Hieronymus, extended his parsimony even to the members of the Kapelle, whom he estranged by his overbearing manners; on the whole, music rather declined than advanced under his rule,[3] although he cared more than Sigismund for the splendour of his court.[4] THE FOOTNOTES OF CHAPTER 13 [Footnote 1: His father tells him (December 15, 1780) that Fr. Duschek considered herself indebted to him for the former song, and pressed for another, which he had refused as impossible at that time.] [Footnote 2: A song (119 K.) printed only with German words, "Der Liebe himmlisches Gefuhl," is a bravura song in the old style, of undoubted early Italian origin.] [Footnote 3: [Koch-Stemfeld] Die leiten dreissig Jahre des Erzbisthums Salzburg, p. 255. Cf. Burney, Reise, III., p. 260. Schubart, Aesthetik, p. 157.] [Footnote 4: Cf. "Nachricht von dem gegenwartigen Zustande der Musik St. Hoch-furstlichen Gnaden des Erzbischofs zu Salzburg im Jahre 1757," in Marpurg's Krit. Beitr., III., p. 183, probably by L. Mozart. Many notices are given in the Mozart correspondence. Ben. Pillwein's Lexikon Salzburgischer Künstler (Salzburg, 1821), and the Biographien Salzburgischer Tonkünstler (Salzburg» 1845), are too superficial for musicians.] ==== MOZART BY DAVID WIDGER CHAPTER XIII. CHURCH MUSIC. FIFTEEN choristers were maintained at the cost of the Archbishop in the Kapellhaus, and educated by {CHURCH MUSIC.} (236) special instructors. They afterwards entered the choir as singers or passed into the service of the court; if they showed extraordinary talent, they were sent to finish their training in Italy, and then took their place as solo singers.[3] Archbishop Sigis-mund allowed the male sopranos to die out, and did not replace them with others; on the other hand he sent the daughter of the cathedral organist, Maria Magd. Lipp, to be educated as a singer in Italy, and on her return in 1762 he appointed her court singer; she soon afterwards married Michael Haydn, lately arrived at Salzburg. In 1778 Hieronymus again took a male soprano into his service, Ant. Ceccarelli, a singer of moderate powers and bad moral character. The orchestra belonging to the choir was an ample one for the time, and was strengthened by a trumpet band for the support of the voices in the church. There were further two bands of six trumpets and drums, which did not properly belong to the court, but to the chamberlain's office, and which ranked between the equerries and the lackeys.[4] But no one was taken into this service who could not also, at need, strengthen the stringed instruments. In 1762, when Lolli was kapellmeister, and Leopold Mozart vice-kapellmeister, Joh.Michael Haydn[5] (1737-1806), the younger brother of Joseph, was appointed concertmeister and director of the orchestra, on the recommendation of a {MICHAEL HAYDN.} (237)