[Footnote 18: The excellent pianoforte arrangement, which is published by the German Handel Society with the score of "Acis and Galatea," shows throughout a similar working-out and arrangement.] [Footnote 19: Mozart is not answerable for all that stands in the printed score. The air, "If God is for us" (No. 48), with bassoon accompaniment, is, as Baumgarten has proved (Niederrh. Mus. Ztg., 1862, No. 5, p. 35), taken from Hiller's arrangement.] [Footnote 20: Thibaut, Ueb. Reinheit d. Tonk., p. 66.] [Footnote 21: In Fr. Th. Mann's musik. Taschenb. for 1805, we read (p. 3): "Der genielle Mozart erhob jene bis zur Manier getriebene Simplicitat, jene lang-weilige ermüdende Leere durch Ausfullung der Begleitung. Göttliche Zierden sind es, die Mozart aus der Fülle seiner Harmonie hier zusetzte, die aber bei diesem fur solche Schönheit unorganisirten Werk so isolirt stehen, dass sie einen zweiten Bestandtheil ausmachen!"] [Footnote 22: A notice from Hamburg (Reichardt's Mus. Ztg., I., p. 197) says of Mozart's arrangement: "Michel Angelo's Gemälde muss kein David über-malen wollen." Setzte doch Handel zu Mozart's Opern keine Orgel u. s. w. oder vielmehr strich keine--weg"; whereupon Reichardt remarks that the omitted word is illegible in the "esteemed correspondent's" handwriting.] [Footnote 23: Jen. Allg. Litt. Ztg., 1804, I., p. 601. Rochlitz names himself as the author of the detailed review (Fur Freunde der Tonk., I., p. 259). Cf. A. M. Z., IX., p. 476; XV., p. 428; XXIX., p. 692.] [Footnote 24: Reichardt's Mus. Ztg., I., p. 41. Zelter, who owns to this review to Goethe (Briefw., II., p. 302; III., p. 418), used to perform the "Messiah" in Mozart's version, with alterations and omissions (Berl. Allg. Mus. Ztg., 1824, p. 427).] [Footnote 25: Cf. Parke, Mus. Mem., II., 76.] [Footnote 26: Thus Hiller not only rearranged the instrumentation of Pergolese's "Stabat Mater," but adapted it partially as a four-part chorus; J. A. Schulze turned six instrumental adagios, by J. Haydn, into a cantata, "Der Versöhnungstod," for chorus and orchestra. And how was Mozart's church music treated! (App. 2.)] [Footnote 27: Gerber undertook, in all seriousness, to perform the choruses of the "Messiah" in Mozart's version, but to have all the airs recomposed by approved composers (A. M. Z., XX., p. 832).] [Footnote 28: The conclusion to Gluck's overture to "Iphigenie in Aulis," which has been, without proof, ascribed to Mozart, is, according to Marx (Gluck, II., p. 71), by J. P. Schmidt.] === MOZART 40 BY DAVID WIDGER CHAPTER XL. A PROFESSIONAL TOUR.