FOOTNOTES:[36]Superstition was still so widespread that Paganini was actually forced to produce evidence that he did not derive his ‘magic’ from the evil one.[37]Burney in describing his travels says: ‘So violent are the jolts, and so hard are the seats, of German post wagons, that a man is rather kicked than carried from one place to another.’ Mozart in a letter recounting to his father his trip from Salzburg to Munich avows that he was compelled to raise himself up by his arms and so remain suspended for a good part of the way![38]After Augustus’ death, in 1763, musical life at this court deteriorated, though Naumann was retained as kapellmeister by Charles, Augustus’s son.[39]Cf.Charles Burney: ‘The Present State of Music in Germany,’ London, 1773.[40]Among other musicians he met is old Wagenseil, who was confined to his couch, but had the harpsichord wheeled to him and ‘played me severalcapricciosand pieces of his own composition in a very spirited and masterly manner.’ Merely mentioned are Ditters, Huber, Mancini, the great lutenist Kohaut, the violinist La Motte, and the oboist Venturini.[41]Johann Schobert especially caught the boy’s fancy, though both his father and Baron Grimm, their most influential friend in Paris, depreciated his merits and tried to picture him as a small, jealous person. T. de Wyzewa and G. de St. Foix, in their studyUn maître inconnu de Mozart(Zeitschrift Int. Musik-Ges., Nov., 1908), and in their partially completed biography of Mozart, have clearly shown the powerful influence of the Paris master on the youthful composer.[42]T. de Wyzewa and G. de St. Foix in their scholarly work ‘W.-A. Mozart’ have catalogued and fixed the relative positions of all the Mozart compositions. This in a sense supersedes the famous catalogue made by Ludwig von Koechel (1862, Supplement 1864).[43]Mozart’s mother, ill during the greater part of the Paris sojourn, died about the time of the symphony première. Grief-stricken as he was, he wrote his father all the details of the performance and merely warned him that his mother was dangerously ill. At the same time he advised a close Salzburg friend of the event and begged him to acquaint his father with it as carefully as possible.[44]Another incident of this veritable carnival of music was the famous pianoforte competition between Mozart and Clementi.[45]W. H. Hadow, in ‘The Oxford History of Music.’[46]It is a well-known fact that the moment of his first acquaintance with the instrument Mozart became enamored of its tone. No ear ever was more alive to the purely sensuous qualities of tone color.[47]Riemann:Handbuch der Musikgeschichte, II.[48]Riemann:Op. cit.[49]Hermann Kretzschmar:Mozart in der Geschichte der Oper(Jahrbuch der Musikbibliothek Peters, 1905).
FOOTNOTES:[36]Superstition was still so widespread that Paganini was actually forced to produce evidence that he did not derive his ‘magic’ from the evil one.[37]Burney in describing his travels says: ‘So violent are the jolts, and so hard are the seats, of German post wagons, that a man is rather kicked than carried from one place to another.’ Mozart in a letter recounting to his father his trip from Salzburg to Munich avows that he was compelled to raise himself up by his arms and so remain suspended for a good part of the way![38]After Augustus’ death, in 1763, musical life at this court deteriorated, though Naumann was retained as kapellmeister by Charles, Augustus’s son.[39]Cf.Charles Burney: ‘The Present State of Music in Germany,’ London, 1773.[40]Among other musicians he met is old Wagenseil, who was confined to his couch, but had the harpsichord wheeled to him and ‘played me severalcapricciosand pieces of his own composition in a very spirited and masterly manner.’ Merely mentioned are Ditters, Huber, Mancini, the great lutenist Kohaut, the violinist La Motte, and the oboist Venturini.[41]Johann Schobert especially caught the boy’s fancy, though both his father and Baron Grimm, their most influential friend in Paris, depreciated his merits and tried to picture him as a small, jealous person. T. de Wyzewa and G. de St. Foix, in their studyUn maître inconnu de Mozart(Zeitschrift Int. Musik-Ges., Nov., 1908), and in their partially completed biography of Mozart, have clearly shown the powerful influence of the Paris master on the youthful composer.[42]T. de Wyzewa and G. de St. Foix in their scholarly work ‘W.-A. Mozart’ have catalogued and fixed the relative positions of all the Mozart compositions. This in a sense supersedes the famous catalogue made by Ludwig von Koechel (1862, Supplement 1864).[43]Mozart’s mother, ill during the greater part of the Paris sojourn, died about the time of the symphony première. Grief-stricken as he was, he wrote his father all the details of the performance and merely warned him that his mother was dangerously ill. At the same time he advised a close Salzburg friend of the event and begged him to acquaint his father with it as carefully as possible.[44]Another incident of this veritable carnival of music was the famous pianoforte competition between Mozart and Clementi.[45]W. H. Hadow, in ‘The Oxford History of Music.’[46]It is a well-known fact that the moment of his first acquaintance with the instrument Mozart became enamored of its tone. No ear ever was more alive to the purely sensuous qualities of tone color.[47]Riemann:Handbuch der Musikgeschichte, II.[48]Riemann:Op. cit.[49]Hermann Kretzschmar:Mozart in der Geschichte der Oper(Jahrbuch der Musikbibliothek Peters, 1905).
FOOTNOTES:
[36]Superstition was still so widespread that Paganini was actually forced to produce evidence that he did not derive his ‘magic’ from the evil one.
[36]Superstition was still so widespread that Paganini was actually forced to produce evidence that he did not derive his ‘magic’ from the evil one.
[37]Burney in describing his travels says: ‘So violent are the jolts, and so hard are the seats, of German post wagons, that a man is rather kicked than carried from one place to another.’ Mozart in a letter recounting to his father his trip from Salzburg to Munich avows that he was compelled to raise himself up by his arms and so remain suspended for a good part of the way!
[37]Burney in describing his travels says: ‘So violent are the jolts, and so hard are the seats, of German post wagons, that a man is rather kicked than carried from one place to another.’ Mozart in a letter recounting to his father his trip from Salzburg to Munich avows that he was compelled to raise himself up by his arms and so remain suspended for a good part of the way!
[38]After Augustus’ death, in 1763, musical life at this court deteriorated, though Naumann was retained as kapellmeister by Charles, Augustus’s son.
[38]After Augustus’ death, in 1763, musical life at this court deteriorated, though Naumann was retained as kapellmeister by Charles, Augustus’s son.
[39]Cf.Charles Burney: ‘The Present State of Music in Germany,’ London, 1773.
[39]Cf.Charles Burney: ‘The Present State of Music in Germany,’ London, 1773.
[40]Among other musicians he met is old Wagenseil, who was confined to his couch, but had the harpsichord wheeled to him and ‘played me severalcapricciosand pieces of his own composition in a very spirited and masterly manner.’ Merely mentioned are Ditters, Huber, Mancini, the great lutenist Kohaut, the violinist La Motte, and the oboist Venturini.
[40]Among other musicians he met is old Wagenseil, who was confined to his couch, but had the harpsichord wheeled to him and ‘played me severalcapricciosand pieces of his own composition in a very spirited and masterly manner.’ Merely mentioned are Ditters, Huber, Mancini, the great lutenist Kohaut, the violinist La Motte, and the oboist Venturini.
[41]Johann Schobert especially caught the boy’s fancy, though both his father and Baron Grimm, their most influential friend in Paris, depreciated his merits and tried to picture him as a small, jealous person. T. de Wyzewa and G. de St. Foix, in their studyUn maître inconnu de Mozart(Zeitschrift Int. Musik-Ges., Nov., 1908), and in their partially completed biography of Mozart, have clearly shown the powerful influence of the Paris master on the youthful composer.
[41]Johann Schobert especially caught the boy’s fancy, though both his father and Baron Grimm, their most influential friend in Paris, depreciated his merits and tried to picture him as a small, jealous person. T. de Wyzewa and G. de St. Foix, in their studyUn maître inconnu de Mozart(Zeitschrift Int. Musik-Ges., Nov., 1908), and in their partially completed biography of Mozart, have clearly shown the powerful influence of the Paris master on the youthful composer.
[42]T. de Wyzewa and G. de St. Foix in their scholarly work ‘W.-A. Mozart’ have catalogued and fixed the relative positions of all the Mozart compositions. This in a sense supersedes the famous catalogue made by Ludwig von Koechel (1862, Supplement 1864).
[42]T. de Wyzewa and G. de St. Foix in their scholarly work ‘W.-A. Mozart’ have catalogued and fixed the relative positions of all the Mozart compositions. This in a sense supersedes the famous catalogue made by Ludwig von Koechel (1862, Supplement 1864).
[43]Mozart’s mother, ill during the greater part of the Paris sojourn, died about the time of the symphony première. Grief-stricken as he was, he wrote his father all the details of the performance and merely warned him that his mother was dangerously ill. At the same time he advised a close Salzburg friend of the event and begged him to acquaint his father with it as carefully as possible.
[43]Mozart’s mother, ill during the greater part of the Paris sojourn, died about the time of the symphony première. Grief-stricken as he was, he wrote his father all the details of the performance and merely warned him that his mother was dangerously ill. At the same time he advised a close Salzburg friend of the event and begged him to acquaint his father with it as carefully as possible.
[44]Another incident of this veritable carnival of music was the famous pianoforte competition between Mozart and Clementi.
[44]Another incident of this veritable carnival of music was the famous pianoforte competition between Mozart and Clementi.
[45]W. H. Hadow, in ‘The Oxford History of Music.’
[45]W. H. Hadow, in ‘The Oxford History of Music.’
[46]It is a well-known fact that the moment of his first acquaintance with the instrument Mozart became enamored of its tone. No ear ever was more alive to the purely sensuous qualities of tone color.
[46]It is a well-known fact that the moment of his first acquaintance with the instrument Mozart became enamored of its tone. No ear ever was more alive to the purely sensuous qualities of tone color.
[47]Riemann:Handbuch der Musikgeschichte, II.
[47]Riemann:Handbuch der Musikgeschichte, II.
[48]Riemann:Op. cit.
[48]Riemann:Op. cit.
[49]Hermann Kretzschmar:Mozart in der Geschichte der Oper(Jahrbuch der Musikbibliothek Peters, 1905).
[49]Hermann Kretzschmar:Mozart in der Geschichte der Oper(Jahrbuch der Musikbibliothek Peters, 1905).