Life of Mozart

;;;INDEX. 439imperial private musician (1^787), II. 276 ; declinesthe post of kapellmeister offered by II. 323; III. 357-II. 434 composure at the thought of death,;the King of Prussia, II. 277; supports himselfand family by lessons and concerts, Müller, Wezel, composer. III. 308.Müller, actor in Vienna, II. igo.II. 278 et seq. ; household difficulties, II. Munich, Mozart's hopes of service in, I. 152;29g et seq.; Freemason, II. 400; relationstowards his fellow-artists, II. 308 manners prevalent in, II. 73removal of Mannheim court to, II. 60 ;coarse;visit of L.circle of friends, II. 352; visit to Salzburg, Mozart and Nannerl to, II. 140 ; churchII. 314; poverty, II. 300; composes (1786) music in, II. 166." Der Schauspieldirector," III. 47" L' Oca Music and Poetry, Mozart's conception of the;del Cairo" (1783), III. 53; " Lo Sposo Deluso,"(1787) III. 59" Le Nozze di Figaro "relative positions of, II. 226 et seq.Musical intermezzi to spoken drama given;(1785), 1 1 1. 66; produces " Figaro " in Prague by Salzburg students, I. 59.Musicians in Salzburg, general character of,I. 339; Mozart's sarcastic criticism of, I. 33g.Naples, its school of operatic composers, I.158.Nardini, Pietro, pupil of Tartini, I. 32, 167.Naumann, kapellmeister in Dresden, III. 227,22g.Berlin, III. 231 ; returns to Vienna with Neri, Filippo, supposed founder of oratorio,circumstances unimproved. III. 237 ; receives I. 193.the commission from Joseph II. to compose Neumann, J. L., III. 226, 227." Cosi fan Tutte," III. 238 et seq.;position New York, performance of " Don Giovanni "under Leopold II., III. 275 et seq.in. III. 144.1790. Seventh Professional Tony io Frankfort, Nichelmann on melody, II. 37g.for the imperial coronation, III. 277; Mayence.III. 278; Mannheim and Munich, III. 232.Niclas, Sophie, and Mozart in Berlin, III.278, 279 ; return to Vienna, III. ;279 composes(1791) the "Zauberflöte," for Schik-Berlin, II. 381 ; on P. E. Bach,Nicolai, Fr., his influence on music inaneder, III. 284, 302 et seq. ; is in the meantimecommissioned by an unknown to com-Prague, II. 214; Mozart's improvisation, II.II. 377.NiEMETSCHEK On Mozart's "Entführung" inpose the Requiem, III. 286 ; also by theBohemian Notables to compose " 43g; "Titus," III. 301.La Clemenzadi Tito " for the coronation of Leo-" Ninette \ la Cour," operetta by Duni," Nina," opera by Dalayrac, III. 230.pold II. at Prague, III. 287; mental and II. II.bodily depression during the composition of Nissen, Georg Nie, marries Mozart's widowtheRequiem, III. 289 ;and death. III. 352et seq. ; funeral ceremony in Freemasons'Lodge at Vienna, II. 406.Mozart's moral and artistic qualities i—As a Child : Docility, I. 21 ; simple nature,I. 35 ;imagination, I. 49 tender heart, ; I. 50and gives concerts, III. 122 et seq. ;" DonGiovanni " (1787), III. 126 et seq. ; continuedpoverty. III. 117, 2:5 ; chamber composer tothe emperor. III. 135; writes dances andarranges Handel's oratorios, 217, 218 et seq.178g. Sixth Professional Tout to Berlin, III,226 et seq.; in Dresden, III. 226; Leipzig,III. 228; Potsdam, III. 229 ; offer of place inchildish dignity, I. 50; industry, I. 62; loveof knowledge, I. 22,106; moderation, I. 106;love of fun, I. 106; of bodily exercises, I. 64.As a Man: Happy result of early training,I. 107 ; steady application in youth, I. 327self-possession and amiability, I. 332 no;forced talent, I. 328 ; the artist and mandevelop together in him, I. 328 devotion;to his father and love for his sister, I. 329;II. 54, 66, 208; tendency to sarcasm, I. 33g;11. 341; susceptibility to love, I. 334, 416;passion for dancing and masquerade, I. 337 ;II. 304; for billiard-playing, II. 281, 305;benevolence and trustful disposition, II. 308 ;taste for good dressing and social pleasures,II. 302; III. 285 ; moral earnestness I., 428,430 piety, I. ;129, 267, 367, 400 ; II. 183 ;selfappreciationwithout pretension, I. 28, 50,125; III. 134; susceptible of remarks on hispersonal appearance, I. 381 ; II. 440; unworldlynature, I. 346; 11.277; submissionto his father, I. 395, 427, 431; II. 66, 176,274,313 ; dilatoriness, I. 415 II. ;337, 356, 413 ;sense of honour, I. 428; unsuspecting nature,II. 48 ;want of pushing qualities, II. 48 ; III.237 ;not fond of abstract analysis, II. 58 ;impatient nature, II. 273, 278; love of fun,I. 382 ;II. 338, 359 ; III. 134, 281 ;generosityto fellow-artists, II. 253, 309, 341, 344 et seq ;sharp musical criticism, II. 341, 342; lovefor his wife, II. 265,268; III. 355 ;want ofeconomy, II. 29g, 311 ; hospitality, II. 309;industry, I. 330; II. 208, 413, 415, 421 ;III.68, 280 iorder and clearness in composition.Ill. 3g4-Noailles, Marechal de, II. 65.Nobility of Salzburg, Mozart's intercoursewith, I. 333.North Germany, music in, ll. ig3 ; Adamberger'sremarks upon, ibid.NoTKER the Stammerer, inventor of sequentiffi.III. 377.NousEUL, sings in the "Zauberflöte," IIL303.NovERRE, Jean George, his " Lettres sur laDanse et sur les Ballets," II. 21; in Paris,,II. 46 ; commissions Mozart to write anopera and plays him false, II. 48 ; his ballet" Les Petits Riens," II. 47," Oberon," opera by Wranitzky, producedby Schikaneder, III. 305.Occasional compositions for private kapelle,I. 287 ; number of Mozart's, II. 335." Olint and Sophronia," musical drama byCronegk and Hertel, II. 105.Opera buffa, origin of, in intermezzo, I. 203,204 ; relation to opera seria, I. 204, 205poverty of libretti, 1. 206, 207 form modelled;on opera seria, I. 207 ; finales, I. 208 ; composers,I. 2og; orchestra, I. 210; influenceof words on music, I. 209 ; in Paris, II. ii>14; Gretry's development of, II. 15 et seq.Opera, German, Mozart's development of, inthe " Entführung," II. 231 et seq.Opera seria, rise of, I. 154; foundation inrecitative, I. 155; subjects and form, I. 156;development, 1. 157 ; Neapolitan school of,I. 158 ; recitative, I. 160 ;aria, I. 161 ; overture,I. 165 ; orchestra, I. 166 ; libretti, I.168 et seq.; Mozart's distinction betweenopera seria and opera buffa, II. 231 (note).Operatic composition, Mozart's peculiargenius for,, I. 411, 424 ; U. 187, 207.