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 his swan'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 inexhaustible wit of 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.]