[Footnote 10011: Mozart published it in 1759 with the title "Der Morgen und Abend den Inwohnern der hochfurstl. Residenzstadt Salzburg melodisch und harmonisch angekündigt." A notice of it is to be found in Marpurg's Histor. krit. Beitr., IV., p. 403.] [Footnote 10012: A "Divertimento à 4 instr. conc., Viol., Violone., 2 Co.," is included in Breitkopfs Cat., Suppl. II. (1767), p. zi.] [Footnote 10013: Haffner's Ouvres mêlées (Würzb.), V. 4, VI. 5, IX. 4.] [Footnote 10014: Cacilia, XXVI., p. 82.] [Footnote 10015: A Max d'or (about thirteen shillings) was paid to him for copies of four flute concertos, a ducat for a pastoral symphony, and a florin for two shorter ones.] [Footnote 10016: A. M. Z., XXIII., p. 685.] [Footnote 10017: This was the Society of Musical Science, founded at Leipzig in 1738 by Mag. Lor. Mitzler; s. Mitzler's Musik Bibl., III., p. 346; Musik. Almanach, 1782, p. 184. In his Violin Method, p. 7, L. Mozart praises this Society, and hopes that it will direct its scientific researches to questions of practical interest in music] [Footnote 10018: A long series of letters to his friendly publisher J. J. Lotter, at Augsburg, written during 1755 and 1756, when his work was in the press, testify to L. Mozart's care for accuracy of expression, orthography, and printing.] [Footnote 10019: Ph. Era. Bach advises clavier-players to hear as much good singing as possible; "it gives the habit of thinking in song, and it is well always to sing a new idea aloud to oneself, so as to catch the right delivery" (Versuch über die wahre Art das Klavier zu spielen, I., p. 90).] [Footnote 10020: "Wherein consists good execution?" says Ph. Em. Bach (Versuch über die wahre Art das Klavier zu spielen, I., p. 86). "In the power of expressing musical ideas to the ear correctly and with full effect, whether singing or playing."] [Footnote 10021: Marpurg's Hist. krit. Beitr., III., p. 160.] [Footnote 10022: Schubart's Aesth. d. Tonk., p. 157.] [Footnote 10023: Briefw. m. Goethe, V., p. 191.] [Footnote 10024: Schubart's Aesth. d. Tonk., p. 158.] [Footnote 10025: Stranitzky, who introduced the buffoon (Hanswurst) on the Vienna stage, gave him the Salzburg dialect (Sonnenfels ges. Schriften, VI., p. 372), and the buffoon was ever afterwards a native of Salzburg. The people of Salzburg were credited not only with boorish manners, but with a dulness of intellect amounting to stupidity. Mozart complains of it, and there was a proverb in Salzburg itself: "He who comes to Salzburg becomes in the first year stupid, in the second idiotic, and in the third a true Salzburger."] [Footnote 10026: The full name in the Church Register is Joannes Chrysostomus Wolfgangus Theophilus (Gottlieb, the father writes), and in his earlier letters he adds his "Confirmation name" Sigismundus. On several of his early works and on the Parisian engraving of 1764 his signature is J. G. Wolfgang, but afterwards he always signed Wolfgang Amade.]