre's collection. Wolfgang writes to his father July 20, 1782: "You will find many erasures, because I knew that the score would be copied at once; so I let my ideas have free play, and made my alterations and abbreviations before sending it to the copyist."]
46 (return)[ The ancients indicated this distinction by the termspathosandethos.]
47 (return)[ Meyer II. Schroder. I., p. 368 speaks of his nasal tones in the high notes.]
48 (return)[ These are the beautiful air, "Per pietä non ricercate" 420 K.. part Si; the air written in 1785 for the oratorio "Davide Penitente " (469 K.. 61. "A te fra tanti attanni" and a grand air belonging to 1783 (431 K. part 3.) which is one of the most beautiful. It supposes a faithful lover awaking to find himself in prison, and expressing his surprise and anger in an agitated recitative, "Misero! O sogno!" In the andante, "Aura che intomo spin," his thoughts turn to his beloved one, for whom he is suffering; a simple and dignified cantilene, full of warm, deep feeling. The allegro, expressive of his horror at his position, is full of wild excitement and anguish. The whole song is simple and full of manly dignity without bravura, which seems to have been Adam-berger's peculiar style. The musical treatment is rich in interesting detail; the wind instruments—flutes, bassoons, and horns—are employed to give individual colouring.]
49 (return)[ This air was considerably abbreviated by Mozart. In the adagio there was originally a distinct middle movement following the second occurrence of the subject; it passed into the key of E flat major, and at the seventeenth bar closed in D minor, whereupon the first subject recurred. The allegro was also shortened.]
50 (return)[ This air also was considerably altered by Mozart.]
51 (return)[ The same may almost be said of the air "Tra le oscure ombre funeste," which Mozart composed in 1785 for Mdlle. Cavalieri in the oratorio, "Davide Penitente" (469 K., 8). The first movement is expressive of earnest feeling; the second has more of bravura.]
52 (return)[ Salieri narrates that Gluck was dissatisfied with one part of his "Danaides" without knowing the reason why; after many repetitions he exclaimed at last, "I have it! the passagesmells of music!" (Mosel, Salieri, p. 79).]
53 (return)[ The bravura part was originally extended into eleven bars (from bar 5, p. 153)f with the voices and instruments contending; the close was also longer, fifteen bars being inserted at p. 175, bar 7. Rochlitz asserts (A. M. Z., I., p. 145) that in later years Mozart undertook a searching revision of the "Entfuhrung," making numerous alterations, especially abbreviations. "I heard him play one of Constanze s principal airs, after twofold revision, and deplored some of the omitted passages. 'They may do for the piano,' said he, 'but not on the stage.' When I wrote that I was too fond of hearing myself, and did not know when to leave off." This is the only instance known of such hypercriticism on Mozart's part.]
54 (return)[ It has already been remarked that Mozart made use of a motif from "Zaide" for this air (Vol. II., p. 121).]
55 (return)[ Tieck, Dramaturg. Blatter, II., p. 315: "The duet is one which may draw tears from the eyes of the most insensible." Even Berlioz (X Travers Chants, p. 243) thought highly of it.]
56 (return)[ Cf. Lobe, A. M. Z., XLVIII., p. 537.]
57 (return)[ A singular effect is given by the sustained notes of the oboes and bassoons with the appoggiatura:—[See Page Image] Mozart has made a similar use of them in the Wedding March in "Figaro," where he was equally desirous of imparting peculiarity of colouring.]
58 (return)[ Mozart has used only the piccolo flute here, as specially adapted for the tattoo-like principal subject, and its wild, shrill conclusion. The clarinets are very originally treated, particularly in those places where they are apart from the other wind instruments and support the voice with sustained notes.]
59 (return)[ Mozart's expression, in his letter to his father (September 26, 1781), "The drinking duet, which consists entirely of my Turkish tattoo (Zapfenstreich)," leads to the conclusion that he has here made use of an earlier composition, with which I am not acquainted. The Turkish music, in conjunction with trumpets (no drums), is admirably suggestive of Osmin's excited, half-tipsy state.]
60 (return)[ This motif was evidently composed just as Osmin sings it. Fischer's flexible and melodious voice made it doubly effective in contrast to the less voluble tenor, so characteristic of the insignificant Pedrillo. At the outset, an admirable effect is produced by the violins, strengthened by piccolo and ordinary flutes, which gently accentuate the melody detached from its simple but agitated accompaniment. There is something peculiarly seductive in this melodious rippling sound, of which there is another instance in the Moor's song in the "Zauberflöte."]
61 (return)[ In its first design this air was considerably longer; the second part began at p. mt bar 9, instead of p. 109, bar 19; it was in D major, instead of A major, and led back into the first subject, bringing the whole to a conclusion after twenty-nine interpolated bars.]
62 (return)[ The instrumentation of this air in full, and the orchestral parts carefully worked out; the accompaniment at the words "ohne Aufschub will ich eilen" is unusually charming and animated. It also has been shortened by Mozart.]
63 (return)[ Arnold (Mozart's Geist, p. 375) interprets the words as though Pedrillo was trying to assume a courage which he did not possess.]
64 (return)[ He writes to his father of the first (September 26, 1781): "The janizary chorus is all that can be desired, short and merry, and very well suited for the Viennese public."]
65 (return)[ Ulibicheff, who makes some striking observations on this chorus, notices its many points of resemblance (such as the alternation of relative major and minor keys) to Russian national melodies, with which Mozart may have become acquainted at Prince Gallitzin's (II., p. 375).]
66 (return)[ C. M. von Weber, Lebensbild, III., p. 191. Cf. A. Wendt, Leipzig Kunstbl., 1817, p. 189. (Heinse, Reise- und Lebensskizzen, I., p. 298.)]
1 (return)[ K. R[isbeck] says (Briefe über Deutschland, I., p. 193) it was considered proper in Vienna to treat the ladies of the party, even when they were in no way related to their escort. Mozart must have been thinking of his former liberality to the Webers, so severely blamed by his father (Vol. I., p. 418).]
2 (return)[ Zelter says that Righini's position in Berlin was almost identical with that of Salieri in Vienna; "he may have been of a rather more lively disposition, but he was of about the same height and breadth" (Briefw. m. Goethe, II., p. 29). Cf. A. M. Z., XVI., p. 875.]
3 (return)[ She used to give a concert every year "as a proof of her existence and industry," according to the notice for 1799 (A. M. Z., I., p. 523); "the latter quality is all that she can now truthfully boast of" (Cf. A. M. Z., VI., p. 471; VII., p. 469. Reichardt, Mus. Ztg., I., p. 128). As late as 1813 she ("who had once reigned supreme as a pianoforte-player in Vienna") appeared in public, and was pronounced "an accomplished and correct player, but cold and old-fashioned" (A. M. Z., XV., p. 300).]
4 (return)[ She wished to perfect herself in playing for some years longer, and then go to Paris and "make her fortune." Cramers Magazin der Musik says (1787, II., p. 1274), "Madame Aurnhammer is an excellent teacher of the piano, on which she gives lessons; I have not heard her play for long. It is she who superintended the engraving by Herr Artaria of many of Mozart's sonatas and varied airs." She attempted variations herself, which she used to play at her concerts and to have printed (Mus. Corresp., 1791, p. 362; 1792, p. 195). She had arrived at Opus 63 in 1799 (A. M. Z., II., p. 90).]
5 (return)[ Da Ponte, Mem., II., p. 104.]
6 (return)[ Cf. I., p. 389. Winter was avowedly hostile to Mozart (Biedenfeld, Kom. Oper, p. 86); he used to reproach him with stealing from Handel (A. M. Z., XXVIII., p. 468), with forcing up soprano voices (Biedenfeld, Kom. Oper, p. 212); and his scorn at piano-playing opera composers (A. M. Z., XXVIII., p. 467) was especially directed against Mozart. It is generally acknowledged that Winter was not the simple, unsophisticated being that he appeared (cf. Biedenfeld, p. 212), and I have been assured by those who knew him well that he was quite capable of spiteful intrigue.]
7 (return)[ A striking instance is Salieri's account of how Joseph II. assisted him to marry (Mosel, Salieri, p. 57).]
8 (return)[ Hiller, Wochentl. Nachr., I., p. 100.]
9 (return)[ L. Mozart writes to the Baroness (September 13, 1782): "I am heartily glad that his wife does not take after the Webers, as otherwise he would be miserable; your ladyship assures me that she is a deserving person, and that suffices me" (Hamburg. Litter, u. Krit. Blatter, 1856, No. 72, p. 563).]
10 (return)[ During the supper, according to Nissen, a "sixteen-part harmony" of his own composition was performed as a surprise to him. This must be a mistake, for even the great serenata (361 K.) is only in thirteen parts.]
1 (return)[ Cf. Friedel, Briefe aus Wien (1784), p. 409.]
2 (return)[ Mozart himself wrote this to his father, who communicates it to Marianne (September 17, 1785).]
3 (return)[ Kelly, Reminisc., I., p. 225.]
4 (return)[ A. M. z., I., p. 855.]
5 (return)[ I cannot undertake to give anything like a comprehensive description of Mozart's wife, although I have received many communications from trustworthy persons who have known her personally. Their knowledge is of her later years only, and their accounts are often inconsistent. This inconsistency arises from the conflict in the widow's mind between pride in the fame of the husband, of whose greatness she was fully aware only after his death, and a painful remembrance of the hardships of their married life. These hardships she was inclined to ascribe solely to his want of capacity for practical affairs, and an injured feeling was often mingled with her unbounded pride in Mozart's artistic achievements and her belief in his love for her. The peculiarities of her second husband, Nissen, a business man, painfully accurate and precise, tended no doubt to intensify the contrast. Nissen's was an honourable, although a commonplace nature, and he had earned Constanze's gratitude by his care for her in her widowed and destitute condition, and by placing her in a good worldly position as his wife; so that it is not surprising that Mozart's memory should have passed into the background, with the exception of his musical fame, which Nissen could not rival. At any rate, we find Constanze continually posing as the patient martyr, suffering from the thoughtlessness of a man of genius, who remained a child to the end of his days. This is unjust to Mozart, but it would be equally unjust to Constanze to make her mainly responsible for the family difficulties.]
6 (return)[ Jahrb. d. Tonkunst. (1796), p. 43.]
7 (return)[ Nissen, p. 689.]
8 (return)[ Shlichtegrolls Nekrolog. Cf. Zelter, Briefw. mit Goethe, VI., p. 61.]
9 (return)[ Niemetschek, p. 97. Nissen, p. 686.]
10 (return)[ A. M. Z., I., p. 291. Nissen, p. 687.]
11 (return)[ This letter was made use of by Nissen. I obtained it from Köchel.]
12 (return)[ A. M. Z., I., p. 291. Nissen, p. 687.]
13 (return)[ "On this point I have accepted the verbal testimony of trustworthy Salzburg friends, confirmed by Niemetschek, p. 98 (Nissen, p. 690).]
14 (return)[ Forster, Sämmtl. Schr., VII., p. 268. The French traveller [K. Risbeck] says a great deal about the dissoluteness of the Viennese. "All the great towns are alike in this respect. The courts are more or less corrupt, and the nobility universally so; those who can do as they like abuse their privileges, and act unworthily. But it is not always fair to consider freedom of manner as a sign of licentiousness, as those who live in small towns are apt to do. If a pretty girl permits a kiss on her hand, or even her lips—if, when she loves a man, she is not ashamed to say so—these are not deadly sins, and the shame rests with those who take advantage of her openness."]
15 (return)[ From a MS. biographical notice of Hummel, by M. J. Seidel, communicated by Preller.]
16 (return)[ The length to which the calumny went is shown by Suard (Mél. de Litt., II., p. 339): "J'ai entendu dire qu'il n'avait fait Ja 'Flute Enchantée' que pour plaire ä une femme de théätre dont il était devenu amoureux, et qui avait mis ses faveurs ä ce prix. On ajoute que son triomphe eut des suites bien cruelles, et qu'il en contracta une maladie incurable dont il mourut peu de temps après. Ce fait me parait peu vraisemblable: la 'Flûte Enchantée' n'est pas le dernier de ses opéras, et lorsqu'il l'a composée sa santé était déjä fort altérée."]
17 (return)[ Salieri was recommended by Gluck as a composer for the Grand-Opéra in Paris, in 1784, when he had himself refused to undertake the composition of "Les Danaides" (Mosel, Salieri, p. 77).]
18 (return)[ A book of exercises and letters in English was used by Mozart as an account book in 1784 (André, Vorr. zu Mozart's Themat.-Catalog., p. 3).]
19 (return)[ Hamburg. Litt. u. Krit. Blätt, 1856, No. 72, p. 563.]
20 (return)[ Kelly, Reminisc., I., p. 277. L. Mozart gives his daughter a long account of the English visitors who were invited to a State concert by the Archbishop, and very well received.]
21 (return)[ A Viennese correspondent of January 25, 1787, says (Cramer's Musik. Magaz., II., p. 1273): "Mozart left Vienna some weeks ago on a professional tour to Prague, Berlin, and, it is even said, to London. I hope that it will be productive both of pleasure and profit to him." And Leopold Mozart wrote to his daughter (January 12, 1787): "The report that your brother intends going to England is confirmed from Vienna, Prague, and Munich."]
22 (return)[ Niemetschek, p. 44. Rochlitz's account, founded on information from Mozart's widow (A. M. Z., I., p. 22), is confirmed by Nissen (p. 535).]
23 (return)[ A. M. Z., I., p. 291.]
24 (return)[ Rochlitz expressly states that the King repeated this conversation to various persons, among others to Mozart's widow, during her stay in Berlin, in February, 1796.]
25 (return)[ Mosel, Salieri, p. 132.]
26 (return)[ The story that after his return from Prague (September, 1791), as Nie-metschek has it (p. 36), or on his death-bed,as it is usually embellished, Mozart received his appointment as actual kapellmeister, with all its emoluments, is evidently unfounded. In the widow's petition for a pension (in the Mozarteum at Salzburg) only "the expected appointment to the post of cathedral kapellmeister" is mentioned, and in a magistrate's order of December 12,1791 (in the collection of Al. Fuchs), "Joh. Georg. Albrechtsberger, imperial court organist, appointed to the post of assistant kapellmeister at the metropolitan church of St. Stephan, as successor to the late Herr Mozart." Hoffman died in 1792, and then Albrechtsberger succeeded him.]
27 (return)[ Caroline Pichler, Denkwürd, I., p. 180.]
28 (return)[ K. R[isbeck], Briefe, I., p. 292. G. Forster, Sämmtl. Schr., VII., p. 268. Meyer, L. Schroder, I., p. 360, Schink, Dramaturg. Monate, II., p. 542.]
29 (return)[ Niemetschek, p. 92. According to a letter of Nissen's to Härtel (November 27, 1799), they were in the possession of Gelinek, and are apparently lost. Journ. d. Lux. u. d. Mod., 1808, II., p. 802.]
30 (return)[ Prutz, Deutsch. Museum, II., p. 27. Frank was well known as a "great musician." Briefw. Carl Augusts mit Goethe, I., p. 302.]
31 (return)[ L. Mozart wrote to his daughter from Vienna (March 12, 1785): "He has had a greatfortepiano pedalmade, which stands under the harpsichord, three spans long, and fearfully heavy."]
32 (return)[ Allgem. Wiener Mus. Ztg., 1842, p. 489. Seidel, Handschr. Notiz.]
33 (return)[ Holmes tells the story on trustworthy family authority (p. 258).]
34 (return)[ Allgem. Wien. Mus. Ztg., 1842, p. 489.]
35 (return)[ Holmes, p. 259. Cf. Fétis, Curios. Hist, de la Mus., p. 212.]
36 (return)[ Stadler (Vertheidig. der Echtheit des Req., p. 13) says: "When I turn over these leaves, I never fail to remember the great master, and rejoice in observing his manner of working."]
37 (return)[ Zelter, Briefw. mit Goethe, V., p. 85. In the Wiener Zeitung, 1796, p. 1038, Jos. Haydenreich advertises for sale at a price of 4 fl. 30 kr., "Ein noch unbekanntes geschriebenes Fundament zur erlernung des Generalbasses von Mozart."]
38 (return)[ It has been published several times in Vienna by Steiner & Co. with the title of "Kurzgefasste Generalbass-schule von W. A. Mozart,'' and as "Fundament des Generalbasses von W. A. Mozart," by J. G. Siegmeyer (Berlin, 1822).]
39 (return)[ Holmes, p. 316.]
40 (return)[ Kelly, Reminisc., I., p. 228.]
41 (return)[ Nicolai, Reise, IV., p. 552. C. Pichler, Denkw., I., p. 127.]
42 (return)[ Nicolai (Reise, IV., p. 552) dilates upon the announcement of these great amateur concerts, and especially upon paragraph 6, which runs: "Card-tables will be placed in the ante-rooms, and money for play provided at discretion; the company will also be provided with every kind of refreshment." He asserts that this was not so at the private concerts of true connoisseurs, at which he had been present.]
43 (return)[ Wien. Ztg., 1782, No. 44. K. R[isbeck], Briefe, I., p. 276. "The entertainments I most enjoyed during the nights of last summer, were the so-called 'lemonade-tents.' Great tents were erected on one of the largest open spaces in the city, and there lemonade was dispensed at night; several hundred seats were occupied by ladies and gentlemen. A band of music was placed at a little distance, and the perfect silence which was maintained by the numerous assembly had an indescribable effect. The charming music, the solemn silence, the confidential mood engendered by the night, all combined to give the scene a peculiar charm" (Jahrb. d. Tenk., 1796, p. 78).]
44 (return)[ Hormayr, Wien., V., I., pp. 41, 50.]
45 (return)[ Nicolai, Reise., III., p. 12.]
46 (return)[ Franz Türke is mentioned later as a distinguished amateur (Jahrb. d. Tonk., 1796, p. 63).]
47 (return)[ In 1791, Martin, "directeur des concerts d'amateurs," announced his great concerts in the Imperial Augarten in the Prater, and at court, in a somewhat doleful manner (Wien. Ztg., 1791, No. 45 Anh.). They were afterwards continued under the conductorship of the vice-president, Von Keess (Jahr. d. Tonk., 1796, p. 74. A. M. Z., III., p. 46).]
48 (return)[ Cramer, Magazin d. Musik, I., p. 578: "A concert was given this after-noon in the National Theatre for the benefit of the celebrated Herr Chevalier Mozart, the performance including several pieces of his own composition. The concert was attended by a very numerous audience, and the two new concertos and various fantasias, which Herr Mozart performed on the pianoforte, were received with loud and general applause. Our gracious Emperor, contrary to custom, remained through the whole performance, and joined in the unprecedented applause of the public. The receipts are said to amount to 1,600 florins."]
49 (return)[ Wien. Ztg., 1784, No. 28, Anh.]
50 (return)[ Nicolai, Reise, II., p. 636.]
51 (return)[ This imposing list includes not only the names of Mozart's avowed patrons, Countess Thun, Baroness Waldstädten, Count Zichy, Van Swieten, but also of the Duke of Würtemburg, the Prince of Mecklenburg, the Princes C. Liechtenstein, Augsperg, Kaunitz, Lichnowsky, Lobkowitz, Paar, Palm, Schwarzenberg, and the famous names of Bathiany, Dietrichstein, Erdödy, Esterhazy, Harrach, Herberstein, Keglewicz, Nostiz, Palfy, Schaffgotsch, Stahremberg, Waldstein; besides the Ambassadors of Russia, Spain, Sardinia, Holland, Denmark, the great bankers, Fries, Henikstein, Arenfeld, Bienenfeld, Ployer, Wetzlar, high officers of state and scholars, such as Isdenczy, Bedekovich, Nevery, Braun, Greiner, Keess, Puffendorf, Bom, Martini, Sonnenfels—in very truth the most distinguished society of Vienna.]
52 (return)[ Kelly, Reminisc., I., p. 231. Pohl, Mozart in London, p. 169.]
53 (return)[ At the same time Mozart wrote the two concertos for Barb, von Ployer (Vol.II., p. 279), a concerto in Bflat major (No. 4., 450 K.)on March 15, aconcerto in D major (No. 13., 451 K.) on March 22, and the quintet (452 K.) on March 30.]
54 (return)[ Wien. Ztg., 1786, No. 28, Anh.]
55 (return)[ Storace and Coltellini had a salary of 1,000 ducats, besides free quarters and travelling expenses; and to this was added the profit accruing from benefits, concerts, and other sources. Marchesi received 600 ducats and a valuable ring for six performances (Müller, Abschied, p. 8).]
56 (return)[ Theaterkal., 1787, p. 95. C. Pichler, Denkw., I., p. 124.]
57 (return)[ Wien. Ztg., 1782, No. 82.]
58 (return)[ Jahrb. Tonk., 1796, p. 25.]
59 (return)[ Kelly, Reminisc., I., p. 201. A performance of "Axur" is mentioned (Jahrb. f. Tonk., 1796, p. 38). According to the Thematic Catalogue, Mozart wrote a concluding chorus "fur Dilettanti," to Sarti's opera, "Le Gelosie Vil-lane," on April 20, 1791.]
60 (return)[ Dittersdorf, Selbstbiogr., pp. 7, 49.]
61 (return)[ Gyrowetz, Selbstbiogr., p. 8.]
62 (return)[ Cf. pp. 307, 627.]
63 (return)[ C. Pichler, Denkw., I., p. 45.]
64 (return)[ Mozart's concert harpsichord is now in the Mozarteum at Salzburg, a little instrument by Anton Welter, in a walnut-wood case with black naturals and white flats and sharps. It has five octaves, is light in touch, and tolerably powerful in tone.]
65 (return)[ Cramer's Mag. d. Musik, II., p. 1380.]
66 (return)[ Kelly, Reminisc., I., p. 226.]
67 (return)[ Mozart's printed composition only extended during his lifetime to Op. 18 (Klavierconcert, 451 K., No. 13), without counting variations and songs.]
68 (return)[ Wien. Zeit., 1783, No. 5, Anh. These three concertos in A major (414 K., No 10), F major (413 K., No. 12), and C major (414 K., No. 5), were then printed in Vienna as Ouvre IV.]
69 (return)[ A. M. Z., I., p. 113.]
70 (return)[ Wien. Ztg., 1788, No. 27, Anh.]
71 (return)[ N. Berl. Musikzeitg., 1856, p. 35.]
72 (return)[ A. M. Z., I., p. 289.]
73 (return)[ Rochlitz's account (A. M. Z., IM p. 83) does not tally.]
74 (return)[ Cf. Nissen, p. 633.]
75 (return)[ Rochlitz, A. M. Z., XV., p. 313. Für Freunde der Tonkunst, I., p. 148.]
76 (return)[ Endorsed by Hoffmeister: "Den 20 Nov., 1785, mit 2 Duka ten." N.Ztschr. Mus., IX., p. 164.]
77 (return)[ A. M. Z., I., p. 547.]
78 (return)[ A. M. Z., I., p. 83; cf. p. 147. Nissen, p. 548.]
79 (return)[ Neue Zeitschr. Mus., XII., p. 180.]
80 (return)[ Dittersdorf says that the profits from his benefit performance of the "Doktor and Apotheker" amounted to 200 ducats (Selbstbiogr., p. 243).]
81 (return)[ Rochlitz's account is confused and uncertain. (Für Freunde d. Tonk., II., p. 258., II).]
82 (return)[ He expected a gift from the Prussian Ambassador; whether he received it, or what it was, is not known.]
83 (return)[ Count Seeau must have sold for his own profit the pieces which were only purchased for representation; Schroder and Beecké complain of this in unpublished letters to Dalberg.]
84 (return)[ Nissen, p. 475.]
85 (return)[ He was called a "Niederlagsverwandter," that is, he belonged to the privileged society of merchants, for the most part Protestants, who had the right, subject to certain restrictions, of keeping warehouses and trading wholesale (Nicolai, Reise, IV., p. 447).]
86 (return)[ Wiener Morgenpost, 1856, No. 28.]
87 (return)[ Nissen, p. 686.]
88 (return)[ O. Jahn, Aufs. üb. Musik., p. 234.]
89 (return)[ Nissen, p. 683.]
90 (return)[ Niemetschek, p. 57. Nissen, p. 580.]
91 (return)[ How far Mozart was misjudged in this respect is shown by such expressions as those in Schlichtegroirs Nekrolog: "In Vienna he married Constanze Weber, who made a good mother to his two children and a careful wife, striving to restrain his folly and extravagance. His income was considerable, but his excesses and want of economy in household affairs caused him to leave nothing to his family but the fame of his genius and the observation of the world." It is not surprising that Mozart's widow should have bought up a whole impression of this notice in 1794. Rochlitz warmly condemns such shameless calumny. Arnold is much coarser (Mozart's Geist, p. 65), accounting for his premature death by saying: "Besides this [excessive work] he was a husband, brought up two children, and had many intrigues with lively actresses and other women, which his wife good-naturedly overlooked. He must often have starved with his wife and children, if the threats of impatient creditors had been carried into effect. But when a few louis-d'or made their appearance the scene changed at once. All went merrily, Mozart got tipsy on champagne and tokay, spent freely, and in a few days was as badly off as ever. The liberties he took with his health are well known; how he used to drink champagne with Schikaneder all morning, and punch all night, and go to work again after midnight, without any thought of his bodily health."]
92 (return)[ Nissen, p. 692.]
93 (return)[ Niemetschek, p. 99.]
94 (return)[ Niemetschek, p. 93. Mozart was very accessible to the pleasures of society and friendship. "Among his friends he was as open as a child, and full of merriment, which found vent in the drollest tricks. His friends in Prague have a pleasant remembrance of the hours passed in his company, and are never weary of praising his good, innocent heart; when he was present, one forgot the artist in the man" (Cf. Rochlitz, A. M. Z., III., p. 494). His brother-in-law, Jos. Lange, remarked that Mozart was generally in most jesting mood when he was busy with some great work (Selbstbiogr., p. 171).]
95 (return)[ Kelly, Reminisc., I., p. 204.]
96 (return)[ Kelly, Reminisc., I., p. 226. Nissen, p. 692.]
97 (return)[ Kelly, Reminisc., I., p. 226.]
98 (return)[ Niemetschek, p. 100.]
99 (return)[ Nicolai, Reise, V., p. 219.]
100 (return)[ He wrote to his father (June 7, 1783): "God be praised, I am quite well again, only my illness has left a cold in the head behind as a remembrance—very good. ]
101 (return)[ Giesinger, Biogr. Not. üb. J. Haydn, p. 30.]
102 (return)[ Nissen, p. 559.]
103 (return)[ Bohemia, 1856, pp. 118, 122.]
104 (return)[ Kelly, Reminisc., I., p. 226.]
105 (return)[ Nissen, p. 672.]
106 (return)[ Rochlitz suggests that Mozart sought forgetfulness of anxious thoughts in wine (A. M. Z., III., p. 495).]
107 (return)[ Frau Klein, of Vienna, Loibl's daughter, related this and many other characteristic traits from her childish remembrances to my friend Karajan.]
108 (return)[ Eckermann, Gespräche mit Goethe, III., p. 234, &c., especially p. 239.]
109 (return)[ a. M. z., I., p. 81.]
110 (return)[ Nissen, p. 673.]
111 (return)[ Nissen, p. 683.]
112 (return)[ This document, invaluable for the history of Mozart's compositions, leaving no doubt as to important points from the year 1784 onwards, has been published by André under the title, "W. A. Mozart's thematischer Catalog" (Offenbach, 1805, 1828). It is my authority for all assertions as to the date of his works, except where otherwise specified.]
113 (return)[ Niemetschek, p. 91.