FOOTNOTES OF CHAPTER XLVI.
Pauline D. Townsend translation
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.]