[Footnote 38: The first bars of an adagio for clarinets and three basset-horns were written out (93 Anh., K.), and an allegro for two clarinets and three basset-horns (95 Anh., K.) was somewhat further advanced.] [Footnote 39: So it is given by Meyer (L. Schröder, I., p. 357) for the year 1781 (cf. A. M. Z., XXIV., p. 268), and the tables in the Jahrb. d. Tonkunst, 1796, p. 92, agree with his statement.] [Footnote 40: K. R[isbeck], Briefe ûb. Deutschld., I., p. 279.] [Footnote 41: Nicolai, Reise, IV., p. 542.] [Footnote 42: Nicolai, Reise, VI., p. 702.] [Footnote 43: So Kalkbrenner told me in Paris, in 1837.] [Footnote 44: Niemetschek, Biogr., p. 41. (Note: Misnumbered in the print edition--DW)] [Footnote 45: Rich. Wagner, Kunstwerk der Zukunft, p. 85. It was just this "Cantabilität" with which Nàgeli reproached Mozart, who according to him "cannot be termed a correct composer of instrumental music, for he mingled and confounded 'cantabilität' with a free instrumental play of ideas, and his very wealth of fancy and emotional gifts led to a sort of fermentation in the whole province of art, causing it rather to retrograde than to advance, and exercising a very powerful influence over it" (Vorlesungen, p. 157). It certainly appears strange in our times to see Mozart considered as the disturbing and exciting element in the development of art; and Nägeli was thoroughly sincere and in earnest in his musical judgments.] [Footnote 46: E. T. A. Hoffmann says of this symphony (called the "swan song"): "Love and melancholy breathe forth in purest spirit tones; we feel ourselves drawn with inexpressible longing towards the forms which beckon us to join them in their flight through the clouds to another sphere." A. Apel attempted to turn the symphony into a poem, which was to imitate in words the character of the different movements (A. M. Z., VIII., p. 453). Cf. Ludw. Bauer's Schriften, p. 471.] [Footnote 47: It is characteristic that in the first and last movements the second theme is only fully expressed when it enters for the second time in the minor; in the major key it is far less expressive.] [Footnote 48: A mistake long perpetrated in the andante has been pointed out by Schumann (N. Ztschr., XV., p. 150. Ges. Schr., IV., p. 62). In both parts four bars (I., 29-32; II., 48-51) are repeated twice, with altered instrumentation; this is altogether inexcusable, for it causes the same transition from D flat major to minor (G flat major, A flat minor) to occur twice in succession. A glance at the original score makes the matter clear. Mozart originally wrote the four bars 33-36 (II., 52-55), and then added the other version on a separate page, probably as being easier; they were copied one after the other by mistake. That he intended the demisemiquaver passage for the wind instruments may be inferred from the arrangement with clarinets to be presently noted, where it is given to those instruments.]