[Footnote 2: Histoire du Théätre de l'Opéra en France, I., p. 164. Fétis, Curios. Hist, de la Mus., p. 325. Burney gives a detailed account of a "Concert Spirituel" at which he was present in 1770 (Reise, I., p. n).] [Footnote 3: Nothing is known of this music, so far as I am aware; Mozart does not seem to have kept it himself, and therefore did not bring it to Salzburg.] [Footnote 4: This Sinfonie Concertante is lost beyond recovery. Mozart sold it to Le Gros, and kept no copy; he must have thought he could write it again from memory; but apparently cared the less to do so as there were no virtuosi in Salzburg able to perform the symphony.] [Footnote 5: L. de Lomenie, Beaumarchais, II., p. 89. Dutens, Mém., II., p. 59. Madame du Deffand, Lettr., III., p. 172, 297.] [Footnote 6: Madame du Deffand, Lettr., IV., p. 107.] [Footnote 7: The Dauphin was born on December 11, 1778.] [Footnote 8: Madame de Genlis, Mém., I., p. 288.] [Footnote 9: She married M. de Chartus (afterwards Duc de Castries) in the summer of 1778, with a dowry from the King, and died in childbirth (Madame du Deffand, Lettr., IV., p. 52).] [Footnote 10: Jos. Frank narrates in his Reminiscences (Prutz, Deutsch. Mus., II., p. 28):] [Footnote 11: The Duchesse de Chabot, daughter of Lord Stafford, mentioned as an acquaintance by Grimm and Madame Epinay (Galiani, Corr. inéd., II., p. 305).] [Footnote 12: She was the daughter of the Duke of Orleans, sister to the then Duc de Chartres, the future Egalité. A short time previously a duel, of which she was the occasion, between the Duc de Bourbon and the Comte d'Artois, had made a great stir (Du Deffand, Lettr., IV., p. 28. Grimm, Corr. Litt., X., p. 1.)] [Footnote 13: That is on his first visit to Paris. The Duchess entered a convent in her fifteenth year, and remained there several years (Genlis, Mém., III., p. 84).] [Footnote 14: "Cf. Madame de Genlis, Mém., I., p. 289; II., p. 185.] [Footnote 15: Grimm, Corr. Litt., IX., p. 174.] [Footnote 16: Noverre's ballet "Les Petits Riens" was given in June, 1778 (in Italian by Italian singers), and was praised by Grimm, but without mention of the music (Corr. Litt., X., p. 53). This composition has also been irrecoverably lost.] [Footnote 17: The imposing effect of the simultaneous attack of a fine orchestra was the occasion of this catchword. Raaff told Mozart of a piquant _bon mot ä propos_ of the term. He was asked by a Frenchman, at Munich or some other place: "Monsieur, vous avez été ä Paris?" "Oui." "Est-ce que vous étiez au Concert Spirituel?" "Oui." "Que dites-vous du premier coup d'archet? avez-vous entendu le premier coup d'archet?" "Oui, j'ai entendu le premier et le dernier." "Comment, le dernier? qui veut dire cela?" "Mais oui, le premier et le dernier, et le dernier même m'a donné plus de plaisir."]