31 ([return])
[ Sometimes his church music was mutilated and distorted, sometimes operatic and other compositions were arranged for church performance. A great deal was given out with his name in which he had little part, such as a Mass in G Major (Anh., 23a K.), rightly omitted by Seyfried (Cäcilia, V., p. 77; cf. VI., p. 129), another doubtful Mass in B flat major (Anh., 233 K.), and finally, an unauthenticated Mass in G major (140 K.), which, in my opinion, is unworthy of Mozart, but which Köchel and Lorenz consider to be genuine.]
32 ([return])
[ A. M. Z., XVI., p. 612. The criticism of Rochlitz (fur Freunde der Ton-kunst, IV., p. 237) is feeble and colourless. Thibaut does not scruple to include Haydn and Mozart in his censure on those who write "our new masses and other church music in a purely amorous style, giving them an altogether operatic stamp, and imitating the most popular, and therefore the least refined operas" (Ueber Reinheit der Tonkunst, p. 10). The tendency of the romantic school was to favour the early Italian church music, very often ignorantly, and to the prejudice of Mozart. Cf. Tieck Phantas., I., p. 468.]
33 ([return])
[ Ueber Reinheit der Tonkunst, p. 11.]
34 ([return])
[ A. M. Z., III., p. 494.]
35 ([return])
[ A. M. Z., III., p. 493.]