95 (return)
[ Grimm, Corr. Litt.,
IX., p. 352. Galiani, Corr. inéd., II., p. 291.]
96 (return)
[ To Marie Antoinette's
question as to whether his opera, "Armida," was finished, and how he liked
it, Gluck is said to have answered composedly: "Madame, il est bientöt
fini, et vraiment ce sera superbe!" (Madame Campan, Mém., 7 p. 131.)]
97 (return)
[ Grimm, Corr. Litt.,
IX., p. 428.]
98 (return)
[ Grimm, Corr. Litt.,
IX., p. 469.]
99 (return)
[ Grimm gives a minute
and amusing account of all this.]
100 (return)
[ So Grimm says. His
friendliness towards Piccinni is confirmed by Galiani (Corr. inéd., II.,
p. 248), and Madame de Genlis (Mém., II., p. 248). Cf. Gin-guené, Not. sur
Piccinni, p. 45]
101 (return)
[ Grimm, Corr. Litt.,
IX., p. 500; X., p. 23.]
FOOTNOTES CHAPTER XIX.
1 (return)
[ [Goudard] Le Brigandage
de la Musique Italienne (Amsterdam, 1780) is directed against Italian
musicians, but includes in this category "Le Général Gluck et son
Lieutenant-Général Piccinni et tous les autres noms en ini."]
2 (return)
[ Histoire du Théätre de
l'Opéra en France, I., p. 164. Fétis, Curios. Hist, de la Mus., p. 325.
Burney gives a detailed account of a "Concert Spirituel" at which he was
present in 1770 (Reise, I., p. n).]
3 (return)
[ Nothing is known of this
music, so far as I am aware; Mozart does not seem to have kept it himself,
and therefore did not bring it to Salzburg.]
4 (return)
[ This Sinfonie
Concertante is lost beyond recovery. Mozart sold it to Le Gros, and kept
no copy; he must have thought he could write it again from memory; but
apparently cared the less to do so as there were no virtuosi in Salzburg
able to perform the symphony.]
5 (return)
[ L. de Lomenie,
Beaumarchais, II., p. 89. Dutens, Mém., II., p. 59. Madame du Deffand,
Lettr., III., p. 172, 297.]
6 (return)
[ Madame du Deffand,
Lettr., IV., p. 107.]
7 (return)
[ The Dauphin was born on
December 11, 1778.]
8 (return)
[ Madame de Genlis, Mém.,
I., p. 288.]
9 (return)
[ She married M. de
Chartus (afterwards Duc de Castries) in the summer of 1778, with a dowry
from the King, and died in childbirth (Madame du Deffand, Lettr., IV., p.
52).]
10 (return)
[ Jos. Frank narrates in
his Reminiscences (Prutz, Deutsch. Mus., II., p. 28):]
11 (return)
[ The Duchesse de
Chabot, daughter of Lord Stafford, mentioned as an acquaintance by Grimm
and Madame Epinay (Galiani, Corr. inéd., II., p. 305).]
12 (return)
[ She was the daughter
of the Duke of Orleans, sister to the then Duc de Chartres, the future
Egalité. A short time previously a duel, of which she was the occasion,
between the Duc de Bourbon and the Comte d'Artois, had made a great stir
(Du Deffand, Lettr., IV., p. 28. Grimm, Corr. Litt., X., p. 1.)]
13 (return)
[ That is on his first
visit to Paris. The Duchess entered a convent in her fifteenth year, and
remained there several years (Genlis, Mém., III., p. 84).]
14 (return)
[ "Cf. Madame de Genlis,
Mém., I., p. 289; II., p. 185.]
15 (return)
[ Grimm, Corr. Litt.,
IX., p. 174.]
16 (return)
[ Noverre's ballet "Les
Petits Riens" was given in June, 1778 (in Italian by Italian singers), and
was praised by Grimm, but without mention of the music (Corr. Litt., X.,
p. 53). This composition has also been irrecoverably lost.]
17 (return)
[ The imposing effect of
the simultaneous attack of a fine orchestra was the occasion of this
catchword. Raaff told Mozart of a piquant bon mot ä propos of the
term. He was asked by a Frenchman, at Munich or some other place:
"Monsieur, vous avez été ä Paris?" "Oui." "Est-ce que vous étiez au
Concert Spirituel?" "Oui." "Que dites-vous du premier coup d'archet?
avez-vous entendu le premier coup d'archet?" "Oui, j'ai entendu le premier
et le dernier." "Comment, le dernier? qui veut dire cela?" "Mais oui, le
premier et le dernier, et le dernier même m'a donné plus de plaisir."]
18 (return)
[ Mozart speaks in a
later letter (September 11,1778) of two symphonies which had been much
admired, and of which the last was performed on September 8. With this
agrees his assertion (October 3, 1778) that he had sold to Le Gros two
overtures (i.e., symphonies) and the Sinfonie Concertante. There are no
further traces of this symphony.]
19 (return)
[ Mozart has made
considerable abbreviations in the first movement of this symphony, while
working oat the score in the manner described above.]
20 (return)
[ Süddeutsche Mus. Ztg.,
1857, No. 44, p. 175.]
21 (return)
[ The father writes to
Breitkopf (August 10,1781): "The six sonatas dedicated to the Elector
Palatine were published by M. Sieber, in Paris. He paid my son for them
fifteen louis neuf, thirty copies and a free dedication."]
22 (return)
[ A fac-similé of the
letter to Bullinger will be found at the end of the third volume.]
23 (return)
[ Mémoires et
Correspondance de Madame d'Epinay (Paris, 1818). Cf. Grimm, Corr. Litt.,
XI.,? 468. Madame de Genlis, Mém., III., p. 99. Sainte-Beuve, Causeries du
Lundi, II., p. 146.]
24 (return)
[ Grimm's letter to L.
Mozart, which the latter forwarded to his son (August 13, 1778), runs as
follows: "Il est zu treuherzig, peu actif, trop aisé ä attraper,
trop peu occupé des moyens qui peuvent conduire ä la fortune. Ici, pour
percer, il faut être retors, entreprenant, audacieux. Je lui voudrais pour
sa fortune la moitié moins de talent et le double plus d'entregent, et je
n'en serais pas embarrassé. Au reste, il ne peut tenter ici que deux
chemins pour se faire un sort. Le premier est de donner des leçons de
clavecin; mais sans compter qu'on n'a des écoliers qu'avec beaucoup
d'activité et même de charlatanerie, je ne sais s'il aurait assez de santé
pour soutenir ce métier, car c'est une chose très fatiguante de courir les
quatre coins de Paris et de s'épuiser ä parler pour montres. Et puis ce
métier ne lui plaît pas, parcequ'il l'empêchera d'écrire, ce qu'il aime
par-dessus tout. Il pourrait donc s'y livrer tout ä fait; mais en ce pays
ici le gros du public ne se connaît pas en musique. On donne par
conséquent tout aux noms, et le mérite de l'ouvrage ne peut être jugé que
par un très petit nombre. Le public est dans ce moment si ridiculement
partagé entre Piccinni et Gluck que tous les raisonnements qu'on entend
sur la musique font pitié. Il est donc très difficile pour votre fils pour
réuissir entre ces deux partis. Vous voyez, mon cher maître, que dans un
pays où tant de musiciens médiocres et détestables même ont fait des
fortunes immenses, je crains fort que M. votre fils ne se tire pas
seulement d'affaire."]
25 (return)
[ Cf. the account 'by
Sainte-Beuve, Causeries du Lundi, VII., p. 226; II., p. 158.]
26 (return)
[ Merck, Briefe, II., p.
282.]
27 (return)
[ Madame de Genlis,
Mèm., IV., p. 3.]
28 (return)
[ Jacobs, in Hoffmann's
Lebensbilder ber. Humanisten, p. 15.]
29 (return)
[ Grimm, Corr. Litt.,
X., pp. 37, 112, 162. La Harpe, Corr. Litt., II., p. 249.]
30 (return)
[ Grimm, Corr. Litt.,
X., p. 52.]
31 (return)
[ Prutz, Deutsches
Museum, II., p. 28.]
32 (return)
[ Both the father and
son, especially the former, follow closely the course of political and
military events, and communicate them to each other.]
33 (return)
[ The Archbishop's
sister, Marie Franziska (b. 1746), who had married Oliver, Count von
Wallis, had a residence assigned her in the archiépiscopal palace, and
kept up a sort of regal state.]
34 (return)
[ Grimm, Corr. Litt.,
X., p. 236.]
35 (return)
[ There were two
Marshals of the name, the Duke and the Count de Noailles: I do not know
which of the two is here meant. The first was the father of the Countess
de Tessé, Mozart's early patroness (Vol. I., p. 35), and, like her, was
interested in literature and art (Lomenie, Beaumarchais, I., p. 206).]
36 (return)
[ Tenducci must have
taken this composition with him to London. Burney (Barrington's
Miscellanies, p. 289) praises it as a masterpiece of invention and
technical execution (Pohl, Mozart und Haydn in London, p. 121).]
37 (return)
[ Anton Paris was the
third court organist in Salzburg.]
38 (return)
[ The heir-apparent,
afterwards King Max I.]
39 (return)
[ Aloysia received a
salary of 1,000 florins, her father 400 florins, together with 200 florins
as prompter, as Mozart afterwards learnt at Mannheim.]
40 (return)
[ He hoped to sell his
three pianoforte concertos (238, 246, 271, K.) to the engraver of his
sonatas for ready money, and if possible his six difficult piano sonatas
(279-284 K.). Whether he succeeded or not I do not know, but they do not
seem to have been engraved. His father advised him to insure his
connection with the Parisian publishers for the future. In a letter to
Breitkopf (August xo, 1781), he mentions Trois airs variés pour le
clavecin ou fortepiano, engraved by Heyna, in Paris. These are the
variations on Fischer's Minuet (179 K.); on an air from Salieri's "Fiera
di Venezia," "Mio caro Adone" (180 K.), mentioned in a letter to his
father (December 28,1778); and on "Je suis Lindor," from Beaumarchais'
"Barbier de Seville" (354 K.).]
FOOTNOTES OF CHAPTER XX.
1 (return)
[ Dalberg's papers are
preserved in the Royal Library at Munich. Koffka, Iffland u. Dalberg, p.
8.]
2 (return)
[ Devrient, Gesch. d.
deutsch. Schauspielkunst, III., p. 3.]
3 (return)
[ "Cora, a Musical
Drama," appeared to a contributor to the Pfalz. "Schaubuhne" unsuited for
composition and representation.]
4 (return)
[ Gluck's letters in
reference to this are printed in the Süddeutschen Musik-zeitung, 1854, p.
174. Dalberg's Correspondenz for 1778 also mentions that Schweitzer was
occupied with the composition of "Cora."]
5 (return)
[ Brandes affirms that
the actors, when not performing, had to pay entrance-money (Selbstbiogr.,
II., p. 277).]
6 (return)
[ It does not appear to
have been finished; the autograph of the first 117 bars is in the
possession of M. Dubrunfeut, in Paris.]
7 (return)
[ Gemmingen's
"Serairamis" was not, as far as I am aware, printed; and I know nothing
further of Mozart's composition. We find on p. 137 of the Theaterkalender
for 1779: "Mozart... Kapellmeister zu Salzburg; setzt an
'Semiramis,' einem musikalischen Drama des Frh. von Gemmingen"; which must
be a private communication. In following years it is regularly included
among Mozart's finished compositions, but I have found no notice of its
performance nor any other mention of it except that Gerber includes it
among Leopold Mozart's posthumous works, with "Bastien and Bastienne" and
the "Verstellte Gärtnerin." I mention this only to illustrate the fact
that many of Mozart's earlier works were ascribed to L. Mozart after his
death. But "Semiramis" was undoubtedly Mozart's own composition. How it
happened that it did not remain in his hands, and pass into André's
possession with his papers, I cannot explain]
8 (return)
[ A somewhat
extraordinary musical enthusiast, Frh. von Boecldin, writes of Aloysia
that she "performed marvels with her delicate throat," and that her voice
resembled a Cremona violin, and her singing was more expressive and
affecting than that of Mara (Beitr. zur Geschichte der Musik, p. 18).]
9 (return)
[ So Nissen narrates (p.
415), and further informs us that Mozart came to Munich with black buttons
on his red coat, after the French fashion of showing mourning. Aloysia
does not seem to have liked this.]
FOOTNOTES OF CHAPTER XXI.
1 (return)
[ The minuet movement in
symphonies was not liked in Salzburg. The minuet of the Symphony in B flat
major was written later (to judge by the handwriting) for a performance in
Vienna, and appended on a separate leaf. Mozart began a minuet to the C
major symphony, but only finished the first part, and crossed it out in
the score. The effort not to make the symphony too long is evident
throughout, and especially in the non-repetition of the first movement,
although it is completely detached.]
2 (return)
[ The first movement
(Adagio, Allegro con spirito), the Andantino and the Finale are (not quite
correctly) printed as an independent symphony. (Breit-kopf and Härtel,
7.)]
3 (return)
[ André possessed a
careful copy of these two pieces, inscribed by Mozart "Sinfonia
Concertante," as if for their special performance at a concert in Vienna,
March 20,1783.]
4 (return)
[ The customary attempt
to give a peculiar charm to the trio of the minuet by means of unusual
instrumentation is here apparent in the solos for the flute in the first
trio and for the horn in the second. In Mozart's autograph score the flute
part is left blank: was the player to improvise?]
5 (return)
[ I do not know André's
authority for his assertion that it was composed in 1780, but it appears
to me to be justified. Mozart sends from Vienna (June 27, 1781) for "The
Sonata ä quatre mains in B, and the two Concertos for two claviers," and
he writes later on that he had played the Concerto ä duo with Frl.
Auemhammer at a concert (November 24, 1781). Two clarinets were added to
the original accompaniment, on a flyleaf, for this performance. The second
concerto which is mentioned is no doubt that originally written for three
claviers, and afterwards for two (p. 331).]
6 (return)
[ The Credo as far as the
"Et in spiritum" was afterwards laid aside; it was in 3-4, with the
doubtful superscription, "Tempo di ciacconna."]
7 (return)
[ The Dixit and
Magnificat of the first vesper is in C major, Confitebor in E minor,
Beatus vir in B flat major, Laudate pueri in F major, Laudate Dominum in A
flat major. The Dixit and Magnificat of the second vesper are also in C
major, Confitebor in E flat major, Beatus vir in G major, Laudate pueri in
D minor, Laudate Dominum in F major.]
8 (return)
[ The accompaniment
consists, besides the organ (which is only once obbligato), of two violins
and bass, trumpets and drums (these last only in the Dixit and
Magnificat), and trombones in unison with the choir. The tenors invariably
go with the bass; but, a rare occurrence, the violoncello is frequently
distinct from the double-bass. Once a very simple solo for the bassoon, ad
libitum, occurs.]
9 (return)
[ The simple but
sometimes independent accompaniment, especially of the violins, is very
beautiful, and heightens the effect, as it does in the Mass.]
10 (return)
[ In the second vesper
a long triplet passage is given to the solo soprano at the words "Cornu
eius exaltabitur," but nothing further comes of it.]
11 (return)
[ Printed as an
offertory, "Amavit eus Dominus" (Vienna: Diabelli).]
12 (return)
[ Printed as an
offertory, "Sancti et justi" (Vienna: Diabelli).]
13 (return)
[ Wolfgang had promised
to compose an aria for him, but had not done so when he was summoned to
Munich for "Idomeneo", reproached by his father, he found time in the full
swing of his work at "Idomeneo" to write this aria and send it to Salzburg
(November 22,1780).]
14 (return)
[ The Wien. Ztg. (1786,
No. 31) contains an obituary notice. Cf. Gervinus, Gesch. d. Poet. Nat.
Litt., IV., p. 590.]
15 (return)
[ Published in Vienna,
1774, Frankfort, 1775, and in Freih. von Gebler's Theatralischen Werken
(Prague and Dresden 1772), III., p. 305.]
16 (return)
[ Confirmed by an
expression of Mozart to his father, written from Vienna (February 15,
1783): "I am really sorry that I cannot make use of the music to "Thamos."
The piece, having failed here, is destined to be never again performed. If
it were, it would be solely on account of the music, and that is scarcely
likely. It is certainly a pity!" Mozart gave his music, in 1786, to the
needy theatrical manager Bulla, who made a good profit by it (Nissen, p.
685); "König Thamos" was given the same year in Berlin (Teichmann's Litt.
Nachl., p. 40). The whole composition was successfully performed at
Frankfort in the winter of 1865, with a connecting poem by Gisb. von
Vincke.]
17 (return)
[ Cf. Schmid, Nekrolog,
1., p. 363.]
18 (return)
[ Lessing, Hamb.
Dramat. St., 26 (Werke, VI., p. 115).]
19 (return)
[ Betracht. d. Mannh.
Tonsch., I., p. 313; III., p. 253.]
20 (return)
[ "Haydn's entr'actes
(to 'Zaire') are really fine," writes L. Mozart (October 6, 1777). "One of
them was an arioso with variations for violon-celli, flutes, oboe, &c.,
and next after a piano variation came one with Turkish music so
suddenly and unexpectedly that all the women started, and there was a
general titter. Between the fourth and fifth acts was a cantabile with
recitatives for the English horn, and then the arioso again, which
accorded very well with the sadness of the preceding scene and with the
following act."]
21 (return)
[ It might be supposed
that the overture before mentioned (Vol. II., p. 86) was intended for this
play, and the date of the composition agrees with this supposition. But
the paper differs from that of the other instrumental movements, and
Mozart was exact and careful in these matters. Something also of the
solemn dignity characteristic of the choruses might be looked for in an
overture to "König Thamos"; in other respects it is not unsuitable.]
22 (return)
[ The usual Salzburg
orchestra is kept in view for these movements: strings, oboes, bassoons,
and horns; and for the three entr'actes (I., IV., V.), trumpets and
drums.]
23 (return)
[ Wieland
enthusiastically praises the completed drama (Auswahl, Denkw., Briefe,
II., pp. 14, 26). Soon afterwards (p. 27) he wished the conclusion
altered, and complained that the virtuous people were unreal, and the
wicked ones veritable demons. Ramier, Sulzer, Thümmel, also spoke highly
in praise of "König Thamos" (Schlegel, Deutsch. Mus., IV., pp. 139, 153,
159). It was at once translated into French (Wieland, Auswahl. Denkw.
Briefe, II., p. 30), and into Italian in 1780, by J. S. von Berghoff,
secretary to Prince Colloredo. A handsomely bound copy of this translation
is preserved with Mozart's score; it was probably sent to the Archbishop,
and Mozart may have thought of adapting his choruses to the Italian
version.]
24 (return)
[ Schweitzer professed
to discern in the composer to the choruses which Gebler sent to Ramier and
Wieland a beginner of great promise. That this talented beginner was not
Mozart (although he was in Vienna in the summer of 1773) no one who casts
a glance over the choruses will for a moment doubt. "Two choruses to the
play of 'Thamos' by Mozart, scored for the piano by C. Zulehner," were
published by Simrock, in Bonn, and are certainly not genuine. The fact
that Mozart was known to have written an anonymous composition for the
stage no doubt caused this one to be attributed to him.]
25 (return)
[ Gebler was Grand
Master of the district lodge, "zum neuen Bund," in 1784 (Lewis, Gesch. d.
Freimaurerei in Oesterreich, p. 162).]
26 (return)
[ This concluding
chorus is wanting in Gebler's works, and in the Italian translation thus
proving its Salzburg origin.]
27 (return)
[ As early as 1799 the
following inquiry was made in the Intelligenz-Blatt of the A. M. Z., II.,
p. 21: "Among Mozart's posthumous works has been found a German
vaudeville, written apparently in 1778 or 1779; it is without a title, and
contains the following characters: Gomaz, Zaide, Sultan, Zaram, Soliman,
Osmin, &c. Any person acquainted with the title of this work, or with
the fact of its having been printed, is requested to communicate with the
editor of this paper." The inquiry appears to have remained unanswered.]
28 (return)
[ "Zaide," Oper in zwei
Acten von W. A. Mozart. Score (and pianoforte arrangement). Offenbach:
Joh. André. André has added an overture and a closing chorus for the
purpose of performance, to which there can be no objection. Mozart's
composition is given intact, but the text has been altered by C. Gollmick.
Schachtner's libretto is truly insufferable, but it is indispensable to
the critical examination of Mozart's music.]
29 (return)
[ Schachtner has
evidently imitated a French original, but I have not been able to discover
it. I have failed to procure an opera entitled "Zaide," in three acts, by
La Mare, composed by Royer (1739).]
30 (return)
[ The resemblance of
some situations to the "Entfuhrung" is as striking as the difference of
the two works on the whole. An Osmin appears as a secondary character, and
sings a comic aria in the second act, which seems to have no immediate
connection with the action. The disclosure of the flight was made in the
original by Zaram, not by Osmin.]
31 (return)
[ This part did not
satisfy Mozart, and he composed it again.]
32 (return)
[ Castil-Blaze, Molière
Musicien, II., p. 423.]
33 (return)
[ La Harpe, Corr.
Litt., I., p. 280.]
34 (return)
[ Brandes Lebensgesch.,
II., pp. 140, 157.]
35 (return)
[ Brande's
Lebensgesch;, II., pp. 173, 184. Reichardt says (Kunstmag., I., p. 86;
Mus. Alman., 1796, G. Benda) that Benda was the first to propose it; but
this seems incorrect.]
36 (return)
[ Brande's
Lebensgesch., II., p. 193. Teutsch. Mercur, 1775, III., p. 276.]
37 (return)
[ Brande's "Ariadne"
was successfully performed in Paris in 1781 (Grimm, Corr. Litt., X., p.
450).]
38 (return)
[ Eberhard, Neue Verm.
Schr. (Halle, 1788), p. 1. N. Bibl. d. Schön Wiss., XXXVII., p. 177.
Forkel, Krit. Bibl., III., p. 250. Tagebuch d. Mannheim, Schaub., I., p.
327. Nachtr. zu Sulzer's Theorie., Ill, p. 318. Herder was of opinion that
music and declamation met at evety point; they could not unite (Böttiger,
Litt. Zust., I., p. 126).]
39 (return)
[ Reichardt, Kunstmag.,
I., p. 86. Rintel, Zelter, p. 100. Cf. Huber, Tamira, p. 79.]
40 (return)
[ A list of melodramas
is given by Schletterer, Das Deutsche Singspiel, p.225.]
41 (return)
[ Reichardt, Geist des
Musik. Kunstmag., p. 102. Knigge, Ephemer. f. Theat. u. Litt. (1785, II.,
p. 100).]
42 (return)
[ It is particularly to
be regretted that the original words for these melodramatic scenes have
not been printed. The alterations in Soliman's monologue are not so
essential, but Gomaz's monologue is entirely transformed. In the original
text he was absorbed by his unpleasant position; when he prays for
refreshing slumber, and the music represents his repeated starting up from
rest, the altered version puts love-ravings for Zaide into his mouth.]
43 (return)
[ It will suffice to
remind the reader of the fine melodrama in "Fidelio."]
44 (return)
[ "Zaide" was performed
in Frankfort on January 27, 1866, and though naturally not a stage
success, it was a most welcome instruction to those who brought historical
interest to bear upon it.]