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[ I made acquaintance with them through André's autograph collection» and also through three little blue books placed at my disposal by the owner, A. Cranz, of Hamburg. (A. M. Z., XXXIII., p. 733.) The first of these contains nine symphonies, the second a concertone and three serenate, the third a serenata. The dates are erased, but Sonnleithner has fortunately discovered and replaced them (Recensionen, 1862, Nr. 39, p. 614). In Breitkopf and Härtel's old warehouse, twenty symphonies in parts were also preserved. Since ten of these are among André's, and two belong to "Lucio Silla" and "Sogno di Scipione," we may conclude the rest to be equally genuine; and since none of those known belong to a later date than 1772, and "Lucio Silla" was performed at the Carnival of 1773, the others can scarcely be put later. In confirmation of this it will be remembered that on February 7, 1772, Leopold Mozart offered Breitkopf some of his son's compositions, and among them symphonies.]
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[ Still shorter and more precise is a serenade in four movements that, according to the first superscription, was originally a contretänz.]
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[ Where stringed instruments are employed the bass part is only indicated as basso; and no hint is given as to whether the double-bass or violoncello, or both together, were intended.]
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[ The same five instruments were employed for two divertimenti for wind instruments (166, 168, K.), of which one is dated 1773. The paper and handwriting are identical.]
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[ Mozart had employed four horns earlier, two being in another key, in symphonies (130. 132, 183, K., and that to the "Betuüa Liberata"), and in. operatic accompaniments ("Ascanio." ii; "Finta Giardiniera," 13. 26; "Re Pastore," 12).]