1 (return)[ He travelled with the Duke of Braganza, in 1768 (Zimmermann, Briefe, p. 96).]
2 (return)[ Grimm, Corr. Litt., VI., pp. 263, 314.]
3 (return)[ Griesinger, Biogr. Not., p. 66. One was performed by Mozart (Vol. II., p. 284).]
4 (return)[ Müller praises the liberal support which he received from him in Berlin, in 1776 (Abschied, p. 116).]
5 (return)[ Nicolai, Reise, IV., p. 556.]
6 (return)[ Schneider, Gesch. d. Oper in Berlin, p. 14.]
7 (return)[ Burney, Reise, III., p. 67.]
8 (return)[ N. Ztschr. für Mus., IX., p. 130.]
9 (return)[ Zelter, Fasch, p. 22.]
10 (return)[ Reichardt, Kunstmagaz., I., p. 158.]
11 (return)[ Zelter, Fasch, p. 49. The parallel which Reichardt (Briefe cine» aufmerks. Reisenden, I., p. 15) institutes between Hasse and Graun well expresses the general views.]
12 (return)[ Rtlchardi, Mus. Monatsschr., p. 69. A. M. Z., XV., p. 680. Schletterer, Reichardt, p. 261, where detailed and interesting information is given.]
13 (return)[ A. M. Z., XV., p. 605. Schletterer, Reichardt, I., p. 257.]
14 (return)[ Reichardt, Mu. Zeitg., I., p. 74.]
15 (return)[ Burney, Reise, III., p. 116.]
16 (return)[ Autobiographische Mittheilungens. in Marpurg's Histor. Kril Beitr., I., p 197.]
17 (return)[ Burney, Reise, III., p. 111. Zelter, Fasch, p. 47.]
18 (return)[ A. M. Z., III., p. 171. Reichardt, Mus. Wochenblatt. p. 70.]
19 (return)[ His autobiography is given in N. Berl. Mus. Ztg., 1856, No. 32.]
20 (return)[ His autobiography; s. Burney, Reise, III., p. 199. Cf. Rochlitz, Für Freunde der Tonkunst, IV., p. 273.]
21 (return)[ Zelter, Fasch, pp. 14, 47.]
22 (return)[ Griesinger, Biogr. Not., p. 15. Rochlitz, Für Freunde der Tonkunst, IV.', p. 274. Bach told him once that he was the only man who had ever quite understood his works (Dies, Biogr. Nachr., p. 38).]
23 (return)[ Compare, for instance, Burney's account (Reise, III., p. 209) with Reichardt's opinions expressed at different times (Briefe e. aufmerks. Reisenden, I., p. m; II., p. 7. Kunstmagaz., I., p. 24. Musik. Alman., 1796. A. M. Z., XVI., p. 28. Schletterer, Reichardt, I., p. 163).]
24 (return)[ Nicolai, Reise, IV., p. 558.]
25 (return)[ Zelter, Briefw. m. Goethe, V., p. 210: "His extemporising, especially when he was in the vein, was the admiration of men such as Marpurg, Kirnberger, Benda, Agrikola, Bertuch, Ring—most of them excellent organ-players, who all felt how far he surpassed them." He used to say of his brother, Ph. Emanuel, with a compassionate air: "Mein Bruder, der Hamburger, hat einige artige Sächelchen gemacht"; and the latter made use of the same family expression in speaking of the London brother (Reichardt, Musik. Zeitg., II., p. 159).]
26 (return)[ Forkel, Musik. Alman., 1784, p. 201. Reichardt, Musik. Alman., 1796. Zelter, Briefw., V., p. 209.]
27 (return)[ I need only allude to the vocal compositions of Ph. Em. Bach; and the union of both schools in Graun's "Tod Jesu" is very apparent.]
28 (return)[ A. M. Z., II., p. 585: "Berlin is perhaps the only place in Germany where the most ardent enthusiasm for modern music is still (1800) combined with a zealous defence of the older school. Joh. Seb. Bach and his celebrated sons still strive for pre-eminence with Mozart, Haydn, and Clementi." Zelter writes (Briefw. m. Goethe, V., p. 208): "I have been accustomed to honour the Bach genius for the last fifty years. Friedemann died here, Emanuel Bach was royal chamber musician here, Kirnberger and Agrikola were pupils of old Bach; Ring, Bertuch, Schmalz, &c., performed scarcely anything but the old Bach pieces, and I myself have taught here for the last thirty years, and have pupils who play all Bach's music well."]
29 (return)[ A characteristic instance of this reverence is given by Zelter (Briefw., V., p. 163).]
30 (return)[ A. M. Z., III., p. 598. Zelter, Briefw., III., p. 17.]
31 (return)[ This testimony is afforded by his grateful pupil, Schulz, and also by Eberhardt (A. M. Z., II., p. 872) and Z[elter] (Berlin Mus. Ztg., 1793, p. 129. Cf. Zelter, Fasch, p. 59. Rintel, Zelter, p. 116).]
32 (return)[ Reichardt was badly received by Kimberger (Schletterer, I., p. 98), who retaliated by a highly coloured picture of a theoretical critic in his "Briefen eines aufmerks- Reisenden" (I., p. 128), which was recognised as Kimberger (A.M. Z., II., p. 597). But in after-times he did him honourable justice (A. M. Z., III., p. 169),]
33 (return)[ Thus Reichardt relates (A. M. Z., III., p. 17a) what is alluded to in the critical letters (I., pp. 15, 23, 41, 175, 231).]
34 (return)[ Justi, Winckelmann, I., p. 48.]
35 (return)[ Spazier, A. M. Z., II., pp. 569, 593.]
36 (return)[ The anecdotes which he published with the title of "Legende einiger Musikheiligen von Simeon Metaphrastes d. j." (Cölln, 1786), are characteristic of his bitterness and his cynicism.]
37 (return)[ He spared Ph. Em. Bach as little as the latter spared him (Zelter, Briefw. m. Goethe, VI., p. 321).]
38 (return)[ Schulz gives an account of this himself, which does not altogether agree in details with Reichardt's story (A. M. Z., II., p. 276; III., p. 597).]
39 (return)[ Glocking, Fr. Nicolai's Leben, p. 95 (cf. 29). Schletterer, Reichardt, I., pp. 97,140.]
40 (return)[ Burney, Reise, III., pp. 58, 74.]
41 (return)[ Reichardt, Brief, e. aufmerks. Reis., I., p. 32. Schletterer, Reichardt, I., p. 139. Muller, Abschied, p. 117. It existed, together with other similar institutions, until the beginning of this century (Cramer, Mag. d. Mus., I., p. 565. A. M. Z., II., p. 586).]
42 (return)[ Nicolai mentions these three oratorios as well known to him in 1781 (Reise, IV., p. 534). An enthusiastic account of "Judas Maccabæus" after a performance at a Liebhaberconcert in 1774, was given by Reichardt in Briefe e. aufmerks. Reis., I., p. 82. Zelter describes the great effect which a performance of the "Messiah" in 1783 made upon him (Rintel, Zelter, p. 137). The "Messiah" had been performed in Hamburg as early as 1775 (Joh. Heinr. Voss, Briefe, I., p. 295).]
43 (return)[ Marpurg, Krit. Briefe, II., p. 141.]
44 (return)[ Nicolai, Reise, IV., p. 525.]
45 (return)[ Reichardt, A. M. Z., XV., p. 666 (Schletterer, Reichardt, I., p. 325).]
46 (return)[ A. M. Z., III., p. 601. It was certainly not to the taste of Frederick the Great. When it was proposed to sing the choruses in Racine's "Athalie," the King put a stop to it with the remark (January 10,1774): "La musique française ne vaut rien, il faut faire déclamer le chour, alors cela revient au même (Preuss, Friedrich der Grosse, III., p. 310).]
47 (return)[ L. Schnieder, Gesch. der Oper in Berlin, p. 49.]
48 (return)[ Burney, Riese, III., p. 149.]
49 (return)[ Schletterer, Reichardt, I., p. 140.]
50 (return)[ Rochlitz, Fur Freunde der Tonkunst, III., p. 191.]
51 (return)[ A. M. Z., III., p. 176.]
52 (return)[ A. M. Z., III., p. 605. Even the Princess Amalie expressed to Schulz her dislike to his choruses to "Athalie" (A. M. Z., III., p. 614) in two very emphatic letters (Echo, 1857, Nos. 10, 14).]
53 (return)[ A. M. Z., II., p. 575. Cf. Nohl, Musikerbr., p. 76.]
54 (return)[ Nicolai, Reise, IV., pp. 526, 534.]
55 (return)[ He has given some interesting particulars as to his position to Frederick (A. M. Z., XV., pp. 601, 633. Schletterer, Reichardt, I., p. 260).]
56 (return)[ Cramer, Mag. d. Mus., I., p. 565. Schletterer, I., p. 357.]
57 (return)[ At the same time he published the Musical Magazine (1-4, 1782), and was concerned in Nicolai's "Allgemeiner Deutscher Bibliothek." Cf. Schletterer, I., P. 432.]
58 (return)[ The influence exerted by the Crown Prince, afterwards King Frederick William III. upon the musical taste of Berlin, belongs to a later time than that under consideration.]
59 (return)[ Griesinger, Biogr. Not., p. 69.]
60 (return)[ Reichardt, A. M. Z., XVI., p. 28 (Schletterer, Reichardt, I., p. 163).]
61 (return)[ A. M. Z., I., p. 252.]
62 (return)[ Nicolai, Reise, III., pp. 358, 363.]
63 (return)[ G. Forster, Sämmtl. Schr., VII., p. 273. Van Swieten's activity and influence are very differently estimated by R. Kink (Gesch. d. Univers, in Wien, I., p. 539).]
64 (return)[ So Neukomm informed me. G. Forster was affronted by Van Swieten's stiff, cold manner (Sämmtl. Schr., VII., p. 270). Cf. Jahrb. d. Tonk., 1796, p. 72.]
65 (return)[ Dies, Biogr. Nachr., p. 158.]
66 (return)[ Dies, Biogr. Nachr., p. 210. Griesinger, Biogr. Not., p. 66.]
67 (return)[ Musik. Corresp., 1792, p. 4) Niemetschek, who had called him the father of Mozart's orphan children, omitted this in the second edition.]
68 (return)[ Dies, Biogr. Nachr., p. 180.]
69 (return)[ He often played at Van Swieten's with the famous lute-player Kohaut (Griesinger, Biogr. Not., p. 66).]
70 (return)[ I cannot say whether Anton Teyber (b. 1754), whom Mozart met at Dresden in 1789, or Franz Teyber (b. 1756) is intended. Both were natives of Vienna, probably brothers of the two female singers of the same name (Vol. I., p. 69), and they both died at Vienna—Anton as court chamber composer in 1822, and Franz as kapellmeister and court organist in 1810.]
71 (return)[ Nicolai's opinion is in accordance with this; he speaks of the church music in Vienna, in 1781, as inferior both in composition and performance (Reise, IV., p. 544).]
72 (return)[ Kircher, Musurgia, I., p. 466. Weitzmann, Gesch. d. Klavierspiels, p. 214.]
73 (return)[ Rochlitz's assertion (A. M. Z., I., p. 115) that Mozart wrote a great deal in Handel's style that he did not publish, is unfounded.]
74 (return)[ It is observed in Reichardt's Musik. Zeitg., I., p. 200, that J. S. Bach was in advance of his age, and that long after his death his mantle had descended upon Mozart, who was the first thoroughly to admire and reverence the spirit of his art, and to reproduce it in his own works. Zelter also declares that Mozart is a truer successor of Seb. Bach than his son Philipp Emanuel or Joseph Haydn (Briefw., IV., p. 188); he recalls how the music of Seb. and Eman. Bach was at first unintelligible to him; how Haydn was blamed for having travestied what was intense earnest to them; and, finally, how Mozart appeared and gave the proper interpretation to all three (Briefw., II., p. 103).
75 (return)[ Rochlitz is mistaken in trying to discover a mixture of Bach's gloominess with Mozart's youthful fire in the latter's Salzburg compositions (A. M. Z., II., p. 642).]
76 (return)[ Beethoven wrote out this fugue in score; the autograph is in the possession of A. Artaria.]
77 (return)[ Muller, proprietor of the art museum on the Stockameisenplatz, announces (Wien. Ztg., 1791, No. 66, Anh.) that he has on view there "the magnificent mausoleum erected to the memory of the great Field-Marshal Laudon. There will be performed also funeral music composed by the famous Kapellm. Mozart, which is very well suited for the occasion which has called it forth."]
78 (return)[ The Andante composed on May 4, 1791, "for a waltz on a little organ" (616 K.), is a graceful little piece, with no pretence alter anything deeper, either in execution or expression.]
79 (return)[ Nicolai, who notices this reformation (Reise, IV., p. 550), has adduced proofs of it (Beil., X., z, 2).]
80 (return)[ Forkel, Musik. Alman., 1784, p. 187.]
81 (return)[ A four-part vocal fugue, "In Te Domine speravi," of which Mozart has written thirty-four bars (23 Anh., K.), appears to belong to this time, and is very fresh and forcible:—[See Page Image]]
82 (return)[ Rochlitz, A. M. Z., III., p. 230; cf. XXVII., p. 447. The parts of the Mass are made use of in the following manner:—[See Page Image]]
83 (return)[ Reichardt criticises favourably on the whole a cantata composed of the last numbers (8, 9, zo) of the oratorio arranged by Hiller (Musik. Zeitg., I., p. 368; cf. 382); another cantata borrowed from it is mentioned (A. M. Z., IX., p. 479).]
84 (return)[ Gerber's assertion in the Tonkünstlerlexicon, I., p. 976: "Lucky for him that he was moulded into perfect form while still young by the pleasing and playful muses of Vienna; otherwise he could hardly have escaped the fate of Friedemann Bach, whose soaring flight could be followed by few mortals," is only half true, for Mozart's deepest studies were made not in Salzburg, but in Vienna.]
1 (return)[ The initiated will see at once that an outsider is speaking, and that the expressions used are on that account additionally cautious.]
2 (return)[ A survey of the most important phenomena attendant on this movement is given by Schlosser (Geschichte des Achtzehnten Jahrh., III.; I., p. 278).]
3 (return)[ Gervinus, Gesch. d. Deutschen Nationality, V., p. 274.]
4 (return)[ Goethe, Werke, XXI., p. 329.]
5 (return)[ Wieland, Werke, LIII., p. 435.]
6 (return)[ "To do good, to lighten the burden of mankind, to assist in the enlightenment of his comrades, to cause enmity to decrease among men, and to do all this with indefatigable zeal, is the duty of the mason and the true secret of his order. The ceremonies are minor mysteries, by means of which a man becomes a Freemason outwardly. The part taken by the order in the spread of toleration, especially among Christian sects, has been too plainly demonstrated to need mention here" [Kessler von Sprengseisen] (Anti-Saint-Nicaise, p. 62).]
7 (return)[ L. Lewis, Gesch. d. Freimaurerei in Oesterreich: Wien, 1861.]
8 (return)[ There were eight lodges in Vienna in 1785. The oldest of them, "Zur gekrönten Hoffnung," was the one to which Mozart belonged; it contained many rich and noble members, and was said to lay great stress on gorgeous banquets (Briefe eines Biedermanns üb. d. Freimäurer in Wien: Münch., 1786, p. 40).]
9 (return)[ K. L. Reinhold's Leben, p. 18.]
10 (return)[ Blumauer, Pros. Schr., I., p. 69.]
11 (return)[ Car. Pichler, Denkw., I., p. 105.]
12 (return)[ Wien. Ztg., 1785, No. 102.]
13 (return)[ Cf. Voigt an Hufeland (Aus Weimars Glanzzeit, p. 46. Baggesen'e Briefw., I., p. 304).]
14 (return)[ Mozart's widow, who communicated his plan for this order to Härtel (November 27, 1799; July 21, 1800), stated that Stadler, with whom Mozart had discussed the whole subject, could give more information, but hesitated to reveal the circumstances connected with it. Although it says little for Mozart's knowledge of mankind that he should have chosen such a man for a confidant, the general interest taken in all matters relating to secret societies may serve to explain Mozart's partiality for them.]
15 (return)[ Maurer rede auf Mozart's Tod. Vorgelesen bei einer Meisteraufnahme in der sehr ehrw. St. Joh. zur gekrönten Hoffnung im Orient von Wien vom Bdr. H.... r. Wien, gedruckt beym Br. Ignaz Alberti, 1792, 8.]
16 (return)[ Lewis, Gesch. d. Freim. in Oesterreich, p. 162.]
17 (return)[ In the Salzburg Mozarteum there is a complete autograph score of the first chorus and part of the first air; but the chorus is in four parts, for soprano, alto, tenor, and bass, and the wind instruments are limited to two oboes and two horns; no doubt a subsequent arrangement.]
18 (return)[ Wien. Ztg., 1785, No. 32.]
19 (return)[ Lewis, Gesch. d. Freim. in Oesterreich, p. 119.]
20 (return)[ In the library of the Munich Conservatoire there is a manuscript score of this cantata, in which the original words, "Sehen, wie dem starren Forscherauge," are changed into "Sehen jenes Irrthums Nacht verschwinden," for use in church services; also the final chorus is arranged in four parts, for soprano, alto, tenor, and bass, and strengthened by trumpets and drums.]
21 (return)[ Lewis, p. 39.]
22 (return)[ Wien. Ztg., January 25, 1792, No. 7, p. 217: "Reverence and gratitude for the departed Mozart caused a number of his admirers to announce the performance of one of his works for the benefit of his necessitous widow and children; the work may be termed hisswan's song, composed in his own inspired manner, and performed by a circle of his friends under his own direction two days before his last illness. It is a cantata upon the dedication of a Freemasons' lodge in Vienna, with words by one of the members." The score, with the original words, appeared at Vienna, with the title, "Mozarts letztes Meisterstuck eine Cantata gebeben vor seinem Tode im Kreise vertrauter Freunde." Appended to the cantata is a song, "Lasst uns mit verschlungnen Händen," which may also be by Mozart. The cantata was published later, with other words, and the title, "Das Lob der Freundschaft."]
23 (return)[ The inducement to this composition was briefly hinted at in the A. M. Z. I., p. 745, and afterwards given at greater length by G. Weber (Cäcilia, XVIII., p. 210).]
24 (return)[ This book of 633 pages bears the title: "Lehre vom richtigen Verhältnisse zu den Schopfungswerken und die durch öffentliche Einfurung derselben allein zu bewürkende allgemeine Menschenbeglückung herausgegeben von F. H. Ziegenhagen. Hamburg, 1792, 8." Mozart's composition is appended, printed on four pages. Ziegenhagen was born in 1753, at Salzburg; late in life he fell into bad circumstances, and put an end to his life at Steinthal, near Strasburg, in 1806.]
25 (return)[ The employment of three basset-horns, as in the vocal terzet (Vol. II., p. 361) and in an adagio for two clarinets and three basset-horns (411 K.), is no doubt the result of circumstances. The beginning of an adagio and allegro for these instruments exists among the fragments (93, 95 Anh., K.).]
26 (return)[ Mozart has jotted this melody hastily down upon an extra leaf, in order to make no mistake in the working-out. According to my colleague Heimsoeth the first six bars render the first psalm-tune with the first difference (from the Cologne Antiphonary); what follows is very probably a local compilation of several psalm-tunes for the penitential psalm "Miserere mei Deus," different tunes being customary in different places. The melody of the first phrase is from the beginning of the first psalm-tune, the melody of the second phrase occurs in the seventh tune.]
27 (return)[ Vol. I., p. 197; c£. also pp. 272, 277.]
1 (return)[ A. M. Z., I., p. 290; cf. p. 52. Nissen, p. 520.]
2 (return)[ Genast, Aus d. Tageb. e. alten Schausp, I., p. 3.]
3 (return)[ Hoffmann, Fantasiestücke (Ges. Schr., VII., p. 68). The story has lately been discussed (cf. Signale, 1862, p. 531).]
4 (return)[ C. M. von Weber deduces from his own experience "the ill results upon the student's youthful mind of these marvellous anecdotes concerning the masters whom he reverences and strives to follow." (Lebensb., I., p. 177.)]
5 (return)[ Rochlitz has frequently expressed correct views as to Mozart's method of working, especially in the article "Ein guter Rath Mozarts" (A. M. Z., XXII., p. 297. Für Freunde der Tonk., II., p. 281).]
6 (return)[ A letter from Mozart to a certain Baron von P. upon this subject, first printed by Rochlitz (A. M. Z., XVII., p. 561), and often subsequently, is incontestably a fabrication as it stands. As it is impossible to determine how far it is founded upon truth, it must remain entirely out of the question.]
7 (return)[ Niemetschek, p. 84.]
8 (return)[ Rochlitz, A. M. Z., I., p. 115. Für Freunde der Tonkunst, IV., p. 239.]
9 (return)[ Beethoven's expression is well known: "Handel is the unrivalled master of masters; go and learn from him how with limited resources to produce such grand results!" (Studien, Anhang, p. 22). Gluck took Kelly (Reminisc., I., p. 255) into his bedroom, and showed him Handel's portrait hanging near his bed, which he used reverently to greet each morning on awaking.]
10 (return)[ Haydn declared that Handel was grand in his choruses, but mediocre in vocal solos (Griesinger, Biog. Not., p. 115).]
11 (return)[ Rochlitz, A. M. Z., I., p. 117.]
12 (return)[ A. M. Z., I., p. 147.]
13 (return)[ Nissen, p. 627.]
14 (return)[ Nissen, p. 694.]
15 (return)[ Niemetschek, p. 85. Rochlitz, A. M. Z., I., p. 113. Fur Freunde der Tonkunst, II., p. 287.]
16 (return)[ Nissen, p. 560.]
17 (return)[ Niemetschek, p. 82.]
18 (return)[ Rochlitz, A. M. Z., XXII. p. 298. Für Freunde der Tonkunst, üI., p. 283.]
19 (return)[ An old leather case which was used for the purpose was jokingly called by him his portfolio, for the preservation of his valuable documents.]
20 (return)[ Cf. Niemetschek, p. 73.]
21 (return)[ When Stadler once complained to him of an awkward passage, and wished it altered, Mozart said: "Have you the notes in your instrument?" "Yes," said he. "Then," answered Mozart, "it is your business to bring them out." Neukomm told me this anecdote.]
22 (return)[ The facsimile of the "Veilchen" affords an instance of Mozart's handwriting during the time of the Vienna visit.]
23 (return)[ The list compiled by Abbé Stadler (Rechtf. der Echth. d. Req., is given by Nissen (Anh., p. 18), and carefully revised by Köchel (Anh., 12-109).]
24 (return)[ Nissen, p. 561. Bohemia, 1856, No. 22, p. 118. There are four quadrilles, each with a country dance; some of them are specially named, "La Favorite," "La Fenice," "La Piramide." In one of them a theme is delivered by the piccolo and big drum, which Weber has employed as an Austrian grenadier march in "Kampf und Sieg" (Schr., üI., p. 97). He had probably heard it in Prague.]
25 (return)[ A. M. Z., I., p. 855; Nissen, p. 473.]
26 (return)[ Kelly, Reminisc., I., p. 258,]
27 (return)[ "From his childhood," says the article in Schlichtegroll's Nekrolog, "he preferred playing at night; he seated himself at the clavier at nine o'clock in the evening, and would remain at it until midnight, having to be forced away even then; otherwise he would have played through the whole night."]
28 (return)[ So a contemporary asserts (Wien. Allg. Mus. Ztg., 1818, No. 3, p. 62). Rochlitz speaks of Mozart's humour as one of his special characteristics (A. M. Z., III., p. 590): "I have heard most of the distinguished performers on this instrument since Mozart, except Beethoven; the playing of many of them was admirable, but the inexhaustiblewitof Mozart was never approached by any."]
29 (return)[ N. Wien. Mus. Ztg., 1856, No. 25.]
30 (return)[ Cf. Schink, Litt. Fragm., II., p. 288. An article on Beethoven says (A. M. Z., I., p. 525): "He shows to the utmost advantage in improvisation. Since Mozart's death,who will always remain to my mind the non plus ultra in this respect, I have never had so much enjoyment as from Beethoven."]
31 (return)[ Deutsche Mus. Ztg., 1861, p. 322.]
32 (return)[ A. M. Z., I., p. 113.]
33 (return)[ Nissen, p. 517.]
34 (return)[ Cf. Nissen, p. 622. Niemetschek, p. 66.]
35 (return)[ Nissen, p. 692.]