34 ([return])
[ Brevi Notizie int. ad ale. compositori di musica (Rover., 1827), p. 51.]
35 ([return])
[ It is illustrative of Mozart's way of working that at the place where a very bold and striking harmony occurs in the otherwise simple air, the bass is figured in the transcription—[See Page Image] as if he wished to assure himself of the effect of the harmonic succession.]
36 ([return])
[ Kelly, Reminisc., I., p. 226.]
37 ([return])
[ Mozart writes to Gottfr. von Jacquin (Prague, February 14,1787): "You may be sure that we managed to get up a little quatuor in caritatis camera, and the 'schöne Bandl hammera." Allusions are also made to it in his letters to his wife.]
38 ([return])
[ I was informed in Vienna that Mozart's widow related the circumstance in this way, only Van Swieten was erroneously substituted for Jacquin. A fragment of the original score (with quartet accompaniment) gives the names of Constanze, Mozart and Jacquin as singers. In the short preliminary notice to the published "Terzett" (Ouvres, V., 8), the detail was omitted as unnecessary to be made public. A quintet which appeared in Vienna in 1856, as Canto a 5 voci di Mozart, "Oh, come lieto in seno" (244 Anh. K.), is from Ant. Cartellieri's opera, "Il Segreto," composed in 1804 (Bohemia, 1860, No. 50, p. 448).]