1 (return)
[ The narrative which
follows is founded chiefly upon the widow's statements in Niemetschek (p.
50. Nissen, p. 563), which agree with those made by her to an English lady
at Salzburg in 1829 (The Musical World, 1837, August and September.
Hogarth, Mem. of the Opera, II., p. 196), and upon a letter from Sophie
Haibl (April 7, 1827), extracts from which are given by Nissen (p, 573),
and of which Köchel has sent me a copy in full.]
2 (return)
[ Mosel, Ueb. d. Orig.
Part, des Requiem, p. 5.]
3 (return)
[ Stadler, Nachtr., p. 17.]
4 (return)
[ In the possession of Mr.
Gouny [? Young], of London, copied from the original by Köchel.]
5 (return)
[ A. M. Z., I., p. 147.]
6 (return)
[ This idea was very
prevalent, and was not altogether rejected by Niemetschek, who, remarking
on his early death, adds: "if indeed it was not purposely hastened" (p.
67). Detouche relates it to Sulp. Boisserée (I., p. 292. Mar. Sessi was
convinced of its truth. N. Berlin Mus., 1860, p. 340). Even the widow says
in a letter to Reg. Rath Ziegler, of Munich (August 25, 1837', that her
son giving no signs of his father's greatness, would therefore have
nothing to fear from envious attempts on his life. p. 285): 4 —]
7 (return)
[ Mozart's diseased fancies
were made the grounds for shameful suspicions of Salieri, who was said to
have acknowledged on his deathbed having administered poison to Mozart
(cf. A. M. Z., XXVII., p. 413). Carpani exonerated Salieri in a long
article (Biblioteca Italiana, 1824), and brought forward medical testimony
that Mozart's death was caused by inflammation of the brain, besides the
assertions of Salieri's attendants during his last illness, that he had
made no mention of any poisoning at all. Neukomm also, relying on his
intimacy both with the Mozarts and with Salieri, has energetically
protested against a calumny (Berlin, allg. mus. Ztg., 1824, p. 172) which
no sane person would entertain. The grounds on which the rumour was
discredited by Kapellmeister Schwanenberg of Braunschweig, a friend of
Salieri, are peculiar. When Sievers, then his pupil, read to him from a
newspaper the report of Mozart's having been the victim of the Italian's
envy, he answered: "Pazzi! non ha fatto niente per meritar un tal onore"
(A. M. Z., XXI., p. 120. Sievers, Mozart u. Sussmayr, p. 3). Daumer has
striven to support the untenable conjecture that Mozart was poisoned by
the Freemasons (Aus der Mansarde, IV., p. 75). Finally, the report of the
poisoning furnished the subject of a dreary novel, "Der Musikfeind," by
Gustav Nicolai (Arabesken für Musikfreunde, I. Leipzig, 1825).]
8 (return)
[ Wiener Morgen-Post, 1856,
No. 28.]
9 (return)
[ This is on the authority
of the widow's petition to the Emperor.]
10 (return)
[ He had prophesied of
his little son Wolfgang at four months old that he would be a true Mozart,
for that he cried in the same key in which his father had just been
playing (Niemetschek, p. 41).]
11 (return)
[ A. M. Z., I., p. 149.]
12 (return)
[ Monatsschr. für Theat.
u. Mus., 1857, p. 446.]
13 (return)
[ He had a tenor voice,
gentle in speaking, unless when he grew excited in conducting; then he
spoke loud and emphatically (Hogarth, Mem. of the Opera, II., p. 198).]
14 (return)
[ So says the
unquestionably trustworthy account of Schack (A. M. Z., XXIX., p. 520.
Nissen, Nachtr., p. 169).]
15 (return)
[ So also says the Joum.
d. Lux. u. d. Mode, 1808, II., p. 803.]
16 (return)
[ Mus. Wochenbl., p. 94.]
17 (return)
[ A contemporary musician
(Salieri must be meant) did not scruple to say to his acquaintance: "It is
a pity to lose so great a genius, but a good thing for us that he is dead.
For if he had lived much longer, we should not have earned a crust of
bread by our compositions" (Niemetschek, p. 81).]
18 (return)
[ Monatsschr., 1857, p.
446. Schikaneder was not present; the news of Mozart's death had affected
him most deeply; he walked up and down, crying out: "His spirit follows me
everywhere; he is ever before my eyes!" (Nissen, p. 572).]
19 (return)
[ Wiener Morgen-Post,
1856, No. 28.]
20 (return)
[ Journ. d. Lux. u. d.
Moden, 1808, II., p. 801. Al. Fuchs related the negative result of his
careful inquiries in Gräffer's Kl. Wiener Memoiren (I., p. 227). Ritter
von Lucam has at last (Die Grabesfrage Mozart, Wien, 1856) elicited by
inquiries from two old musicians who had known Mozart, Freystadter and
Scholl, that the grave was on the right of the churchyard cross, in the
third or fourth row of graves. This agrees with the statement of the
gravedigger in Nissen (p. 576), and inquiries officially set on foot in
1856 make it probable that it was in the fourth row to the right of the
cross near a willow-tree (Wien. Blatter Mus. Theat. u. Kunst, 1859, No.
97).]
21 (return)
[ The list of effects—which
owing to the kindness of my friends, Karajan and Laimegger, lies before me—is
copied in the Deutsche Mus. Ztg., 1861, p. 284. It is affecting to see
from it how simple, even poverty-stricken, was the whole ménage.
The collection of books and music is valued at 23 fl. 41 kr.; and among
the bad debts is one of 300 fl. to Frz. Gilowsky, who was advertised in
July, 1787, as having absconded insolvent; 500 fl. are put down as
borrowed by Ant. Stadler (Posttägl. Anzeig., 1787, No. 35).]
22 (return)
[ On a malicious rumour
of the kind see O. Jahn, Ges. Aufs. über Musik, p. 230.]
1 (return)
[ The more detailed
accounts of the composition and completion of the Requiem have been given
chiefly on the authority of Süssmayr (A. M. Z., IV., p. 2) and Stadler
(Vertheidigung der Echtheit des Mozartschen Requiems, mit zwei Nachtr.;
Wien, 1827), and they have been verified and elucidated by the discovery
of the score delivered over to Count Walsegg. Cf. Deutsche Mus. Ztg.,
1861, p. 380. The narrative in the text, therefore, is given without
regard to the dust-clouds of controversy in which a dispute carried on
with so much animosity on all sides was sure to envelop the facts of the
case.]
2 (return)
[ Mozart made the following
declaration, May 30, 1790: "I, the undersigned, hereby declare that I
consider the bearer of this, Herr Joseph Eybler, to be a worthy pupil of
his famous master, Albrechtsberger, a thoroughly learned composer both in
chamber and church music, experienced in the art of composition, and also
an accomplished organ and pianoforte-player; in short, it is only to be
regretted that young musicians of his talents and attainments are so
seldom to be met with" (N. Berl. Mus. Ztg., 1858, p. 244).]
3 (return)
[ Köchel, Recensionen,
1864, p. 753.]
4 (return)
[ Stadler, Nachtr., p. 40.]
5 (return)
[ These two movements are
written on five sheets of twelve-line Italian music-paper in quarto, which
Mozart generally used, and are, according to his custom folioed,
not paged, from one to ten, the last three pages being left blank.
The signature is "Di me W. A. Mozart, 1792." This mistake, or anticipation
of the date, was destined to give rise to much confusion.]
6 (return)
[ An accurate copy of these
sheets by Mozart was published by André in 1829, with the title: "Partitur
des Dies iræ welche Abbé Stadler bald nach Mozart's Tode fur sich copirt
hatte,—Hostias von W. A. Mozart's Requiem, so wie solche Mozart
eigenhändig geschrieben und Abbé Stadler in genauer Uebereinstimmung mit
dem Mozartschen Original copirt hat, nebst Vorschrift und Anhang." The
"Anhang" is a similar sketch of the Requiem and Kyrie, evolved by André
himself—a curious idea and a very useless labour.]
7 (return)
[ Stadler, Vertheidigung,
p. 13.]
8 (return)
[ The sister and heiress of
Count Walsegg, the Countess Sternberg, sold his collection of music to his
steward, Leitner, from whom the score of the Requiem was obtained by his
clerk, Karl Haag; it was bequeathed by the latter to Katharina Adelpoller.
Commissary Novak, of Schottwien, who had formerly been steward to Count
Walsegg, drew the attention of Count Moritz von Dietrichstein, Imperial
Librarian, to the existence of the treasure, and it was purchased for
fifty ducats and placed in the Library.]
9 (return)
[ A. M. Z., XLI., p. 81. N.
Ztschr. f. Mus., X., p. 10. Cäcilia, XX., p. 279.]
10 (return)
[ J. F. von Mosel, Ueber
die Original-Partitur de Requiem von W. A. Mozart (Wien, 1839). Cf. A. M.
Z., XLI., p. 317.]
11 (return)
[ Niemetschek, who had
his information from the widow, says that directly after Mozart's death
the messenger demanded and received the work, "incomplete as it was" (p.
52). The Count himself signified that the Requiem was only Mozart's as far
as the Sanctus.]
12 (return)
[ Càcilia, IV., p. 288.]
13 (return)
[ A. M. Z., I., p. 178.]
14 (return)
[ Stadler, Nachtr., p.
6.]
15 (return)
[ A. M. Z., XXIX., p.
520.]
16 (return)
[ Càcilia, IV., p. 308.
The singer, Mariottini, of Dresden, made a copy of the Requiem, Kyrie, and
Dies iræ, and appended the following observation: "L' Offertorio, il
Sanctus e l' Agnus Dei non gl' ho transcritti, perche non mi anno parso
essere del valore del precedente, ne credo ingannarmi nel crederli opera
di un' altra penna" (Càcilia, VI., pp. 303, 310).]
17 (return)
[ Frederick William II.
paid her 100 ducats for one (Càcilia, VI., p. 211).]
18 (return)
[ Hàfer relates that a
"Thomaner" Jost, who wrote music very well, copied the score twice for the
widow during her stay in Leipzig (Càcilia, IV., p. 297).]
19 (return)
[ Rochlitz, Für Freunde
der Tonk., I., p. 25.]
20 (return)
[ In a letter to Härtel
(October 10, 1799) she sends him a draft of such an appeal: "The noble
Unknown, who, a few months before Mozart's death, commissioned him to
compose a Requiem, not having declared himself during the seven years
which have elapsed since that time, the widow of the composer gratefully
accepts this silence as a permission to her to publish the work to her own
advantage. At the same time she considers it as safer for herself, and
more in accordance with the sentiments inspired in her by the noble patron
of her late husband, to call upon him to express his wishes on the subject
to her within three months through the Wiener, Hamburger, or Frankfurter
Zeitung, at the expiration of which time she will consider herself
justified in publishing the Requiem among the collected works of her late
husband."]
21 (return)
[ The "Requiem Brevis" in
D minor (237, Anh., K.), published by Simrock, of Bonn, under Mozart's
name, may be at once pronounced spurious, having neither external nor
internal credibility.]
23 (return)
[ A. M. Z., I. Int. Bl.,
p. 97. Stadler, Vertheidigung, p. 14.]
24 (return)
[ Nissen, Nachtrag, p.
169.]
25 (return)
[ There were only a few
emendations in the score published by Breitkopf and Hàrtel in 1800, and
these had been communicated to Hàrtel by the widow (August 6, 10, 1800;
cf. A. M. Z., IV., p. 30). The revised copy served as a foundation for
André's pianoforte arrangement, and his edition of the score (1827). In
this the letters M. and S. distinguish what is Mozart's and what
Sussmayr's. The preface was reprinted in the Càcilia (VI., p. 200).]
26 (return)
[ Stadler, Vertheidigung,
p. 46.]
27 (return)
[ Even Seyfried only
conjectures this (Càcilia, IV., p. 296).]
28 (return)
[ A searching notice,
written by Schwencke and revised by Rochlitz, appeared after the
publication of the score (A. M. Z., IV., p. 1). It was soon after
translated into French in the Journal de Paris, and then noticed in the
German papers as an example of French criticism (A. M. Z., XXX., p. 209).]
29 (return)
[ The minor compositions
of the "Ave verum corpus" (Vol III., p. 281) and the Freemasonic Cantata
(Vol. II., p. 408) complete this parallel.]
30 (return)
[ Cf. Lorenz, Deutsche
Mus. Ztg., 1861, p. 257. A. Hahn, Mozart's Requiem (Bielef., 1867).
Kriebitzsch, Fur Freunde d. Tonk., p. 61.]
31 (return)
[ Mich. Haydn has
introduced the same into his unfinished Requiem, at the words "Te decet
hymnus"; according to Rochlitz (A. M. Z., IV., p. 7) and Zelter (Briefw.
m. Goethe, IV., p. 353 ) the chorale "Meine Seel erhebet den Herrn," is
sung to this melody. The treatment of this passage is decided by the
ritual. In Jomelli's Requiem both verses of the Psalm are intoned, in
Hasse and Zelenka the first ("Te Jerusalem" in Asola; Proske's Musica
Divina) only the words "Te decet hymnus in Sion in Pitoni both verses are
freely composed.]
32 (return)
[ Rochlitz, Fur Freunde
der Tonknnst, I., p. 159. A detailed analysis is given by Lobe
(Compositionslehre, III., p. 195).]
33 (return)
[ According to Kàgeli the
violent changes of key and arbitrary alternations of major and minor have
turned the fugue into a barbarous confusion of sounds (Vorlesungen üb.
Musik., p. 99).]
34 (return)
[ Cäcilia, III., p. 216.]
35 (return)
[ Schwencke, A. M. Z.,
IV., p. 8.]
36 (return)
[ The theme stands with
its counter-theme in doubled counterpoint of the twelfth. It is perhaps
worthy of note that the Christe begins in the minor passages a third above
the Kyrie, and in its major passages a third below the Kyrie—an
arrangement not wanting in original effect.]
37 (return)
[ Marx remarks, in answer
to Weber's criticism (Lehre v. d. Mus. Compos. III., p. 500), that "here—following
the whole spirit of the work—the point to be considered was not so
much a literally faithful expression of the words as a thoroughly
religious and solemn rounding and balancing of a whole section of the
service, the prayer for the departed in all its amplitude of detail" (Cf.
Berl. Mus. Ztg., 1825, p. 881).]
38 (return)
[ Stadler, Vertheidigung,
p. 17.]
39 (return)
[ Chrysander, Händel,
II., p. 436.]
40 (return)
[ Tucker, Schatz d.
evang. Kirchenges., II., p. 151, No. 282.]
41 (return)
[ This has been already
pointed out by Cramer (Anecd. sur Mozart, p. 26), whose attention was
drawn to it by J. A. P. Schulz.]
42 (return)
[ G. C. P. Sievers says
(Mozart u. Süssmayr, p. 15) that a kapellmeister at Ferrara told him that
in one of Mozart's Masses a whole piece was copied from an early Italian
master, which was confirmed by Santini; Sievers had forgotten the key of
the Mass and the name of the ill-used composer. That Mozart should have
inserted a strange piece in a Mass written for Salzburg Cathedral under
the eye of his father is incredible. A. Schiffner asserted (A. M. Z.,
XLV., p. 581) that Handel and Mattheson, Telemann and Mozart, had all
stolen from Reinhard Keiser. Al. Fuchs (Cäcilia, XXIII., p. 95) called on
him for proof; Schiffner, who probably knew as little of Reiser's scores
as did Mozart, made no response to the challenge.]
43 (return)
[ Ferd. Wolf, Ueb. die
Lais, Sequenzen und Leiche, pp. 29, 76, 91.]
44 (return)
[ Schubiger, Die
Sàngerschule St. Gallens, p. 39.]
45 (return)
[ Mohnike, Kirchen-u.
litterar-histor. Studien u. Mittheilungen, I., p. 3.]
46 (return)
[ The translations have
been collected by F. G. Lisco (Dies iræ, Hymnus auf das Weltgericht,
Beitrag zur Hymnologie. Berlin, 1840).]
47 (return)
[ Hiller, in consequence
of the unsatisfactory trombone-players, transposed the solo after bar 5 to
the bassoons, which was copied in the printed score (Cäcilia, VIII., p.
54. Cf. A. M. Z., IV., p. 10).]
48 (return)
[ In this a very
enthusiastic admirer of the Requiem (A. M. Z., XVI., p. 617) and (as to
the close) Ulibicheff agree (I., p. 252).]
49 (return)
[ Indescribably beautiful
is the occurrence here of the chord of the minor sixth on G, instead of
the minor common chord which one expects.]
50 (return)
[ The close in D minor of
the movement in G minor appeared so striking to Schwencke (A. M. Z., IV.,
p. 11), that he conjectured that Mozart must have intended a further
revision of these choruses. But the different movements of the Sequence,
although detached, are yet in immediate relation with each other; and
Mozart made the transition into D minor because the following movement is
in F major.]
51 (return)
[ Hogarth, Mem. of the
Opera, II., p. 199.]
52 (return)
[ G. Weber could not
bring himself to attribute to Mozart a treatment which "emphasises, con
amore, the egotistical baseness of the words, and by the ferocious
unison of the stringed instruments maliciously incites the Judge of the
World to hurl the cursed crowd of sinners into the deepest abyss, and then
to call the singers to all the joys of the blessed" (Càcilia, III., p.
220). He has clearly misunderstood both the words and the intention of the
composer so to bring before the imagination the torments of the damned as
to lead to an intenser longing for the mercies of Redemption.]
53 (return)
[ Cäcilia, III., p. 222.]
54 (return)
[ Cäcilia, IV., p. 296.]
55 (return)
[ A. M. z., IV., p. 4.]
56 (return)
[ Cäcilia, IV., p. 289.
A. M. Z., XXV., p. 687.]
57 (return)
[ Cäcilia, III., p. 226;
IV., p. 279.]
58 (return)
[ Berl. Mus. Ztg., 1825,
p. 378.]
59 (return)
[ Cäcilia, IV., p. 307.]
60 (return)
[ The Wiener Zeitung
announces that the music of the opera "L' Incanto Superato," first
performed July 8,1793, is arranged by Herr Franz Siessmayr, "pupil of Herr
Salieri."]
61 (return)
[ Jahrb. d. Tonk., 1796,
p. 61: "It is no small recommendation to him that he was a pupil of
Mozart, and very highly thought of by him. He has also completed some
works left unfinished by this great genius"—which can only refer to
the Requiem.]
62 (return)
[ Cäcilia, III., p. 295.]
63 (return)
[ G. L. P. Sievers,
Mozart u. Sussmaier, p. 8.]
64 (return)
[ Zelter, Briefw. m.
Goethe, IV., p. 353.]
65 (return)
[ A correspondent of G.
Weber had heard that André possessed MSS. which would prove that every
note of the Benedictus was an adaptation of an earlier and favourite air
of Mozart (Cäcilia, IV., p. 292). It need scarcely be said that there is
not a word of truth in this.]
66 (return)
[ Berl. Mas. Ztg., 1825,
p. 379.]
67 (return)
[ Zelter (Briefw. m.
Goethe, IV., p. 353) pronounces the Requiem to be "disjointed, unequal;
some of the pieces might be inserted, and it would be a mistake to
consider it as a whole; the same thing is the case with many excellent
composers; and though the Requiem consists entirely of detached pieces, it
is the best production that I know of the last century." The story of the
Requiem may have had some influence on this judgment.]
68 (return)
[ A. M. Z., XVI., p. 812:
"Mozart has disclosed his whole inner being in this one sacred work, and
who can fail to be affected by the fervour of devotion and holy transport
which streams from it? His Requiem is unquestionably the highest and best
that modern art has to offer for sacred worship." Unfavourable criticism
was not wanting. "I should be without feeling," says Ernst, in Tieck's
Phantasus (Schriften, IV., p. 426), "if I failed to love and honour the
marvellous depth and richness of Mozart's mind—if I failed to be
carried away by his works. Only, let me have none of his Requiem."]
69 (return)
[ Cf. O. Lindner, Zur
Tonkunst, p. 176.]
70 (return)
[ Stadler, Vertheidigung,
p. 27.]
71 (return)
[ Rochlitz, Für Freunde
d. Tonk., I., p. 25. Häser, Cäcilia, IV., p. 297.]
72 (return)
[ Zur Geschichte der
Singakademie, p. 15.]
73 (return)
[ It was performed in
memory of the Queen in 1805; of the Akademie-director Frisch in 1815; of
Prince Radziwill in 1833; of Count Brühl in 1837; of Frederick William
III. in 1840; and of Frederick William IV. in 1861.]
74 (return)
[ At Leipzig, in memory
of Schicht, in 1823; at Berlin, in memory of Andr. Romberg, in 1821; of
Bemh. Klein, in 1832; of Ludwig Berger, 1839; in Vienna, in memory of C.
M. von Weber and Beethoven; and in Munich, 1867, in memory of P. von
Cornelius.]
75 (return)
[ Zelter, Briefw. m.
Goethe, VI., p. 243.]
76 (return)
[ Rochlitz has attempted
to prove (A. M. Z., XXV., p. 685) how Vogler, in composing his Requiem,
had Mozart's always in view, in order to avoid imitating it; a similar
negative influence is apparent in Cherubini's magnificent Requiem in C
minor, with which the second in D minor is quite in keeping (Cf.
Gum-precht, Recensionen, 1864, No. 21).]
77 (return)
[ Berl. Mus. Ztg., 1805,
p. 26.]
78 (return)
[ A lover of music in
Venice left a considerable legacy for the performance annually of three
Requiems, of which one was to be Mozart's (A. M. Z., XLII., p. 54). A
society was founded at' Senftenberg in Bohemia, 1857, in order to perform
Mozart's Requiem annually on June 18 (N. Wien. Mus. Ztg., 1857, p. 167;
Niederrh. Mus. Ztg., 1857, p. 343).]
79 (return)
[ Neukomm mentions an
excellent performance in Rio Janeiro in 1819 (A. M. Z., XXII., p. 501).]
1 (return)
[ Breitkopf and Hartel's
edition of the "Ouvres" was prepared in concert with the widow, and from
the autograph originals furnished by her; concerning which the entire
correspondence lies before me.]
2 (return)
[ Wien. Mus. Ztg., 1842, p.
150.]
3 (return)
[ Reichardt, Briefe aus
Wien., I., p. 244.]
4 (return)
[ A. M. Z.f XX., p. 512.]
5 (return)
[ A. M. Z., VII., pp. 427,
502.]
6 (return)
[ Cf. N. Ztschr. fur Mus.,
XXI., p. 169.]
7 (return)
[ A solemn funeral mass was
celebrated at Prague, December 14, 1791 (Wien. Ztg., 1791, No. 103).]
8 (return)
[ Wessely in Berlin (Mus.
Wochenbl., p. 191), and Cannabich in Munich, composed funeral cantatas on
Mozart's death (Niemetschek, p. 66).]
9 (return)
[ A. M. Z., II., p. 239.]
10 (return)
[ It does not appear that
any complete statement of all the ceremonies by which this jubilee was
kept has been made.]
11 (return)
[ Journ. d. Lux. u. d.
Mod., November, 1799. A. M. Z., II., pp. 239, 420.]
12 (return)
[ Bridi, Brevi Cenni, p.
63. A. M. Z., XXVI., p. 92.]
13 (return)
[ A. M. Z., XXXIX., p.
309.]
14 (return)
[ Cf. L. Mielichhofer,
Das Mozart-Denkmal zu Salzburg und dessen Enthüllungsfeier (Salzburg,
1843). The amount subscribed was nearly 25,000 fl.]
15 (return)
[ The monument is
familiar in Amsler's fine engraving.]
16 (return)
[ Zellner, Blätt. f.
Mus., Theat. u. Kunst, 1859. No. 97.]
17 (return)
[ Since 1843 the
Mozarteum has issued annual reports of its doings.]
18 (return)
[ A. M. Z., XLII., p.
735. The Mozart Institution also issues regular reports.]
19 (return)
[ Niederrh. Mus. Ztg.,
1855, p. 398; 1856, pp. 296, 303; 1857, p.232.]
20 (return)
[ Rochlitz, Raphael u.
Mozart (A. M. Z., II., p. 641). Alberti, Raphael u. Mozart: eine Parallele
(Stettin, 1856).]
21 (return)
[ The different
conceptions that are here possible is seen from Carpani's having bracketed
in a comparison of Painters and Musicians (Le Haydine, p. 215) Pergolese
and Raphael, Mozart and Giulio Romano. Beyle compares Mozart with
Domenichino (Vie de Haydn, p. 260).]
22 (return)
[ Fr. Horn, A. M. Z.,
IV., p. 421.]
23 (return)
[ Th. Kriebitzsch, Poeten
u. Componisten (A. M. Z., L., p. 545; Für Freunde d. Tonk., p. 52). He
puts down the "Messiah" as Mozart's—no doubt without reflection.]
24 (return)
[ [Arnold] W. A. Mozart
u. J. Haydn. Versuch einer Parallele (Erfurt, 1810). G. L. P. Sievers,
Characteristik d. deutschen. Mus., A. M. Z., IX., p. 698.]
25 (return)
[ Graham, Account of the
First Edinburgh Musical Festival, p. 121 (A. M. Z., XVIII., p. 635. My
readers will be familiar with Reichardt's comparison of the three masters
as quartet composers: Haydn, he says, built a charming fanciful
summer-house, Mozart transformed it into a palace, and Beethoven crowned
the edifice with a bold defiant tower (Briefe aus Wien., I., p. 231). E.
T. A. Hoffmann finds in Haydn's instrumental works a childlike gaiety,
while Mozart leads him into the depths of the spirit-world, and Beethoven
into the region of prodigies and boundless space (Phantasiestucke, I., 4
Ges. Schr., VII., p. 55).]
26 (return)
[ O. Lindner, Zur Tonk.,
p. 173.]
27 (return)
[ Oehlenschläger,
Erinnerungen, IV., p. 225.]