[Footnote 1: The minuet movement in symphonies was not liked in Salzburg. The minuet of the Symphony in B flat major was written later (to judge by the handwriting) for a performance in Vienna, and appended on a separate leaf. Mozart began a minuet to the C major symphony, but only finished the first part, and crossed it out in the score. The effort not to make the symphony too long is evident throughout, and especially in the non-repetition of the first movement, although it is completely detached.] [Footnote 2: The first movement (Adagio, Allegro con spirito), the Andantino and the Finale are (not quite correctly) printed as an independent symphony. (Breit-kopf and Härtel, 7.)] [Footnote 3: André possessed a careful copy of these two pieces, inscribed by Mozart "Sinfonia Concertante," as if for their special performance at a concert in Vienna, March 20,1783.] [Footnote 4: The customary attempt to give a peculiar charm to the trio of the minuet by means of unusual instrumentation is here apparent in the solos for the flute in the first trio and for the horn in the second. In Mozart's autograph score the flute part is left blank: was the player to improvise?] [Footnote 5: I do not know André's authority for his assertion that it was composed in 1780, but it appears to me to be justified. Mozart sends from Vienna (June 27, 1781) for "The Sonata ä quatre mains in B, and the two Concertos for two claviers," and he writes later on that he had played the Concerto ä duo with Frl. Auemhammer at a concert (November 24, 1781). Two clarinets were added to the original accompaniment, on a flyleaf, for this performance. The second concerto which is mentioned is no doubt that originally written for three claviers, and afterwards for two (p. 331).] [Footnote 6: The Credo as far as the "Et in spiritum" was afterwards laid aside; it was in 3-4, with the doubtful superscription, "Tempo di ciacconna."] [Footnote 7: The Dixit and Magnificat of the first vesper is in C major, Confitebor in E minor, Beatus vir in B flat major, Laudate pueri in F major, Laudate Dominum in A flat major. The Dixit and Magnificat of the second vesper are also in C major, Confitebor in E flat major, Beatus vir in G major, Laudate pueri in D minor, Laudate Dominum in F major.] [Footnote 8: The accompaniment consists, besides the organ (which is only once obbligato), of two violins and bass, trumpets and drums (these last only in the Dixit and Magnificat), and trombones in unison with the choir. The tenors invariably go with the bass; but, a rare occurrence, the violoncello is frequently distinct from the double-bass. Once a very simple solo for the bassoon, _ad libitum_, occurs.] [Footnote 9: The simple but sometimes independent accompaniment, especially of the violins, is very beautiful, and heightens the effect, as it does in the Mass.]