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[ K. R[isbeck] says (Briefe über Deutschland, I., p. 193) it was considered proper in Vienna to treat the ladies of the party, even when they were in no way related to their escort. Mozart must have been thinking of his former liberality to the Webers, so severely blamed by his father (Vol. I., p. 418).]
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[ Zelter says that Righini's position in Berlin was almost identical with that of Salieri in Vienna; "he may have been of a rather more lively disposition, but he was of about the same height and breadth" (Briefw. m. Goethe, II., p. 29). Cf. A. M. Z., XVI., p. 875.]
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[ She used to give a concert every year "as a proof of her existence and industry," according to the notice for 1799 (A. M. Z., I., p. 523); "the latter quality is all that she can now truthfully boast of" (Cf. A. M. Z., VI., p. 471; VII., p. 469. Reichardt, Mus. Ztg., I., p. 128). As late as 1813 she ("who had once reigned supreme as a pianoforte-player in Vienna") appeared in public, and was pronounced "an accomplished and correct player, but cold and old-fashioned" (A. M. Z., XV., p. 300).]
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[ She wished to perfect herself in playing for some years longer, and then go to Paris and "make her fortune." Cramers Magazin der Musik says (1787, II., p. 1274), "Madame Aurnhammer is an excellent teacher of the piano, on which she gives lessons; I have not heard her play for long. It is she who superintended the engraving by Herr Artaria of many of Mozart's sonatas and varied airs." She attempted variations herself, which she used to play at her concerts and to have printed (Mus. Corresp., 1791, p. 362; 1792, p. 195). She had arrived at Opus 63 in 1799 (A. M. Z., II., p. 90).]
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[ Da Ponte, Mem., II., p. 104.]