Chapter XXVIII: Appendix: IV. (To the English Edition.)

A LIST OF MOZART'S WORKS,

COMPILED FROM THE FIRST COMPLETE

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VOCAL MUSIC.

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FOOTNOTES OF CHAPTER XLVI.

[Footnote 1: 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.]

[Footnote 2: Wien. Mus. Ztg., 1842, p. 150.]

[Footnote 3: Reichardt, Briefe aus Wien., I., p. 244.]

[Footnote 4: A. M. Z.f XX., p. 512.]

[Footnote 5: A. M. Z., VII., pp. 427, 502.]

[Footnote 6: Cf. N. Ztschr. fur Mus., XXI., p. 169.]

[Footnote 7: A solemn funeral mass was celebrated at Prague, December 14, 1791 (Wien. Ztg., 1791, No. 103).]

[Footnote 8: Wessely in Berlin (Mus. Wochenbl., p. 191), and Cannabich in Munich, composed funeral cantatas on Mozart's death (Niemetschek, p. 66).]

[Footnote 9: A. M. Z., II., p. 239.]

[Footnote 10: It does not appear that any complete statement of all the ceremonies by which this jubilee was kept has been made.]

[Footnote 11: Journ. d. Lux. u. d. Mod., November, 1799. A. M. Z., II., pp. 239, 420.]

[Footnote 12: Bridi, Brevi Cenni, p. 63. A. M. Z., XXVI., p. 92.]

[Footnote 13: A. M. Z., XXXIX., p. 309.]

[Footnote 14: Cf. L. Mielichhofer, Das Mozart-Denkmal zu Salzburg und dessen Enthüllungsfeier (Salzburg, 1843). The amount subscribed was nearly 25,000 fl.]

[Footnote 15: The monument is familiar in Amsler's fine engraving.]

[Footnote 16: Zellner, Blätt. f. Mus., Theat. u. Kunst, 1859. No. 97.]

[Footnote 17: Since 1843 the Mozarteum has issued annual reports of its doings.]

[Footnote 18: A. M. Z., XLII., p. 735. The Mozart Institution also issues regular reports.]

[Footnote 19: Niederrh. Mus. Ztg., 1855, p. 398; 1856, pp. 296, 303; 1857, p.232.]

[Footnote 20: Rochlitz, Raphael u. Mozart (A. M. Z., II., p. 641). Alberti, Raphael u. Mozart: eine Parallele (Stettin, 1856).]

[Footnote 21: 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).]

[Footnote 22: Fr. Horn, A. M. Z., IV., p. 421.]

[Footnote 23: 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.]

[Footnote 24: [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.]

[Footnote 25: 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).]

[Footnote 26: O. Lindner, Zur Tonk., p. 173.]

[Footnote 27: Oehlenschläger, Erinnerungen, IV., p. 225.]

End of Project Gutenberg's Life Of Mozart, Vol. 3 (of 3), by Otto Jahn