1 (return)
[ Messages and birthday
congratulations to the servant-maids were never forgotten in his letters
home. When Wolfgang was expected home from Paris, Theresa, the cook, sent
word to him repeatedly how many capons she was preparing in his honour.]
2 (return)
[ Besides the canary
which Wolfgang constantly alludes to in his letters, the dog, Wimperl, was
always tenderly inquired after.]
3 (return)
[ J. Mayr, Die ehem.
Univ. Salzburg, p. 12.]
4 (return)
[ Cf. the account of
these two in K. R[isbeck], Briefe eines reisenden Franzosen über
Deutschland, 1784, I., p. 155; and for Count Zeil see (Footnote
Koch-Shernfeld), Die letzten dreissig Jahre des Erzstiftes Salzburg, p.
40.]
5 (return)
[ K. R[isbeck], Briefe,
I., p. 156. [Koch-Stemfeld] Die letzten dreissig Jahre des Erzstiftes
Salzburg, p. 256.]
6 (return)
[ Wolfgang said he knew a
Salzburger who complained that he could not see Paris properly, because
the houses were too high.]
7 (return)
[ Wolfgang wrote to his
sister from Milan that he had learnt a new language; it was rather
childish, but good enough for Salzburg. He wrote to Bullinger (August
7,1778) that he could not possibly be happy in Salzburg, where there was
no society; and to his father (January 8, 1779): "I assure you solemnly
that I cannot endure the Salzburgers (I mean the natives of Salzburg);
their speech and manners are odious to me."]
8 (return)
[ Literar. Anekd. auf e.
Reise durch Deutschland (Frkf., 1790), p. 228. K. R[isbeck], Briefe, I.,
p. 159. [Koch-Sternfeld] Die letzten dreissig Jahre. p. 157.]
9 (return)
[ K. R[isbeck], Briefe,
I., p. 157. [Koch-Sternfeld] p. 157.]
10 (return)
[ K. R[isbeck], I., p.
159.]
11 (return)
[ For a more detailed
account see [Koch-Sternfeld] p. 28.]
12 (return)
[ cf., p. 237.]
13 (return)
[ Burney, Reise, II.,
p. 77.]
14 (return)
[ Burney, Reise, II.,
p. 57. Cf. Thayer, Beethoven's Leben, I., p. 60, 311.]
15 (return)
[ Burney, Reise, III.,
p. 275. "The musicians in almost every town are envious of each other, and
all unite in envying the Italians who settle in the country. It must be
acknowledged that the Italians are caressed and flattered, and often
receive twice as high a salary as native musicians of greater merit."]
16 (return)
[ [Koch-Stemfeld] Die
letzten dreissig Jahre, p. 233.]
17 (return)
[ Burney, Reise, III.,
p. 260, following a correspondent, who was not very much prepossessed by
Mozart (p. 139).]
18 (return)
[ Schubart, Aesthet.,
p. 157. Koch-Stemfeld, p. 255: "The court music was good, but not so good
as under Archbishop Sigismund, when it was comparatively better paid."]
19 (return)
[ Meissner was one of
the Archbishop's favourites, and yet even he was told by the court
chamberlain, when a cold prevented his singing, that he must sing and
attend to the service, or he would be dismissed. "Such is the reward of
favourites of the great!" (L. Mozart, October 6, 1777.)]
20 (return)
[ Cf., p. 26, 42, 72.]
21 (return)
[ [Koch-Stemfeld], p.
44: "When the proclamation, 'Hieronymus!' reached the expectant crowd from
the balcony of the palace, the people could not believe their ears. As the
solemn procession, with the newly elected ruler, pale and sickly in its
midst, filed into the cathedral for the Te Deum, a dead silence reigned.
It was a fair-day. An urchin in the midst of the gazing throng gave a
huzza, and received a box on the ear from a merchant standing near, with
the words, 'Boy, dost thou shout when all the people weep?' The voice of
the people, on which the prosperity of a prince so much depends, was never
more plainly heard. Hieronymus felt it deeply; many similar expressions in
private conversations were reported to him, and many invitations to court
were discontinued for long."]
22 (return)
[ K. R[isbeck], Briefe
eines reisenden Franzosen, I., p. 158: "As far as head goes there could
not be a better ruler, but as to heart—I do not know. He knows that
he is unpopular with the Salzburgers, and despises and avoids them in
consequence."]
23 (return)
[ The following
description is taken from [Koch-Sternfeld], p. 312.]
24 (return)
[ "I did not venture to
contradict," writes Wolfgang to his father (February 19,1778), "because I
had come straight from Salzburg, where one gets out of the habit of
contradicting."]
25 (return)
[ [Koch-Sternfeld], p.
43.]
26 (return)
[ [Koch-Sternfeld], p.
313.]
27 (return)
[ Wolfgang writes
ironically to his father from Mannheim (November 4, 1777): "I played my
concerto to him (Ramm) at Cannabich's, on the pianoforte, and although it
was known to be mine, it pleased very much. Nobody said that it was not
well arranged; no doubt because the people here know nothing about such
things; they should ask the Archbishop—he would set them right at
once."]
=
1 (return)
[ Müller, Abschied von
der Bühne, p. 215.]
2 (return)
[ Rudhart, Gesch. d. Oper
zu München, I., p. 134.]
3 (return)
[ Müller, Abschied von
der Bühne, p. 219.]
4 (return)
[ Müller, Abschied von
der Bühne, p. 219.]
5 (return)
[ Rudhart, Gesch. d. Oper
zu München, I., p. 130.]
6 (return)
[ Sospiri,
crotchet-rests.]
7 (return)
[ He got up in his honour
a little serenade for wind instruments; another time they had dancing: "I
danced only four minuets, for there was only one lady among them who could
keep time."]
8 (return)
[ Müller, Abschied von
der Bühne, p. 222.]
9 (return)
[ He had brought on this
illness by excess, and L. Mozart consequently forbade his son to visit
him. But Misliweczeck asked for him so continually, and expressed so
earnest a wish to see him, that Mozart could not refuse, and met him in
the garden of the Ducal Hospital. The way in which he apologises to his
father, and the pity he expresses for the unfortunate man, whose affection
touched him deeply, do honour alike to the goodness and the innocence of
his heart.]
10 (return)
[ Schubart, Teutsche
Chronik, 1776, p. 239. Fr. Nicolai, Reise, VIII., p. 156.]
11 (return)
[ Here we recognise the
pupil of his father; we have seen the opinion of the latter as to tempo
rubato in the hands of the true virtuoso, p. 12.]
12 (return)
[ Mozart was said to
have composed a mass for the Monastery of the Holy Cross about this time;
the autograph score was taken from the monastery in the troubled times
which followed, and passed into private hands; it came to light in 1856,
and was acknowledged as genuine by Gathy (Revue et Gaz. Mus., 1856, Nr.
12, p. 90). After an examination of the manuscript, through the kindness
of Herr Speyer, I can affirm with certainty that the mass is neither
composed nor written by Mozart. It is in C minor, with accompaniment for
strings, flutes, trumpets, drums, and organ. It has many solos. A long
symphony in two movements precedes the Credo; a Laudate Dominum is
inserted as an offertory. The discrepancies of form might be explained by
the Augsburg traditions, but (beside that there is no mention in his
letters of any such composition) the composition and handwriting are
equally unlike Mozart.]
13 (return)
[ Cramer, Musik, 1788,
II., p. 126.]
14 (return)
[ The disputes between
Catholics and Protestants in Augsburg amounted to fanaticism, and affected
great matters as well as small (Schubart, Selbst-biographie, 17, II., p.
15. K. R[isbeck], Briefe fiber Deutschland, II., p. 55).]
15 (return)
[ The list of members,
which Wolfgang gives his father, is a counterpart to Goethe's dramatis
personæ to "Hans Wurst's Hochzeit."]
16 (return)
[ Paul von Stetten,
Kunst-, Gewerb-, und Handwerks-Geschichte der Reich-stadt Augsburg (1779),
p. 554.]
17 (return)
[ Wolfgang liked to be
called sly ("schlimm.") When Madame Duschek heard that he had left
Salzburg she wrote that "she had just heard of the disagreeable affair at
Salzburg; that he and she were quite agreed on the subject; and if
Wolfgang, slyer than ever, now liked to come straight to Prague, he would
receive the heartiest welcome"; so his father writes (September 28, 1777).
His tendency to criticism, and the tone he usually assumed in jesting,
will show pretty well what was meant by "schlimm."]
18 (return)
[ Mozart maintained a
correspondence with his cousin.]
19 (return)
[ Lang, Memoiren, I.,
p. 56.]
20 (return)
[ Schubart, Aesthetik,
p. 169.]
21 (return)
[Karl Theodor, born
1724, Elector Palaüne in 1743, died Elector of Bavaria 1799.]
=
2 (return)
[ Schubart,
Selbstbiographie 14,1., p. 200. Goethe, Wahrheit und Dichtung, B. 11.
(Werke, XVIII., p. 48.) Herder's Nachl., III., pp. 371, 374. Schiller,
Thalia, I., p. 176.]
3 (return)
[ Schubart, Teutsche
Chronik, 1775, p. 729. Hausser, Geschichte d. rhein. Pfalz, II., p. 943.]
4 (return)
[ Guhrauer, Lessing, II.,
2 p. 286.]
5 (return)
[ Wieland (Briefe an
Merck, I., p. 105; II., p* 104).]
6 (return)
[ Schubart, Teutsche
Chronik, 1775, pp. 718, 730.]
7 (return)
[ A description is given
in Müller's Abschied von der Bühne, p. 204.]
8 (return)
[ Müller, who was in
Mannheim, December, 1776, notices (Abschied von der Bühne, p. 207) from
the expressions of the Elector and of the minister, Von Hompesch, how full
the Mannheim people were of these projects.]
9 (return)
[ Devrient, Geschichte
der deutschen Schauspielkunst, II., p. 303.]
10 (return)
[ F. H. Jacobi (Briefe,
I., p. 273). Wieland writes to Merck (II., p. 116): "I must go to
Mannheim, for I must and will have my fill of music once in my life, and
when or where shall I have a better opportunity?" Klopstock, too, went to
Mannheim chiefly on account of its music (Briefe an Merck, II., p. 51),
and "they were anxious to satisfy his fastidious taste" (Schubart,
Teutsche Chronik, 1775, p. 183).]
11 (return)
[ Lord Fordyce
declared, as Schubart relates (Aesthetik, p. 131), that Prussian tactics
and Mannheim music placed Germany at the head of nations.]
12 (return)
[ Schubart notes this
as an advance (Teutsche Chronik, 1774, pp. 310, 360).]
13 (return)
[ Cf. Pasqué, Goethe's
Theaterleitung in Weimar, II., p. 353.]
14 (return)
[ "Alceste:" a
vaudeville in five acts. Leipz. Weidm., 1773.]
15 (return)
[ Teutsch. Mercur,
1773, I., pp. 34, 223; cf. II., p. 221.]
16 (return)
[ Dressier,
Theaterschule, p. 169. Etwas von und uber Musik fur das Jahr 1777
(Frankfort, 1778), p. 39.]
17 (return)
[ Morgenblatt, 1820,
Nr. 160.]
18 (return)
[ Wieland asks for
subscriptions to the clavier arrangement of "Alceste" which appeared,
beautifully got up, in 1774 (Teutsch. Mercur, 1774, IV., p. 2gg). A second
arrangement appeared in Berlin in 1786.]
19 (return)
[ Gedanken und
Konjekturen zur Gesch. d. Musik (Stendal, 1780), p. 8. Musik. Alman., 1782
(Alethinopel), p. 51. Schubart's Aesthetik, p. no.]
20 (return)
[ Zelter, Briefw. m.
Goethe, V., p. 55.]
21 (return)
[ Teutsch. Mercur,
1773, II., p. 306. Knebel, Litt. Nachl., II., p. 151. Böttiger, Litt.
Zust., I., p. 190.]
22 (return)
[ Teutsch. Mercur,
1775, III., p. 268. Schubart,' Teutsche Chronik, 1775, pp. 535, 575, 716,
720.]
23 (return)
[ Müller, Abschied von
der Bühne, p. 212.]
24 (return)
[ Günther von
Schwarzburg," ein Singspiel in drei Aufzügen fur die Kur-pfàlzische
Hofsingbühne. Mannheim: Schwan, 1777.]
25 (return)
[ The beautifully
engraved score (by Götz, of Mannheim) is dedicated to Karl Theodor, "the
enlightened patron of music, under whose mighty protection the palatinate
stage first sang a German hero."]
26 (return)
[ The scenery was
painted by Quaglio; the ballet was arranged by Lauchery, and composed by
Cannabich. Burney says (Reise, II., p. 72) that 48,000 florins were spent
on a carnival opera.]
27 (return)
[ Teutsche Chronik,
1766, p. 630.]
28 (return)
[ The opera was
successfully performed several times at Mannheim during 1785. Schiller's
Thalia, I., p. 185 (Boas. Nachtr., II., p. 32, 494).]
29 (return)
[ There is a long
discussion on the subject in the Rhein. Beitr., 1777, I., p. 377. Cf.
Betrachtungen der Mannheim. Tonschule, I., p. 116, Etwas von u. üb. Musik,
p. 34. Düntzen Frauenbilder a. Goethe's Jugendheit, p. 258.]
30 (return)
[ Briefe an Merck, I.,
p. 100.]
31 (return)
[ Müller, Abschied von
der Bühne, p. 20S.]
32 (return)
[ Schubart, Aesthetik,
p. 131.]
33 (return)
[ Musik. Alman. f.
1782, p. 23.]
34 (return)
[ In the list of
singers for 1756 a number of Italian singers were included who had
disappeared by 1797.]
35 (return)
[ Heinse, Schr., III.,
p. 221.]
36 (return)
[ Wieland, Br. an Fr.
la Roche (p. 191.) Schubart is more critical (Aesthetik, p. 144): "She has
distinguished herself as one of our best theatrical singers. She played in
French, Italian, and German, and oftener in comic than in tragic parts.
She began to decline early in life, which would have been more easily
detected in serious parts."]
37 (return)
[ Briefe, Von Gleim und
Heinse, I., 424.]
38 (return)
[ Jacobi, Briefe, I.,
p. 279.]
39 (return)
[ Burney, Reise, II.,
p. 71. Hist, of Mus., IV., pp. 481, 508. Schubart, Aesthetik, p. 143.
Busby, Hist, of Mus., II., p. 361. Gesch. d. Mus., II., p. 404.]
40 (return)
[ Briefe an Merck, I.,
p. 108.]
41 (return)
[ A sketch of Raaff's
life and character is given by A. M. Z., XII., p. 857. I found plenty of
traditions in Bonn also.]
42 (return)
[ Metastasio, Opp.
post., I., p. 359.]
43 (return)
[ Some instances of
liberality and favour displayed towards him in Spain and Portugal are
given by Reichardt (Berlin, Musik. Zeit., 1805,1., p. 278). He left Lisbon
just before the earthquake, and built a chapel at Holzem in gratitude for
his escape.]
44 (return)
[ Cäcilia, V., p 44.]
45 (return)
[ Schubart,
Selbstbiographie 14,1., p. 214; Aesthetik, p. 137.]
46 (return)
[ After his farewell
performance of Idomeneo, in 1781, Raaff lived a retired life at Munich in
the society of a few friends, dividing his time between devotional
exercises and reading. He died in 1797.]
47 (return)
[ "We had the virtuoso
Hartig here lately," writes Jacobi to Wieland (June 8, 1777, I., p. 272):
"You should hear the fellow sing! We had the recitative from Alceste, 'O
Jugendzeit, o goldne Wonnetage' four times. I wish you could have had the
pleasure of hearing it."]
48 (return)
[ Schubart,
Selbstbiogr. 14,1., p. 214,]
49 (return)
[ Schubart, Aesthetik,
p. 132.]
50 (return)
[ A summary of the
Mannheim Kapelle for 1756 is given in Marpurg's Kritischen Beiträgen, II.,
p. 567, and one for 1767 in Hiller's Wöchentl. Nach-richten, II., p. 177;
in the latter the clarinets are included. Mozart writes to his father
(November 4,1777): "The orchestra is very good and strong; on each side
are ten or eleven violins, four tenors, two oboes, two flutes and two
clarinets, two horns, four violoncelli, four bassoons, four double-basses,
and trumpets and drums." Two platforms were erected in the opera hall for
the trumpet chorus.]
51 (return)
[ Originally the
clarinet was, as the name shows, closely allied to the trumpet, the soft
tones of which skilfully applied were almost identical with the clarinet.
Its use was afterwards extended from military and wind bands to the grand
orchestra. Hiller remarks upon clarinets as an innovation in Agricola's
"L' Amore di Psiche" (Wöchentl. Nachr., 1769, Anh., p. 87). In older
scores, even in some of Mozart's, the clarinets are sometimes placed with
the brass instruments, and are gradually transferred to the wood, until
finally they are employed independently in the blending of the
tone-colouring. Cf. Adam, "Dem. Souv. d'un Music.," 181.]
52 (return)
[ Burney, Reise, II. p.
74.]
53 (return)
[ Burney, Reise, II.,
74. Schubart, Selbstbiogr. 14,1., p. 212. A. M. Z., I., p. 882.]
54 (return)
[ Reichardt says
(Briefe eines aufmerksamen Reisenden, I., p. 11) of the Berlin orchestra:
"I must not speak in this place of the masterly effects produced in the
Mannheim orchestra by the swelling and diminution of a long note, or of
several successive notes, which gives, if I may so speak, to the whole
colouring a darker or a lighter shade. This would be considered too great
an innovation by Hasse and Graun." He relates that the first time Jomelli
made use of the crescendo, the audience gradually rose from their
seats, and at the diminuendo they began to breathe freely, and
became conscious of having stopped their breath; and he declares that the
same effect was produced upon himself at Mannheim.]
55 (return)
[ Schubart, Aesthetik,
p. 130.]
56 (return)
[ Schubart, Aesthetik,
p. 130: "No orchestra in the world has ever surpassed that of Mannheim in
execution. Their forte is a thunder, their crescendo a
cataract, their diminuendo the distant rippling of a crystal
stream, their piano the soft breath of early spring."]
57 (return)
[ Burney, Reise, II.,
p. 73.]
58 (return)
[ Burney, Reise, II.,
p. 73.]
59 (return)
[ Schubart, Aesthetik,
p. 137. Musik. Alman., 1782 (Alethin), p. 6.]
60 (return)
[ Schubart,
Selbstbiogr. 14,1., p. 210. Cf. p. 227. A. M. Z., V., p. 276.]
61 (return)
[ Cf. Schubart,
Aesthetik, p. 129. A list of the grand operas which were performed at
Mannheim under Karl Theodor is given by Lipowsky, Baierisches
Musik-Lexicon, p. 387.]
62 (return)
[ Schubart describes
the many advantages which Mannheim afforded (Selbstbiographie 14,1., p.
196).]
63 (return)
[ The rehearsal was of
Handel's "Messiah," but Mozart did not sit it out, being very much
fatigued by the previous rehearsal of a Magnificat by Vogler, which lasted
a whole hour (October 31, 1777). He does not mention the performance on
November 1. In the observations of the Mannh.Tonsch., I., p. 119, it is
noticed that all the audience yawned during the "Messiah," admirably as it
was performed, while Vogler's Magnificat "excited indescribable delight."
It was afterwards announced that the second part of the "Messiah" would
not be performed, because no audience would stand the dry music.]
64 (return)
[ It was said that
200,000 gulden were spent annually on music and the opera. K. Rfisbeck,
Briefe, IM p. 332.]
65 (return)
[ Schubart,
Selbstbiographie 14,1., p. 210.]
66 (return)
[ Schubart,
Selbstbiographie 14, I., pp. 223, 225. K. R[isbeck], Briefe, I., p. 341.]
67 (return)
[ An expression in an
unpublished letter from the painter Kobell to Dalberg shows her to have
been very attractive: "Many of such priceless moments of bliss were
granted to me in the society of lovely Rose Cannabich. Her memory is the
paradise of my heart!" An enthusiastic account of her is given in the
Musik. u. Kunstleralm., 1783, p. 27. She was afterwards (1786) mentioned
as Madame Schulz.]
68 (return)
[ Schubart, Aesthetik,
p. 144.]
69 (return)
[ Wieland, Briefe an
Fr. La Roche, p. 192; cf. Briefe von Gleim u. Heinse, I., p. 424.]
70 (return)
[ The two French songs,
"Oiseau, si tous les ans" (307 K.), and "Dans un bois solitaire" (308 K.),
are doubtless those here mentioned.]
71 (return)
[ Wolzogen,
Recensionen, 1865, Nr. 6, p. 82. Cf. Schubart, Aesthetik, p. 143.]
72 (return)
[ Schubart,
Selbstbiogr. 14, I., p. 203.]
73 (return)
[ A. M. Z., XXVIII., p.
466.]
74 (return)
[ C. M. von Weber's
Lebensbild, I., p. 248.]
75 (return)
[ "In respect of
playing at sight" says the Musik. Real-Zeitg., 1788, p. 61, "Vogler is
perhaps unsurpassed and unique." Cf. Musik. Corresp. 1790, p. 119; 1792,
p. 379. Schubart, Aesthetik, p. 133. Many preferred Beecké and Mozart to
him (Musik. Real-Zeitg., 1789, p. 262).]
76 (return)
[ Musik, Real-Zeitg.,
1788, p. 70.]
77 (return)
[ Musik. Real-Zeitg.,
1788, p. 77. Forkel's Musik. Alman. 1789, p. 135.]
78 (return)
[ N. Ztschr. f. Mus.,
II., p. 85.]
79 (return)
[ Cf. C. M. von Weber's
Lebensbild, III., p. 178. Gfr. Weber, Cäcilia, XV., p. 40.]
80 (return)
[ Musik. Corresp.,
1788, p. 70.]
81 (return)
[ A. M. Z., XXVIII., p.
354.]
82 (return)
[ Schubart, Aesthetik,
p. 182.]
83 (return)
[ L. Mozart had written
to his son (November 2,1777): "I wish you could get something to do in
Mannheim. They always play German operas; perhaps you could get one to
write. If this should happen, you know beforehand that I should recommend
the easy popular style of composition; the grand and dignified style is
proper for grand affairs; everything in its place." It is plain that he
only contemplated vaudeville, and had heard nothing of the new appearance
of a grand German opera.]
84 (return)
[ They were the
children of the actress Seiffert (Countess Haydeck). The son was
afterwards Prince von Brezenheim; the daughters were married to men of
high rank. Hausser, Geschichte der rhein. Pfalz, II., p. 934.]
85 (return)
[ Briefe an Merck, II.,
p. 76.]
86 (return)
[ Briefe an Merck, I.,
p. 105; II., p. 89. Cf. Malten's Bibl. d. Weltk. 1840, I, p. 380.]
87 (return)
[ Böttiger, Litt.
Zust., I., p. 229.]
88 (return)
[ Jacobi's Auserl.
Briefwechsel, I., p. 262. Briefe an Merck, II., p. 93; I., pp. 102, 118.]
89 (return)
[ Wieland, Briefe an
Fr. La Roche, pp. 184, 187.]
90 (return)
[ Holzbauer said of
Schweitzer to Heinse: "He is a genius; when he makes a lucky hit he is
divine; but at other times he writes as if he were tipsy." (Briefe an
Gleim und Heinse, I., p. 424). A detailed criticism is given in the Rhein.
Beitr. 1780,1., pp. 330, 497. [Klein] Ueber Wieland's "Rosamunde,"
Schweitzer's Musik und die Vorstellung dieses Singspiels in Mannheim.
Frkf., 1781.]
91 (return)
[ Schubart,
Selbstbiographie 14 I., p. 217.]
92 (return)
[ Wieland, Briefe an
Fr. La Roche, pp. 191, 193.]
93 (return)
[ Briefe an Merck, I.,
p. 121.]
94 (return)
[ Hausser, Geschichte
der rhein. Pfalz, II., p. 957.]
95 (return)
[ Auswahl denkw. Briefe
von Wieland, II., p. 58.]
96 (return)
[ Briefe an Merck, II.,
pp. 122, 124.]
97 (return)
[ K. R[isbeck], Briefe
über Deutschland, I., p. 340. Cf. Brandes, Selbstbio-graphie, II., p.
279.]
98 (return)
[ In December, 1777,
the Emperor commissioned Muller to engage Hartig as a tenor for Vienna,
but the negotiations fell through (Müller, Abschied von der Bühne, p.
254); Mozart may have gained his information in this way.]
99 (return)
[ In 1776 Count Kohary,
who farmed the theatre, became insolvent, and the Emperor took the
administration of it into his own hands. It became the national instead of
the court theatre.]
100 (return)
[ He had recommended
Schweitzer to come to Vienna. (Muller, Abschied von der Bühne, p. 188).]
101 (return)
[ Padre Martini
dedicated to him the second part of his Storia della Musica (1770), and
kept up a correspondence with him.]
102 (return)
[ The autograph, with
the superscription: "Aria per il Sigre. Raaff di Amadeo Wolfgango Mozart;
Mannheim li 27 di Febr., 1788," shows the corrections and somewhat
important abbreviations which were made at Raaff s desire.]
103 (return)
[ As a detail, the
independent use of the bassoons, henceforth constantly adopted by Mozart,
is worthy of remark.]
104 (return)
[ Wolzogen (Recens.,
1865, Nr. 6, p. 81) asserts from family tradition that this rumour was
false.]
105 (return)
[ According to M. von
Weber (C. M. von Weber, IM p. 6), Fridolin von Weber (b. 1733), alter
studying law in Freiburg and becoming Doctor of Theology, succeeded his
father as agent to the Schönau estate in 1754. Karl Theodor, finding him a
first-rate singer and violinist, took him to Mannheim. His younger
brother, Franz Anton, was the father of C. M. von Weber. In the album of
Franz Anton's son Edmund, Mozart wrote: "Vienna, January 8, 1787, five
o'clock in the morning, before setting out.—Be industrious; flee
from idleness, and never forget your loving cousin, Wolfgang Amade
Mozart."]
106 (return)
[ This is confirmed
by Schubart (Aesthetik, p. 192). Cf. Musjk. Alman. (Alethinop, 1782).]
107 (return)
[ Schubart says of
Vogler (Aesthetik, p. 135): "His lessons in singing were much sought
after. The well-known singer Lange, of Vienna, was his pupil. She has
heighth and depth, and accents her notes accurately. She sings piena
voce and mezza voce equally well. Her portamento, the
accuracy of her reading, the delicacy of her delivery, her megzotinto,
her wonderful cadenzas, and her dignified bearing, are in great measure
due to her great master." Some of all this should be ascribed to Mozart.
Vogler's lessons were given at a later time in Munich. Brandes, on the
contrary (Selbstbiogr., II., p. 260), says that Kirnberger and others
warned him against Vogler as a cacher for his daughter Minna.]
108 (return)
[ Piccinni's
"Roland," the first opera he wrote in Paris, was performed early in 1778.]
109 (return)
[ "I have many very
good friends in Mannheim (influential and wealthy ones)," he writes (March
24, 1778), "who all wish me to remain. Well, wherever I am well paid,
there I stay. Who knows?—it may come to pass; I wish for it, and, as
usual, I am full of hope."]