Chapter XLVI
Footnotes of
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.
2 Wien. Mus. Ztg., 1842, p. 150.
3 Reichardt, Briefe aus Wien., I., p. 244.
4 A. M. Z.f XX., p. 512.
5 A. M. Z., VII., pp. 427, 502.
6 Cf. N. Ztschr. fur Mus., XXI., p. 169.
7 A solemn funeral mass was celebrated at Prague, December 14, 1791 (Wien. Ztg., 1791, No. 103).
8 Wessely in Berlin (Mus. Wochenbl., p. 191), and Cannabich in Munich, composed funeral cantatas on Mozart’s death (Niemetschek, p. 66).
9 A. M. Z., II., p. 239.
10 It does not appear that any complete statement of all the ceremonies by which this jubilee was kept has been made.
11 Journ. d. Lux. u. d. Mod., November, 1799. A. M. Z., II., pp. 239, 420.
12 Bridi, Brevi Cenni, p. 63. A. M. Z., XXVI., p. 92.
13 A. M. Z., XXXIX., p. 309.
14 Cf. L. Mielichhofer, Das Mozart-Denkmal zu Salzburg und dessen Enthüllungsfeier (Salzburg, 1843). The amount subscribed was nearly 25,000 fl.
15 The monument is familiar in Amsler’s fine engraving.
16 Zellner, Blätt. f. Mus., Theat. u. Kunst, 1859. No. 97.
17 Since 1843 the Mozarteum has issued annual reports of its doings.
18 A. M. Z., XLII., p. 735. The Mozart Institution also issues regular reports.
19 Niederrh. Mus. Ztg., 1855, p. 398; 1856, pp. 296, 303; 1857, p.232.
20 Rochlitz, Raphael u. Mozart (A. M. Z., II., p. 641). Alberti, Raphael u. Mozart: eine Parallele (Stettin, 1856).
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).
22 Fr. Horn, A. M. Z., IV., p. 421.
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.
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.
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).
26 O. Lindner, Zur Tonk., p. 173.
27 Oehlenschläger, Erinnerungen, IV., p. 225.