9 ([return])
[ Frz. Lorenz, W. A. Mozart als Clavier-Componist (Breslau, 1866); a fine description, rich in characteristic traits.]
10 ([return])
[ Cf. Vol. I., pp. 177, 200, 285.]
11 ([return])
[ Mus. Real-Ztg., 1788, p. 49.]
12 ([return])
[ In 1785 Torricella announced "Neueste Fantasie-Variationen von Mozart," as follows: "The eagerness with which the works of this famous master are everywhere looked for, and the certainty with which they command the esteem of the connoisseur by their art and elegance, and touch the hearts of all by their tender melodiousness, have induced me to publish these very beautiful variations for the benefit of the most fastidious lovers of music, to whom I offer a new work calculated to do honour to its author. I shall endeavour from time to time to place all the remaining variations of this admirable master in the hands of an appreciative public." Fräulein Aurnhammer supervised the publishing of several of Mozart's variations (Cramer, Magaz. d. Mus., II., p. 1274).]
13 ([return])
[ The variations on a theme by Dittersdorf (287 Anh., K.) are by Eberl, according to his assertion in the Hamburg Correspondent (July 25, 1798, No. 118, Beil ), and his are also the variations so often printed under Mozart's name on the theme, "Zu Steffen sprach im Traume" (288 Anh., K.). The variations on a theme from Sarti's "I Finti Eredi" (289 Anh., K.) are by Forster. Mozart's widow, in letters to Hartel (May 25, June 15, 1799), appealed to well-informed friends to support her assertion that the variations "Une fièvre brûlante" (285 Anh., K.), whose genuineness had already been doubted by Siebigke (Mozart, p. 68), were not by Mozart, and she is undoubtedly right. 54 K. (after 547 K.) and 137 Anh., K. (after 581 K.) are arrangements.]