[Footnote 32: A. M. Z., XVI., p. 612. The criticism of Rochlitz (fur Freunde der Ton-kunst, IV., p. 237) is feeble and colourless. Thibaut does not scruple to include Haydn and Mozart in his censure on those who write "our new masses and other church music in a purely amorous style, giving them an altogether operatic stamp, and imitating the most popular, and therefore the least refined operas" (Ueber Reinheit der Tonkunst, p. 10). The tendency of the romantic school was to favour the early Italian church music, very often ignorantly, and to the prejudice of Mozart. Cf. Tieck Phantas., I., p. 468.] [Footnote 33: Ueber Reinheit der Tonkunst, p. 11.] [Footnote 34: A. M. Z., III., p. 494.] [Footnote 35: A. M. Z., III., p. 493.] [Footnote 36: A. M. Z.f I., p. 116.] [Footnote 37: It is very interesting to compare Michael Haydn's Litaniæ de venerabili sacramento in G minor (Leipzig: Breitkopf and Härtel), which was written at the same time and under similar circumstances. It is an excellent work, displaying the cultivation of a master both in design and execution. The fact of its being on the whole less graceful, and more serious, only shows the difference of the artistic nature of the two masters; the general conception is not essentially different, and Michael Haydn also yields to operatic influence.] [Footnote 38: This movement ended originally in B flat major. Mozart rightly preferred to close the introduction in the dominant (F major), and thus gave greater breadth to the finale.] [Footnote 39: Mozart has abbreviated it in three places, and has altered wherever necessary. The shortened fugue is printed in Cantate I.] [Footnote 40: L. Mozart wrote at the beginning: "The solo of the Agnus Dei is written in the bass for Herr Meissner."] [Footnote 41: One of these Regina coeli--we do not know which--was composed for Frau Haydn, and afterwards sung, as L. Mozart writes (April 12,1778), by Ceccarelli.] [Footnote 42: I have grave doubts of the genuineness of a short Salve Regina for solo voices and chorus (92 K.).] [Footnote 43: Perhaps this is one of the motetts which Wolfgang composed in Milan in 1771. A second aria in cavatina form, "Quaere superna," with an introductory recitative, "Ergo, inter est," in G major (143 K.), was evidently intended for an interpolation.] [Footnote 44: When Mozart was travelling in 1777, his father wrote to him (October 4): "I inclose the chorale, which may be useful and even necessary to you at some time or other; you ought to know everything."] [Footnote 45: P. Martini, Storia Univ., II., p. 281.] [Footnote 46: Stadler's Defence of the Authenticity of Mozart's Requiem, p. 10.] [Footnote 47: An analysis is given in A. M. Z., X., p. 43; cf. XIII., p. 305.]