[Footnote 17: The _personnel_ of the opera from 1781 to 1783, which, with their salaries, I have borrowed from Meyer (C. Schroder, I., p. 356), was as fellows:--Male singers: Adamberger (2,133 fl. 30 kr.), Souter (1,200 fl.), Dauer (?), Fischer (1,200 fl.), Gunther (1,200 fl.), Schmidt (1,200 fl.), Ruprecht (700 fl.), Hoffmann (600 fl.), Frankenberger (400 fl.), Saal (800 fl.). Female singers: Mdlle. Cavalieri (1,200 fl.), Madame Lange (1,706 fl. 20 kr.), Madame Fischer (1,200 fl.), Mdlle. Teyber (800 fl.), Mdlle. Haselbeck (600 fl.), Mdlle. Brenner (400 fl.), Madame Saal (800 fl.),Madame Bernasconi (500 ducats). The orchestra, under the leadership of Kapellmeister Umlauf, consisted of six first and six second violins, four tenors, three violoncelli, three double-basses, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, and drums. The total pay amounted to 16,124 florins.] [Footnote 18: Schmid, Gluck, p. 107.] [Footnote 19: Mosel, Ant. Salieri, p. 72.] [Footnote 20: Cramer, Magazin der Musik, I., p. 353. Auembrugger was further known to fame as a physician, and his daughters Franziska and Mariane were distinguished pianoforte-players.] [Footnote 21: In Forkel's Musik. Alman., 1784, p. 189, the question as to why the music of Viennese composers should be liked in North Germany, but the music of North Germany should be disliked in Vienna, is treated of in a contribution for Vienna, showing the two different standpoints.] [Footnote 22: Nicolai, Reise, IV., p. 556.] [Footnote 23: Allg. Wiener Musikztg., 1821, p. 56.] [Footnote 24: Müller, Abschied, p. 185.] [Footnote 25: Forkel, Musik. Bibl., III., p. 340.] [Footnote 26: Cramer, Magazin der Musik, I., p. 353, where it is erroneously stated that Gluck's "Alceste," "Iphigenia in Tauris," and "Orpheus" were given in Italian. Cf. Muller, Abschied, p. 270. A. M. Z., XIV., p. 268. The German translation of "Iphigenia" was by Alxinger (Forkel, Musik. Alman., 1783, p. 153.)] [Footnote 27: Reichardt describes his interview with Joseph II., in the summer of 1783 (A. M. Z., XV., p. 667. Schletterer, Reichardt, p. 326): "The Archduke Maximilian led the conversation on Gluck, whom they both considered as a great tragedian: but now and then the Emperor was not so much in favour of Gluck's operas as could have been wished."] [Footnote 28: Wien Ztg.,1731, No. 95, Anh. "Alceste" was repeated on December 13. Ibid., No.100, December 27 (No.104); "Iphigenia" was played on December 9 (No.99), and on January 3,1782; "Orpheus" was performed in Italian., Ibid., 1782, No. 2.] [Footnote 29: A. M. Z., XV., p. 668. Schletterer, Reichardt, I., p. 327.] [Footnote 30: Mosel, Salieri, p. 22.] [Footnote 31: Ludwig Berger's narrative was taken from the lips of his teacher in 1806, and is identical with Mozart s own account (Cäcilia, X., p. 238; A. M. Z., XXXI., p. 467). Other accounts differ somewhat, as usual in such cases.]