[Footnote 40: According to an anecdote in the Bohemia (1856, No. 23, p. 122) there was in Prague an old harpist named Hoffman, a familiar figure in every coffee-house. Mozart had him up in his room when he was living at the "Neuwirthshaus" (now "Der goldene Engel"), and played an air to him on the pianoforte, desiring him to improvise variations upon it. This he did, to Mozart's satisfaction. Ever after, this theme was the show-piece of the harpist, and he would never play it except by special desire; then he would go off into reminiscences of Mozart, and nothing would shake his firm persuasion that the great man must be a native of Bohemia.] [Footnote 41: It was composed, among others, by Leon. Leo, 1735; by Hasse, 1737; by Jomelli; by Perez, 1749; by Gluck, 1751; by Jos. Scarlatti, 1760; by Nau-mann, 1769.] [Footnote 42: It would be ascribing to Mozart a merit to which he has no claim to credit him with the reconstruction of the libretto (A. M. Z., I., p. 151. Cäcilia, XX., p. 191).] [Footnote 43: The numbers taken unaltered from Metastasio are: 2,5, 6, 8, 9,11,16, 20, 21, 25, and the obbligato recitatives, n, 17, 22, 24. Those for which new words were written are the songs for Annius (13, 17), for Sextus (19), and for Vitellia] [Footnote 44: This scene is all Mazzola's invention, but it does not form one of the longer ensemble movements.] [Footnote 45: Zelter, Briefw. m. Goethe, III., p. 26.] [Footnote 46: Curiously enough this very motif has become a type for a long list of overtures and symphonies by Mozart's immediate successors, and may even be recognised in Beethoven's first symphony and Prometheus overture.] [Footnote 47: The second air (8) is apparently of later composition, for it is not included in the consecutive numbering, and the score is written on the same paper as the march (3), the obbligato recitative, and the overture, all composed after the completion of the other pieces, which are written on one kind of paper.] [Footnote 48: Seyfried, Càcilia, XX., p. 193.] [Footnote 49: The second air (17), with Mazzola's words, was inserted subsequently, and numbered 13 1/2.] [Footnote 50: The ritomello is added on a separate page by a copyist; so is the concluding ritornello. Probably the air originally passed into an accompanied recitative for Titus, which is not preserved.] [Footnote 51: Schaul, Briefe üb. d. Geschmack, p. 51.] [Footnote 52: C. M. von Weber, Lebensbild, III., p. 4.] [Footnote 53: Gerber, N. Lex., II., p. 75. Cf. A. M. Z., IV., p. 318. Reichardt, Mus. Ztg., 1805, I., p. 112. In a notice from Berlin of the year 1799 it is described as a caricature (A. M. Z., I., p. 348).] [Footnote 54: The fact that the clarinet and basset-horn alone were employed as obbligato instruments, and that with an evident supposition of great proficiency, would lead to the inference that Stadler had come to Prague for the coronation.]