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[ Wien. Ztg., January 25, 1792, No. 7, p. 217: "Reverence and gratitude for the departed Mozart caused a number of his admirers to announce the performance of one of his works for the benefit of his necessitous widow and children; the work may be termed his swan's song, composed in his own inspired manner, and performed by a circle of his friends under his own direction two days before his last illness. It is a cantata upon the dedication of a Freemasons' lodge in Vienna, with words by one of the members." The score, with the original words, appeared at Vienna, with the title, "Mozarts letztes Meisterstuck eine Cantata gebeben vor seinem Tode im Kreise vertrauter Freunde." Appended to the cantata is a song, "Lasst uns mit verschlungnen Händen," which may also be by Mozart. The cantata was published later, with other words, and the title, "Das Lob der Freundschaft.">[
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[ The inducement to this composition was briefly hinted at in the A. M. Z. I., p. 745, and afterwards given at greater length by G. Weber (Cäcilia, XVIII., p. 210).]
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[ This book of 633 pages bears the title: "Lehre vom richtigen Verhältnisse zu den Schopfungswerken und die durch öffentliche Einfurung derselben allein zu bewürkende allgemeine Menschenbeglückung herausgegeben von F. H. Ziegenhagen. Hamburg, 1792, 8." Mozart's composition is appended, printed on four pages. Ziegenhagen was born in 1753, at Salzburg; late in life he fell into bad circumstances, and put an end to his life at Steinthal, near Strasburg, in 1806.]
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[ The employment of three basset-horns, as in the vocal terzet (Vol. II., p. 361) and in an adagio for two clarinets and three basset-horns (411 K.), is no doubt the result of circumstances. The beginning of an adagio and allegro for these instruments exists among the fragments (93, 95 Anh., K.).]
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[ Mozart has jotted this melody hastily down upon an extra leaf, in order to make no mistake in the working-out. According to my colleague Heimsoeth the first six bars render the first psalm-tune with the first difference (from the Cologne Antiphonary); what follows is very probably a local compilation of several psalm-tunes for the penitential psalm "Miserere mei Deus," different tunes being customary in different places. The melody of the first phrase is from the beginning of the first psalm-tune, the melody of the second phrase occurs in the seventh tune.]