Until he was almost ten years old, he had an insurmountable horror of the horn, when it was sounded alone, without other instruments; merely holding a horn towards him terrified him as much as if it had been a loaded pistol. His father wished to overcome this childish alarm, and ordered me once, in spite of his entreaties, to blow towards him; but, O! that I had not been induced to do it. Wolfgang no sooner heard the clanging sound than he turned pale, and would have fallen into convulsions, had I not instantly desisted. This is, I think, all I can say in answer to your questions. Forgive my scrawl, I am too much cast down to do better. I am, honoured Madam, With the greatest esteem and affection, Your most obedient Servant, Andreas Schachtner, Court Trumpeter. Salzburg, 24 April 1792 NOTES TO CHAPTER I. [Footnote 1001: An artist named Anton Mozart is mentioned by P. v. Stetten as settled in Augsburg, in the seventeenth century (Kunstgesch d. Stadt Augsburg, p. 283).] [Footnote 1002: An oil portrait, preserved in the Mozarteum at Salzburg, shows him to have been a tall, handsome man, but with no resemblance either to his son or grandson.] [Footnote 1003: A description of Leopold Mozart is given by Hamberger (Christenthum u. moderne Cultur, p. 25).] [Footnote 1004: R. P. Hist. Univ. Salisb., pp. 29, 90 (s. Meyer d. ehem. Univ. Salzburg.)] [Footnote 1005: Schubart's Aesthetik der Tonkunst, p. 157.] [Footnote 1006: Marpurg, Hist. krit. Beitr., III., p. 183.] [Footnote 1007: Schubart's Aesthetik d. Tonk., p. 157.] [Footnote 1008: "Have you a good subject for an oratorio?" writes L. Mozart to Lotter (December 29, 1755). "If I had it in time I would compose another for Lent. Have you the one which I composed last year, Christus begraben? We have to produce two Oratoria every Lent, and where are we to find subjects enough? It must not be de passions Christi, but it might be some penitential story. Last year, for instance, we produced one on Peter's Repentance, and another is now being composed on David in the Wilderness." He must have composed the above-mentioned oratorio twice, for as early as 1741 it had been printed in Salzburg as "Christus begraben; Cantata for three voices: Magdalena, Nicode-mus, Joseph von Arimathaea. Chorus of disciples and friends of our Lord. Words by S. A. Wieland. Music by J. G. L. Mozart]."] [Footnote 1009: Gerber includes among these "Semiramis," "Die verstellte Gartnerin," "Bastien und Bastienne," compositions of Wolfgang's, of which the scores were left in his father's possession. "La Cantatrice ed il Poeta," an intermezzo mentioned by Gerber, is quite unknown to me.] [Footnote 10010: Catalogo delle sinfonie che si trovano in manuscritto nella officina musica di G. G. J. Breitkopf in Lipsia, P. I. (1762), p. 22. Suppl. I. (1766), p. 14. Suppl. X. (1775),p. 3.]