Chapter XXVII: Married Life (3)

[Footnote 51: 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.]

[Footnote 52: Kelly, Reminisc., I., p. 231. Pohl, Mozart in London, p. 169.]

[Footnote 53: 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.]

[Footnote 54: Wien. Ztg., 1786, No. 28, Anh.]

[Footnote 55: 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).]

[Footnote 56: Theaterkal., 1787, p. 95. C. Pichler, Denkw., I., p. 124.]

[Footnote 57: Wien. Ztg., 1782, No. 82.]

[Footnote 58: Jahrb. Tonk., 1796, p. 25.]

[Footnote 59: 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.]

[Footnote 60: Dittersdorf, Selbstbiogr., pp. 7, 49.]

[Footnote 61: Gyrowetz, Selbstbiogr., p. 8.]

[Footnote 62: Cf. pp. 307, 627.]

[Footnote 63: C. Pichler, Denkw., I., p. 45.]

[Footnote 64: 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.]

[Footnote 65: Cramer's Mag. d. Musik, II., p. 1380.]

[Footnote 66: Kelly, Reminisc., I., p. 226.]

[Footnote 67: Mozart's printed composition only extended during his lifetime to Op. 18 (Klavierconcert, 451 K., No. 13), without counting variations and songs.]

[Footnote 68: 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.]

[Footnote 69: A. M. Z., I., p. 113.]

[Footnote 70: Wien. Ztg., 1788, No. 27, Anh.]

[Footnote 71: N. Berl. Musikzeitg., 1856, p. 35.]

[Footnote 72: A. M. Z., I., p. 289.]

[Footnote 73: Rochlitz's account (A. M. Z., IM p. 83) does not tally.]

[Footnote 74: Cf. Nissen, p. 633.]

[Footnote 75: Rochlitz, A. M. Z., XV., p. 313. Für Freunde der Tonkunst, I., p. 148.]

[Footnote 76: Endorsed by Hoffmeister: "Den 20 Nov., 1785, mit 2 Duka ten." N.Ztschr. Mus., IX., p. 164.]

[Footnote 77: A. M. Z., I., p. 547.]

[Footnote 78: A. M. Z., I., p. 83; cf. p. 147. Nissen, p. 548.]

[Footnote 79: Neue Zeitschr. Mus., XII., p. 180.]

[Footnote 80: Dittersdorf says that the profits from his benefit performance of the "Doktor and Apotheker" amounted to 200 ducats (Selbstbiogr., p. 243).]

[Footnote 81: Rochlitz's account is confused and uncertain. (Für Freunde d. Tonk., II., p. 258., II).]

[Footnote 82: He expected a gift from the Prussian Ambassador; whether he received it, or what it was, is not known.]

[Footnote 83: 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.]

[Footnote 84: Nissen, p. 475.]

[Footnote 85: 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).]

[Footnote 86: Wiener Morgenpost, 1856, No. 28.]

[Footnote 87: Nissen, p. 686.]

[Footnote 88: O. Jahn, Aufs. üb. Musik., p. 234.]

[Footnote 89: Nissen, p. 683.]

[Footnote 90: Niemetschek, p. 57. Nissen, p. 580.]

[Footnote 91: 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."]

[Footnote 92: Nissen, p. 692.]

[Footnote 93: Niemetschek, p. 99.]

[Footnote 94: 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).]

[Footnote 95: Kelly, Reminisc., I., p. 204.]

[Footnote 96: Kelly, Reminisc., I., p. 226. Nissen, p. 692.]

[Footnote 97: Kelly, Reminisc., I., p. 226.]

[Footnote 98: Niemetschek, p. 100.]

[Footnote 99: Nicolai, Reise, V., p. 219.]

[Footnote 100: 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. ]

[Footnote 101: Giesinger, Biogr. Not. üb. J. Haydn, p. 30.]

[Footnote 102: Nissen, p. 559.]

[Footnote 103: Bohemia, 1856, pp. 118, 122.]

[Footnote 104: Kelly, Reminisc., I., p. 226.]

[Footnote 105: Nissen, p. 672.]

[Footnote 106: Rochlitz suggests that Mozart sought forgetfulness of anxious thoughts in wine (A. M. Z., III., p. 495).]

[Footnote 107: Frau Klein, of Vienna, Loibl's daughter, related this and many other characteristic traits from her childish remembrances to my friend Karajan.]

[Footnote 108: Eckermann, Gespräche mit Goethe, III., p. 234, &c., especially p. 239.]

[Footnote 109: a. M. z., I., p. 81.]

[Footnote 110: Nissen, p. 673.]

[Footnote 111: Nissen, p. 683.]

[Footnote 112: 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.]

[Footnote 113: Niemetschek, p. 91.