20 ([return])
[ Journ. d. Lux. u. d. Moden, 1808, II., p. 801. Al. Fuchs related the negative result of his careful inquiries in Gräffer's Kl. Wiener Memoiren (I., p. 227). Ritter von Lucam has at last (Die Grabesfrage Mozart, Wien, 1856) elicited by inquiries from two old musicians who had known Mozart, Freystadter and Scholl, that the grave was on the right of the churchyard cross, in the third or fourth row of graves. This agrees with the statement of the gravedigger in Nissen (p. 576), and inquiries officially set on foot in 1856 make it probable that it was in the fourth row to the right of the cross near a willow-tree (Wien. Blatter Mus. Theat. u. Kunst, 1859, No. 97).]
21 ([return])
[ The list of effects—which owing to the kindness of my friends, Karajan and Laimegger, lies before me—is copied in the Deutsche Mus. Ztg., 1861, p. 284. It is affecting to see from it how simple, even poverty-stricken, was the whole ménage. The collection of books and music is valued at 23 fl. 41 kr.; and among the bad debts is one of 300 fl. to Frz. Gilowsky, who was advertised in July, 1787, as having absconded insolvent; 500 fl. are put down as borrowed by Ant. Stadler (Posttägl. Anzeig., 1787, No. 35).]
22 ([return])
[ On a malicious rumour of the kind see O. Jahn, Ges. Aufs. über Musik, p. 230.]
FOOTNOTES OF CHAPTER XLV.
1 ([return])
[ The more detailed accounts of the composition and completion of the Requiem have been given chiefly on the authority of Süssmayr (A. M. Z., IV., p. 2) and Stadler (Vertheidigung der Echtheit des Mozartschen Requiems, mit zwei Nachtr.; Wien, 1827), and they have been verified and elucidated by the discovery of the score delivered over to Count Walsegg. Cf. Deutsche Mus. Ztg., 1861, p. 380. The narrative in the text, therefore, is given without regard to the dust-clouds of controversy in which a dispute carried on with so much animosity on all sides was sure to envelop the facts of the case.]
2 ([return])
[ Mozart made the following declaration, May 30, 1790: "I, the undersigned, hereby declare that I consider the bearer of this, Herr Joseph Eybler, to be a worthy pupil of his famous master, Albrechtsberger, a thoroughly learned composer both in chamber and church music, experienced in the art of composition, and also an accomplished organ and pianoforte-player; in short, it is only to be regretted that young musicians of his talents and attainments are so seldom to be met with" (N. Berl. Mus. Ztg., 1858, p. 244).]