Life of Mozart

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.442 INDEX.Seeau, Count, I. 351, 353,357; "Idomeneo,"II. 132."Semiramide," opera by Salieri, III. 64." Semiramis," proposed melodrama, II. 74, 78(note).Sequence, in the Mass, III. 377; basis ofthe Dies irae. III. 378.Serenata, I. 153, 184; its importance anddevelopment, I. 300, 301 ; Mozart's, III. 25;see Works.Serrarius, TH^RlfesE PiERRON, Mozart'spupil, I. 400." Serva Padrona," comic opera by Pergolese,II. 8.Severity of style, Mozart's, II. 391.SEVLERcompany of actors in Mannheim, II. 74Sickingen, Count von, I. 149 in Paris, II. 37;Sight, Mozart's playing at, II. 422.SiGisMUND, Archbishop of Salzburg, I. 8locks Mozart up for a week to compose anoratorio, I. ;51 fosters church music, I. 235Silence during music insisted on by Mozart,357 ; Van Swieten's mode of procuringII. 385." S1LVAIN," Gretry's, as a German opera, II.190.SiNFONlA Eroica, reminiscence in Beethoven's,of overture to " Bastien undBastienne," I. 92. (For Sinfonia, see Overture.)Singers, operatic, their tyranny over composers,I. 129, 164; Mozart's opinion ofFrench, II. 36, 47.SiPRUTiNi, violoncellist, I. 4.Sisterhoods, religious, L. Mozart's opinionof, II. 405.Sketches, Mozart's, of his compositions, II.424, 433 et seq.. III. 374.Societies, artistic and scientific, in Mannheim,I. 369.Society for Musicians inVienna,II.i73 ; Mozartplays at thirty-fourth concert of, II. 174." Soliman II," opera by Süssmayr, III. 38S.Sonata in church music, I. 286 ; Mozart'ssonatas, II. 450 et seq. ; see Works.Song-like, Mozart's melodies, II, 453.Songs by Mozart, 1775-77, 1- 230 ; see Works." SONNENFEST DER BrAMINEN," III. 307.SouTER, tenor singer, II. 192." Spektakel" or Festival operas, II. 216.Spielmann, Councillor von, patron of Mozart,II> 353-Stage, German (1781), II. 188 et seq.Stahremberg, Count Jos. von, Canon ofSalzburg, II. 61.Stampiglia, S., librettist, I. 168.Ständchen, Mozart's, III. 25.Starke, sings in the "Zauberflöte," III. 303.Starzer, Jos., II. 174, 176.Steffani, Agost., I. 158.Stegmeyer's adaptation of Mozart's " Schauspieidirector,"III. 50.Stein, pianoforte and organ maker, I. ^59.Stein, Maria A., pianiste, Mozart's criticismon her playing, I. 361.Stephanie the younger, II. 177, 194; "Entführung,"II. 194.Sterkel, Abbe Joh. Fr. Xav., clavier-player,I. 387.Stephanskirche, Mozart appointed kapellmeisterat the, II. 277.Stierle, Madame, singer, II. 190.Stoll, friend and admirer of Mozart, III. 281.Storage, Nancy, prima donna, II. 274 ;Susanna, II. 330; in Salzburg, II. 275, 322;Mozart's song for her, II. 330; marriage,III. 60; in " Lo Sposo Deluso," ibid.; in" Figaro," III. 71, 92.Storage, Stephen, composer,Salzburg, II. 275 ; hisStrack, Von, II. 201, 203;to gain his favour at court,Strasburg, Mozart'sconcerts at. III. 71, 72.Strauss on the "Zauberflöte,"Strinasacchi, violin-player,for her. III. 336, 337.Stringed instruments,church music, I. 282.Strobach, conductor of"III. 124.SuARD, supporter of Gluck32.Subscribers, list of, toVienna, II. 287 (note).Subscription, Mozart'sII. 187; Mozart's subscriptionVienna, II. 285, 286, 289.Suite, form and treatmentI. 296; by Mozart, II.Sulzer's " Treatise onSt^ssMAYR, Franz, collaborateurin "Titus," III. 288;362 et seq. ; his musical365 ; his works, III. 387," Swan-song," symphonySwieten, Baron van,positions, II. 375 ; tasteII. 383; influence on375 in Vienna, II. 384 ;II. 385 et seq.; commissions388; musical parties,218; parsimony, II. 385;oratorios arranged byseq. ;care for Mozart'sSymphonies, Mozart'sTable-Music, II. 362;Giovanni," III. 166,(note)." Tarar," opera by BeaumarchaisIII. 135; adapted asIII. 126, 136.Tartini, Gius., I. 167.Teaching, Mozart's high" Telemacco," Scarlatti's,I. 203.Tenducci, singer, II. 65ibid.Terradeglias, I. 158.Terzet, origin of, in operaTeyber, Theresa, afterwards11.^191, 195, 244.THi;ATRE de la Foire,Theory, Mozart's lessonsThibaut on Mozart's masses,cordias Domini, I. 279.Thomaskirche, in Leipzig,performances at the,Bach's motetts there.Thorwarth, Joh., guardianfamily, II. 256.Thun, Count, II. 318;Thun, Countess, II. 173,THtJRSCHMiDT, horn-player,TiBALDi, tenor, I. 135.Tieck, Ludwig, in Berlin,TiRso de Molina, autherdi Piedra," III. 146.Toeschi, concertmcisterTonelli, Anna, vocalist,ToNE-PAiNTiNG, Mozart's,272.Tozi, maestro, I. 148;Gräfin von Seefeld, I.Traetta, Tom., I. 158.II.331.Mozart's25.(1778)III.Mozart's166; useFigaro" inGretry,concertspublishedconcertsHaydn,Arts,"withRequiem,handwriting.minor.seq.severein Berlin,onMozart,385,359;III.III.III.271;(note),andby Dastandard of,comic scenesMozart'sI.MadameII.281.266;Mozart's228;the353.232.235." ConvidadoMannheim,85, 90,intrigue274;attempt346.sonataof,Prague,II.II.MozartIII.; com-music,Mozart,386;Handel's218358,35g.30 etin "DonSalieri,Ponte,II.scena161.Arnold10, 11.Miseri-organhe hearsWeber1.99;withInandin17,inby,in&c.,381.III.III.35.II.II.III.etseq.21042.in,for,386.III.opera, II.III.visit toI.andMozart'sworksof, by389.the Finein the388.in GII. 374 etformusic et seq. ;to II.III.Mozart,funeral,Vienna,III.176, 209" Axur";seria,in Paris,in, II.I.III.III. 229.ofIII. 123.195, 352,III.III.of theatII, 8.III.his love150.
;INDEX. 443Trattnern, Fr. von, Mozart's pupil, II. 307,279; his compositions for her, ibid.Weber, Aloysia, 1. 416 ; Mozart's first mentionof, I. 417; nis attachment to, I. 418 etTrios, Mozart's instrumental, III. 17.seq. ; his compositions for, I. 419; as hisTrübensee, oboist, III. 242.pupil, I. ;427 corresponds with her fromTrumpets, solo instruments, I. 167; use of Paris, II. 37; her engagement in Munich,in church music, I. 283.II. 69 ; breaks with Mozart, II. 84.Turkish Music in the "Entführung," II. Weber, Carl Maria von, remarks on the194. 239-"Entführung," I!. 248.Weber, Franz, Aloysia's father. I. 416, 424II. 60.Weber, G., on the Requiem, III. 372, 383,(note), 385, 386.Weber, Madame, II. 258 et seq., 324.Weigl, J., composer of " Die betragne Arg-Uqarte, Count, theatrical director, III. 275.Ulbrich, Operatic composer, II. 190.Ulibicheff on Mozart's MisericordiasDomini, I. ;279 on the Overture to the"Zauberflote," III. 317 (note).Umlauf, tenor in the Vienna orchestra, andcomposer of" Die Bergknappen," 1. 406; II.190 ;in Frankfort, III. 277.Berlin, I. 16 ; II. 379.Virtuosi, royal and noble, I. 287.Virtuoso, Mozart as a, II. 172, 357 ; on thepianoforte, II. 282 et seq., 289, 441 et seq.;enthusiasm as a, II. 357; requirementsfor, II. 442 et seq.; contemporary opinionsof Mozart as a, II. 443.VisMES, De, director of the Grand-Opera, II.46, 56.Vivaldi, Ant., I. 167.Vocal and musical element in Italianopera, II. 4.Vogler, musician at Mannheim, I. 387 ; Mozart'santipathy to, I. 388; his influence onmodern music, I. 389; his unpopularity, I.390; his entr'actes to " Hamlet," II. 105.Voltaire, Mozart's contemptuous mention of,11.55-VuLPius, theatrical poet in Weimar, III. 49.Wagenseil, G. C, I. 27.Wagner, Richard, on Mozart's Cantabilitat,III. 33 ; on his operas. III. 248 (note).Walburga, M. a., Electress of Saxony, I. 147.Waldstädten, Countess, assists Mozart tomarry, II. 261 et seq.;pecuniary aid, II. 299.Wallerstein, Prince von Getting-, I. 367.Wallis, Countess von, sister to ArchbishopHieronymus, II. 62.Walseog, Count, III. 287, 368 et seq.list," III. 43, 219 ; succeeds Salieri in Vienna,III. 275 ; his opera. III. 276.Weigl, Madame, II. 173.Weimar, German opera in, III. 49.Weiskern, " Les Amours de Bastien et deBastienne," I. go.Weisse, C. F., adapts Coffey's " Devil toPay," II. 216, 217." Welches ist die beste Nation ? " Germanopera by Umlauf, III. 42.Wendling, Dorothea, 1. 373, 384 in Munich,;Vade, French composer, II. 11.Valesi, tenor singer in Munich, II. 135.Varesco, Abbate, librettist of " Idomeneo,"II. 126; of L' Oca del Cairo, II. 315; III.53 et seq.Variations, the Fischer, I. 429 variations a;favourite form of improvisation, II. 144; Mozart's,II. 445 et seq. in his quartets, III. j 14. II. 135.Vaudeville, (Singspiel) in Vienna, II. igo. Wendling, Elizabeth A., 1, 374" ;Veilchen," Goethe's, composed by Mozart, II. 135-,II. 373.Wendung, J. B., flute-player, I. 32 ;in Paris,Venice, school of operatic composers in, 1. 158. I- 39I) 399i 413 ; Mozart's change of mindVespers, I. 275 ; simplicity of style, II. 95 concerning, I. ;410 ; friendly to Mozart inmusical construction, II. 96 et seq.Paris, 1778"; II. 36.Vienna, music in (1767), I, 67; the theatre Wezlar, Herr von, Mozart lodges with inunder Affligio's management, I. 72; Archbishop'svisit to (1773), I. 144; Mozart's III. 66.Vienna, II. 304; offer concerning "Figaro,"efforts to obtain service in I. 145 ; dissolute Wieland and German opera, 1. 370, 372 ; visitscourt, II. 270 (note) ; the drama in, II. 188;Mannheim, I. 403 ; Mozart's opinion of,Mozart's settlement in, II. 186 ;his position, ibid. "; Oberon," III. 305"; Lulu," ibid.II. 276; III. 218." Wilhelmus von Nassau," popular song," ViLLANELLA Rapita," Mozaft's soHgs insertedin, II. 331.Wind Instruments, 1. 166I- 45.ViLLENEUVE, LouiSE, singer, II. 333 Mozart's; use of, in Churchmusic, I. 283.;songs for her, II. 334; III. 238.Winter, Peter, I. 386, 38g ;his hostility toVinci, Leonardo, I. 158.Mozart, II. 257.Violin, the, Mozart as a virtuoso on, I. 316; Winter, singer in the "Zauberflöte," III,his neglect of, II. 67.303. 348-"Violin Method," L. Mozart's, 1. 12 et seq ;Wittman, Mdlle., III. 34g.II. 379; translated into Dutch, I. 46; in Woborzil, violinist, in Vienna, II. 203.Wolfegg, Count Anton, canon of Salzburg,in Munich,I- 333-Women, L. Mozart's warning to his sonabout, I. 40g.Wranitsky, composer of" Oberon,'' III. 305."Zaide," opera by Mozart, II. 115 et seq.;melodrama in, II. 123.Zamora, Antonio de, adapts " Don Juan,"111.155." Zauberflöte, Die," opera by Schikanederand Mozart, III. 284 et seq.; character andplot, III. 302 et seq. ;first performance. III.304; libretto. III. 305 et seq., 313 et seq.;mystic elements. III. 315, 345 music. III.;315 et seq. ; reminiscence of Clementi in theoverture. III. 315; of "Ariadne" in theopera, III. 333 popularity in Germany, III.;304, 348 ;and elsewhere. III. 350 et seq ;Goethe's admiration. III. 314, 350; Germancharacter. III. 348; Beethoven's opinion of,III. 348 (note).Zeil, Count F. von, I. 351 et seq.Zelter on L. Mozart's "Violin Method," I. 16;the Benedictus in the Requiem, III. 389, 393.Zeno, Apostolo, librettist, I. 16S.Ziegenhagen, Frz. Hein., philanthropistand fanciful enthusiast, II. 40g; Mozart'scompositions for, II. 410."ZuLiMA," opera by Dezaide, II. 57.
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l^^SSSiSiSJSSSrS^^^SSJS!:^^^jMJ^mv-
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';ä«i,'1»
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LIFE OF MOZARTBYOTTO JAHN.TRANSLATE
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NEXTCHAPTER XXXIV.MOZART'S INSTRUME
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5 Nissen, Nachtrag, p. 62.B 2—;MO
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———QUARTETS, I785. 5biguous r
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MOZART'S AND HAYDN's QUARTETS. 7fea
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MOZART'S STRING QUARTETS. 9degree,
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—————SIX QUARTETS, I785.
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;SIX QUARTETS, I785. I3They are cas
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;LATER QUARTETS, 1786-1790. I5meet
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——TRIO IN E FLAT, I788. 17Duets
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—THE QUINTET.IQrenders all the mo
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——MOZART'S G MINOR QUINTET. 21i
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24 MOZART S INSTRUMENTAL MUSIC.Anot
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——20 MOZART'S INSTRUMENTAL MUSI
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28 Mozart's instrumental music.This
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—THE D MAJOR SYMPHONY. 31The tole
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—SYMPHONIES, 1788. 33without any
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—G MINOR SYMPHONY, I788. 35mind t
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C MAJOR SYMPHONY. 37keenness of exp
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SYMPHONIES. 39puntal elaboration, a
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THE RIGHT MEANING OF THE SYMPHONIES
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:THE OPERA IN VIENNA. 43composers (
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—DECLINE OF GERMAN OPERA. 45I oug
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—" DER SCHAUSPIELDIRECTOR," I786.
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—" DER SCHAUSPIELDIRECTOR," I786.
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REVIVAL OF ITALIAN OPERA, 1783. 5Iu
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——" l' oca del CAIRO," 1783. 53
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——;by the treatment of the deta
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'* l' oca del CAIRO," 1783. 57also
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—!" LO SPOSO DELUSO, 1784." 59fin
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—" LO SPOSO DELUSO," 1784. 61over
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" LO SPOSO DELUSO," I784. 63restora
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—CASTIDA PONTE. 65from Casti, " L
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—'ADAPTATION OF '' FIGARO," I785.
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—INTRIGUES AGAINST " FIGARO." 69b
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:PERFORMANCE OF " FIGARO. 71II Cont
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" LE MARIAGE DE FIGARO. 73play had
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BEAUMARCHAIS' "FIGARO." 75nounced h
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DA PONTE'S LIBRETTO. >]"]boxing his
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;worsted and disgraced.DA PONTE S L
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—MORAL TENDENCY OF FIGARO. ölThe
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MUSICAL TREATMENT OF THE DRAMA. 83w
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BASILIO. 85telling how he found the
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——FIGARO.^yideas are afterwards
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——:BARTOLO. 89opportunity of ve
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THE COUNT. 91the enchanting duet wi
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RONDO FOR SUSANNA. 93AI desio di ch
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Itbecomes all the more observable.
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CHERUBINO. 97excite her anger, and
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—32 Dohrn, N. Ztschr, Mus., XL, p
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ENSEMBLES.lOIments, but the musical
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FINALES. . 103mated variety, moving
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;FINALES. 105disposition of the cha
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THE SESTET.IO7son being transferred
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—;:TREATMENT OF THE VOICE PARTS.l
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THE ORCHESTRA.Illabstaining from ce
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—THE ORCHESTRA—OVERTURE. 113for
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"FIGARO AS AN OPERA BUFFA. II5porar
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—VIENNA, 1786. 117sity of feeling
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MUSIC IN BOHEMIA. II9the Bohemians,
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——;MADAME DUSCHEK. 121him. She
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—PERFORMANCE OF " FIGARO.I23were
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—CONCERTS AND COMMISSIONS, 125The
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—VIENNA, 1787—DITTERSDORF. I27i
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——COMPOSITIONS IN 1787. 129shar
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PERFORMANCE IN PRAGUE, 17S7. I3Ilov
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—)SUCCESS IN PRAGUE. I33the appoi
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SONG FOR MADAME DUSCHEK, 1787. I35s
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)—PERFORMANCE IN VIENNA, 1788. 13
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CRITIQUES ON " DON GIOVANNI.13gand
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'•":^^—CRITIQUES ON " DON GIOVA
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";STATISTICS OF PERFORMANCES.I43fir
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THE LIBRETTO.I45it not at all for V
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TIRSO DE MOLINA'S " CONVIDADO DE PI
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:TIRSO DE MOLINA'S " CONVIDADO DE P
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!—THE ITALIAN " CONVITATO DI PIET
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—MOLIERE'S "festin de PIERRE.I53r
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EON JUAN IN ENGLAND AND GERMANY. I5
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——GLUCK'S ballet, " DON JUAN."
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—GAZZANIGA's " CONVITATO DI PIETR
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DA PONTE'S LIBRETTO.l6lhis characte
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DA PONTE'S LIBRETTO. 163tance in di
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!'of justice, and begs his friends
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:GERMAN ADAPTATIONS. 167hero is con
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— ——THE OVERTURE. 169breeze,
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:LEPORELLO.I7Istriking as is his in
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THE SESTET LEPORELLO. I73sestet, ho
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DUET—LEPORELLO 175passage, wherei
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•THECOMMENDATORE. I77terror he ha
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—LEPORELLO—AIRS.I79as has his m
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THE RAPID PARLANDO.l8laudience to l
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DON GIOVANNI. 183terzet, again (Act
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DON GIOVANNI—AIRS. 185unbridled p
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;ZERLINA. 157maiden; and the little
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—MASETTOZERLINA. 189airs of Don G
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!—ELVIRA. 191not recognising her,
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'ELVIRA—TERZET.I93unmasks Don Gio
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ELVIRA—INSERTED AIR— FINALE.I95
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DON GIOVANNI S CHARACTER. ig/with n
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DONNA ANNA. 199unconscious exclamat
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—DONNAANNAOTTAVIO. 201chieg-go,wi
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—DONNA ANNAOTTAVIO.•203dispute
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—DONNAANNAOTTAVIO. 205churchyard
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—FIRST FINALE. 207when Zerlina as
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DANCES. 209are in a position to exp
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THE SECOND FINALE, 211which prepare
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THE SECOND FINALE. 213from the gloo
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——WORKS IN VIENNA, I788. 215of
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MASKED BALLS. 217converted into the
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"ARRANGEMENT OF HANDEL'S ORATORIOS.
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;ARRANGEMENT OF HANDEL'S ORATORIOS.
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THE " MESSIAH. 223portionate length
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ADAPTATIONS OF EARLIER WORKS. 225pu
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DRESDEN, 1789. 227phion," and in 17
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LEIPZIG— POTSDAM, 178g. 229risen
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;OFFER OF THE KING OF PRUSSIA.23IDu
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CONCERT IN LEIPZIG, I789. 233grown
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—LUDWIG TIECK AND MOZART. 235thea
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—WORKS IN VIENNA, 1709. 237CHAPTE
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—CHARACTERS AND PLOT. 239FiordiUg
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LIBRETTO. 241love. Don Alfonso, ent
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22A. M. Z., XXXIII., p. 222.R 2—P
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ALTERATIONS IN THE LIBRETTO. 245pos
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CRITICISM OF THE LIBRETTO. 247(whos
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THE MUSIC ENSEMBLES."249opera affor
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adieux from the shore, while Don Al
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——DORABELLA. 253part and the mo
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FERRANDO. 255is induced by her more
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—FERRANDO—GUILLELMO. 257his arm
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I^HII—GUILLELMO S AIR. 259treâ p
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GUILLELMO. 201assurance of Fiordili
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——DESPINA. 263boastful loquacit
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—DON ALFONSO. 265no grand air is
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II 11,^^î"^—IJI'II1 1 1THE OVERT
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1——THE FIRST FINALE. 269duet fo
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THE SECOND FINALE.27Ipredominated i
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GENERAL CRITIQUE. 273after the same
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MOZART S POSITION AT COURT, 179O. 2
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EXPEDITION TO FRANKFORT, 179O. 277I
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'"The lateRETURN JOURNEY TO VIENNA,
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—!!!!—BADEN, 1791STOLL. 281the
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—SCHIKANEDER. 283irretrievably in
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—COMPOSITION OF THE " ZAUBERFLOTE
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COMMISSION FOR THE REQUIEM. 287no e
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—FIRST PERFORMANCE OF "TITUS," 17
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PLOT OF TITUS. 29!Vitellia, daughte
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—"TITUS —OVERTURE— ENSEMBLES.
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" TITUS — SEXTUS. 295him one glan
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*' TITUS " VITELLIA. 2g7and even th
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" TITUS —ENSEMBLES. 299farewell o
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CRITICISMS ON "TITUS." 3OIIn brilli
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:^—DRAMATIS PERSONS. 303young man
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—"OBERON — "lulu. 305Schikanede
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THE LIBRETTO—RIVAL THEATRES. 307N
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" KASPAR DER FAGOTTIST. 3O9supper b
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———THE LIBRETTO.3IIher mother
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———THE LIBRETTO. 313silence u
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sfpII——ITHE OVERTURE. 315we thi
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—THE OVERTURE. 317intended to be
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—ACH GOTT VOM HIMMEL,3^9require i
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—TAMINO. 321groundwork for the lo
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CHORUSES. 323into closer contact wi
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intense sympathy of the firstSARAST
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—TAMINO. 327Sarastro's good tempe
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PAMINA. 329initiation into the myst
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——PAMINA—TERZET.33IPamina, in
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——rTHE QUEEN OF NIGHT. 335deepl
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THE THREE LADIES, 335only do we fin
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f——THE MOOR— PAPAGENO. 337sam
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—Ztg., 1793, p. 151)-Z 2PAPAGENO.
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——LOVE OF MAN AND WIFE.34Isugge
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ENSEMBLES. 343fail to appear in the
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FANTASTIC AND MYSTIC ELEMENTS. 345a
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;THE ORCHESTRA. 347form the basis o
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'*Zauberflöte." ''^PERFORMANCES AN
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PERFORMANCES AND IMITATIONS. 351oth
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SAD FOREBODINGS. 353afterwards how
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—;SERIOUS ILLNESS. 355winter supp
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THE END. 357tongue— I taste death
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INTERMENT AND GRAVE. 359as he was,
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—COMPLETION OF THE REQUIEM. 361re
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;süssmayr's work. 363He had not se
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süssmayr's work. 36:no longer be a
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PUBLICATION.3Ö7score note for note
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süssmayr's share in the work. 369A
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KYRIE— INTROITUS. 371time much fr
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KYRIE. 373could have written such "
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—HANDEL'S INFLUENCE. 375been quit
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DIES IR^. 377Dies iras, which is ge
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DIES IRM. 379ness of the Redeemer a
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DIES IRM. 381punctuated passage for
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—! IhkJDIES IR^. 383for what was
Page 397 and 398:
OFFERTORIUM. 385may be carried into
Page 399 and 400:
parts of the firstsüssmayr's share
Page 401 and 402:
süssmayr's share in the work. 389t
Page 403 and 404: GENERAL REVIEW OF THE WORK.39Iwe ha
Page 405 and 406: SYMPATHY FOR THE FAMILY. 393express
Page 407 and 408: COMMEMORATIONS. 3951842, a few hour
Page 409 and 410: MEMORIALS OF MOZART, 397a lyre. The
Page 411 and 412: CONCLUSION. 399musicians, with Hayd
Page 413 and 414: MARIANNE MOZART.40IAPPENDIX I.MARIA
Page 415 and 416: MARIANNE MOZART. 403gang's correspo
Page 417 and 418: —;!MARIANNE MOZART. 405I forget,
Page 419 and 420: :ARRANGEMENTS OF MOZART's CHURCH MU
Page 421 and 422: —ARRANGEMENTS OF MOZART'S CHURCH
Page 423 and 424: —PORTRAITS OF MOZART. 411The last
Page 425 and 426: ——PORTRAITS OF MOZART. 413effec
Page 427: PORTRAITS OF MOZART. 415ably from t
Page 430 and 431: "Ave4i8APPENDIX IV.KBchel,142 Tantu
Page 432 and 433: —;.:420 APPENDIX IV.Köchel.582 A
Page 434 and 435: 422 APPENDIX IV.Eichel250 Serenade
Page 436 and 437: .2.Köchel,Ki;chel,155 Quartet for
Page 438 and 439: ._426 APPENDIX IV.24851791802641245
Page 440 and 441: Ij'I.i428 APPENDIX IV.Küchel,62 Ca
Page 442 and 443: ;;430 INDEX.Auf der W:eden, theatre
Page 444 and 445: ;432 INDEX.Dalberg, Heribert von, e
Page 446 and 447: ;•434 INDEX.wine as a stimulant t
Page 448 and 449: ;436 INDEX." L' Arbore di Diana," o
Page 450 and 451: he;;438 INDEX.Paris, II. 45 concern
Page 452 and 453: ;440 INDEX.Operetta, German, an aft
Page 456 and 457: LONEONPRINTED BY NOVELLO, EWER & CO
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Page 470 and 471: 404a.
Page 472: ^^m^wsssm^w^^\.->'^\N»aäaaBHM
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Life of Mozart

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