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 terms pathos and ethos.]
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
passage smells 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 great fortepiano
pedal made, 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.