[Footnote 50: "A cantata composed for Prince Aloys von Lichtenstein by W. A. Mozart," of which there is a copy in the Royal Library in Berlin, is certainly not by Mozart (242 Anh. K.).] [Footnote 51: The Wien. Zeit., 1781, No. 98, announces "Six sonatas for the piano with accompaniment for the violin by the well-known and celebrated master, Wolfgang Amade Mozart, Op. 2, 5 fl." (296, 376-380, K.). No. 2 (in C major) was composed in Mannheim (p. 400), and No. 4 (in B flat major) was previously known to his sister, as he writes to her (June 4, 1781).] [Footnote 52: Clementi left Vienna at the beginning of May, 1782.] [Footnote 53: "The 'Entführung,'" says a notice from Vienna in Cramer's Magazin, I., p. 352, "is full of beauties. It surpassed public expectation, and the delicate taste and novelty of the work were so enchanting as to call forth loud and general applause."] [Footnote 54: This symphony (385 K., part 5) with the superscription, "ä Vienna nel mese di Juglio, 1782," has only a minuet, and no march. The second minuet was written on separate sheets, and not preserved, not being used in Vienna. Mozart afterwards added two flutes and two clarinets to the first and last movements for the performance in Vienna; these are wanting in the printed score.] [Footnote 55: Dittersdorf, Selbstbiogr., p. 237.] [Footnote 56: The truth of this anecdote is vouched for by Niemetschek, who narrates it (p. 34). Napoleon is said to have received a similar answer from Cherubini, who certainly did not borrow it from Mozart (A. M. Z., XXXVI., p. 21; cf., II. P. 735).] [Footnote 57: Many instances are given in Lange's Selbstbiogr., p. 98 Müller, Abschied, p. 100; Meyer, L. Schröder, I., pp. 341, 343, 346.] [Footnote 58: It remained on the Vienna repertory until 1779. The German opera was quite extinguished in 1778; it was revived on September 23, 1801.] [Footnote 59: Even this sum appears to have been thought excessive; at least Schroder wrote to Dalberg (May 22, 1784): "Mozart received fifty ducats for the 'Entführung aus dem Serail'; he would compose no opera under this price." At a later time, one hundred ducats was the usual price for an opera (Ditters-dorf, Selbstbiogr., p. 241).] [Footnote 60: Cramer, Magazin der Musik, I., p. 99.] [Footnote 61: Raisonnirendes, Theaterjoum. von der Leipzig. Michaelmesse, 1783, p. 32.] [Footnote 62: Koffka, Iffiand und Dalberg, p. 136.] [Footnote 63: Berl. Litt. n. Theat. Ztg., 1784, II., p. 160.] [Footnote 64: Lyncker, Gesch. d. Theat. u. d. Musik, in Kassel, p. 316.] [Footnote 65: Chronik. von Berlin, II., p. 440. Teichmann's Litt. N'achl., p. 45.] [Footnote 66: Ant. Hasenhuth's Leben., p. 94.] [Footnote 67: Cramer's Magazin f. Musik, II., 2, p. 1056, and B. A. Weber, in Knigge's Dramaturg. Blattern, 1788, II., p. 21, give favourable notices. Both these journals were among Mozart's little collection of books.]