[Footnote 4: His naïve and highly entertaining autobiography appeared in Leipzig in 1801.] [Footnote 5: Dittersdorf, Selbstbiogr., p. 228.] [Footnote 6: Gerber, A. M. Z., I., p. 307; ibid, III., p. 377. Cf. Biedenfeld, Die Komische Oper, p. 60.] [Footnote 7: Berl. Mus. Wochenbl., 1791, pp. 37, 54, 163.] [Footnote 8: Müller, Abschied, p. 277.] [Footnote 9: Cramer, Magaz. f. Musik, 1788, II., p. 53.] [Footnote 10: "Mozart auf der Reise nach Prag" is the title of a novel by Eduard Möricke (Stuttgart, 1856), written with the author's usual grace and delicacy. At the same time it is to be regretted that he has laid so much stress on the lighter, more worldly side of Mozart's character; and it is scarcely conceivable that a poet could have ascribed to Mozart a manner of composition which was as far as it was possible to be from his nature as an artist.] [Footnote 11: Particulars concerning this visit to Prague are given by J. R. Stiepanek in the preface to his Bohemian translation of "Don Giovanni" (Prague, 1825, German translation by Nissen, p. 515)* The Prague reminiscences are revived also in the "Bohemia" (1856, Nos. 21-24). Heinse gives some details communicated by L. Bassi (Reise--u. Lebensskizzen, I., p. 208), and J. P. Lyser draws from the same source in his Mozart-Album (Hamburg, 1856). These accounts are, however, wanting, not alone in aesthetic culture, but in the discernment of what is historically true. On a lower level still must be placed Herib. Rau's "Cultur-historischer Roman" "Mozart" (Frankfort, 1858), which has little in common either with culture or history; his description of the visit to Prague is in especial a more appalling calumny on Mozart's moral and artistic character than has been ventured on by any of his opponents.] [Footnote 12: Ost und West, 1839, No. 42, p. 172. A memorial tablet was afterwards placed on this house.] [Footnote 13: The vineyard is called Petranka (Smichow, No. 169), and belongs, according to the "Bohemia" (1856, p. 118), to the merchant Lambert Popelka.] [Footnote 14: In the autograph score the duet is written on smaller paper, and somewhat more hastily than the other numbers, as was the case with Masetto's air.] [Footnote 15: Castil-Blaze has accepted these professional fables as literal truth (Molière Musicien, I., p. 310).] [Footnote 16: Da Ponte, Mem., I., 2, p. 103.] [Footnote 17: The recitative and these two passages are omitted from the autograph score, which prevents any identification of the alterations. In "Idomeneo" the Oracle is accompanied only by trombones and horns. Gugler throws doubt on the anecdote (Morgenbl., 1865, No. 33, p. 777).] [Footnote 18: At the wedding festivities in Vienna, on October 1, Martin's "Arbore di Diana" was performed (Wien. Ztg., 1787, No. 79, Anh.), and was repeated nine times in the same year.]