The majority of compositions have been directly the result of circumstances determining the direction of the artist's energies; they laboured for the future while seeking to satisfy the present. They therefore made free use of their works for subsequent elaboration, altering what was needful, and adapting them to the particular occasions on which they were performed by means of additions, omissions, and alterations. The same freedom was thought allowable with the works of other masters, especially those of an earlier time, so that the public might the more easily and comfortably enjoy what was set before it. A knowledge of what was then thought excusable in this direction[26] will serve to increase our respect for the artistic spirit in which Mozart performed his task.[27] The scientific and historic ideas which have permeated the cultivation of our times require the enjoyment of a work of art to be founded upon historical insight and appreciation, and to this end it must be represented exactly as the artist has produced it. But this principle, true as it is in itself, can only be applied with considerable practical limitations, and it is doubtful how far the general public is capable of apprehending and approving it; in any case it is much to be desired that the fashion in such matters should not be set by pedants.[28] FOOTNOTES OF CHAPTER XXXIX. [Footnote 1: Wien. Ztg., 1789, No. 69, Anh., advertises Frûhlingslied and Kriegslied by Mozart.] [Footnote 2: In the grand pasticcio arranged by Da Ponte, "L'Ape Musicale," a couple of airs by Mozart are inserted (Wien. Ztg., 1789, No. 23, Anh.).] [Footnote 3: I owe these particulars to the courtesy of Sonnleithner.] [Footnote 4: Wien. Ztg., 1791, No. 44, Anh., announces thirteen German waltzes, thirteen trios and coda, among which are the "Leyer" and "Schlittenlahrt."] [Footnote 5: André's Catalogue includes, besides five minuets signed "Di Wolfgango Amadeo Mozart, Vienna, 1784" (461 K.), and the Prague "Teutschen" (509 K.) already mentioned (Vol. III., p. 125), several other dances, certainly belonging to an earlier date. Printed and written collections of dances in the most varied arrangements have been circulated under Mozart's name, although of very doubtful authenticity.] [Footnote 6: Under Mozart's name an "Anleitung soviel Walzer oder Schleifer mit zwei Wurfeln zu componiren, soviel man will, ohne musikalisch zu verstehen," was published in four languages by Hammel (Amsterdam, Berlin and elsewhere). I am not aware whether he had any share in it.] [Footnote 7: The often-expressed opinion that Mozart arranged "Judas Maccabæus" (A. M. Z., XXII., p. 30) has been corrected by Sonnleithner (Cäcilia, XVIII., p. 242). "Judas Maccabæus" was performed as early as 1779, at the Concert for the Pensionsinstitut (Wien. Mus. Ztg., 1842, p. 70).]