[Footnote 16: Biogr. Skizzen von Michael Haydn, p. 48.] [Footnote 17: The beginning of such a Kyrie is preserved. (Anh. 18 K.).] [Footnote 18: The first words "Gloria in excelsis Deo" are intoned by the priest from the altar in the prescribed way, and the choir fall in with the words "et in terra pax"; the same thing occurs at the beginning of the Credo, which the choir takes up at the words "Patrem omnipotentem." The first words are consequently frequently left uncomposed; sometimes, however, the choir repeat the words intoned by the priest.] [Footnote 19: In accordance with this, the word "quoniam" is repeated before each comma in some masses. (257 K.)] [Footnote 20: The Credo of this mass (257 K.) is mutilated in the printed score, the repeated--[See Page Image] with all that belongs to it having been struck out.] [Footnote 21: In earlier times the chief emphasis was laid on the words "et homo factus est," which Beethoven makes so emphatic in his Mass in D.] [Footnote 22: Mozart writes from Mannheim (November 4, 1777): "It is not the custom here to write a Benedictus, but the organist has to go on playing all the time."] [Footnote 23: L. Mozart mentions a mass for Count Spaur, which may be this.] [Footnote 24: In Italy three independent movements were made of the Kyrie, Christe, Kyrie, the last being an elaborate fugue. In Dresden also this was customary, and is to be found in the masses of Hasse, Naumann, and other Dresden composers, as also in Bach's B minor mass.] [Footnote 25: A. M. Z., XIX., p. 368.] [Footnote 26: A. Reissmann's Gesch. d. Mus., III., p. 39.] [Footnote 27: A. M. Z., XI., p. 460.] [Footnote 28: The date upon a copy at St. Peter's, in Salzburg, December 22, 1777, can only refer to the performance.] [Footnote 29: Biogr. Skizze von Michael Haydn, p. 18.] [Footnote 30: The Masses (220, 257-59,262, K.), were bound together in a little blue book, with the title in the father's hand, "V. Missæ in C," and a suggestion of the subjects. The first has been taken out, and was evidently the one which Wolfgang gave to the Abbot of the Holy Cross at Augsburg, as he writes to his father (November 20, 1777).] [Footnote 31: Sometimes his church music was mutilated and distorted, sometimes operatic and other compositions were arranged for church performance. A great deal was given out with his name in which he had little part, such as a Mass in G Major (Anh., 23a K.), rightly omitted by Seyfried (Cäcilia, V., p. 77; cf. VI., p. 129), another doubtful Mass in B flat major (Anh., 233 K.), and finally, an unauthenticated Mass in G major (140 K.), which, in my opinion, is unworthy of Mozart, but which Köchel and Lorenz consider to be genuine.]