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1
 Dysfunctional Breathing

References

6 Outcome Measurement in Cardiorespiratory Physiotherapy

Practice
Introduction

International Classification of Functioning Framework

Selection of an Outcome Measure

Measurement of Impairment at Body Structure/Functions Level

Measurement of Activity Limitations

Measurement of Participation Restriction

References

7 Physiotherapy Interventions
Traditional and Manual Airway Clearance Techniques

Independently Performed Airway Clearance Techniques

Exercise and Pulmonary Rehabilitation for Airway Clearance

Adjunctive Techniques

Intermittent Positive Pressure Breathing

Non-Invasive Ventilation

Incentive Spirometry

Manual and Ventilator Hyperinflation

Glossopharyngeal Breathing

Positioning and Mobilization

Oxygen Therapy

Hypertonic Saline

8
 Mannitol

Dornase Alpha

Bronchodilators

Structuring an Airway Clearance Session

Differences between Shortness of Breath and Dyspnoea

Mechanisms Underpinning Dyspnoea

Assessment of Dyspnoea

Management Strategies for Dyspnoea

Inspiratory Muscle Training

Breathing Control

Manual Therapy Techniques for Musculoskeletal Dysfunction

Neurophysiological Facilitation of Respiration

References

8 Optimizing Engagement and Adherence with Therapeutic

Interventions
Introduction

Impact of Diagnosis

Living with Cardiorespiratory Illness

Engagement with Medical Teams

Conclusion

References

9 Adult Intensive Care

Introduction

Monitoring and Mechanical Support

9
 Problem Identification and Physiotherapeutic Interventions in ICU

Physiotherapy Management of Work of Breathing and Concepts of

Weaning from Mechanical Ventilation

Conclusion

References

10 Paediatric Intensive Care

Introduction

Epidemiology of Acute Respiratory Failure in Children

Indications for Supportive Respiratory Therapy

Mechanical Ventilation

Newer Ventilatory Support Techniques

Ventilation Strategies for Specific Disease

Other Considerations During Mechanical Ventilation

Level of Perinatal Care

Reasons for Admission to NICU

Congenital Diaphragmatic Hernia

Oesophageal Atresia and Tracheo-Oesophageal Fistula

Gastroschisis and Exomphalos (Omphalocoele)

Pulmonary Conditions

Treatments Available for Respiratory Conditions in the NICU

General Paediatric Intensive Care

Common Reasons for PICU Admission

Paediatric Cardiac Intensive Care

References

10
11 Upper Abdominal and Cardiothoracic Surgery for Adults
Introduction

Preoperative Physiotherapy and Prehabilitation

The Surgical Process

Types of Surgery

Special Considerations Following Surgery

Acknowledgements

Appendix

References

12 Physical Activity and Rehabilitation

Physical Activity Versus Physical Fitness

Physical Activity, Physical Fitness and Health

Strategies to Improve and Maintain Physical Fitness

Introduction

Aims of Rehabilitation in Chronic Obstructive Pulmonary Disease

Exercise Prescription

The Training Programme

Education and Self-Efficacy

Timing of Rehabilitation

Non-COPD Populations

Practical Aspects of Training

Long-Term Effects of Pulmonary Rehabilitation – Is Benefit

Maintained?

Conclusions

11
 Introduction

Cardiac Rehabilitation – Past, Present and Future Directions

Benefits of Exercise Training

Recommended Levels of Physical Activity and Exercise

Exercise Prescription

Programme Implementation

Conclusion

References

13 Cardiorespiratory Management of Special Populations

Introduction

Introduction

Introduction

Introduction

Acute Spinal Cord Injury and Respiration

Respiratory Assessment

Physiotherapy Treatment

Long-Term Respiratory Management

Conclusion

Introduction

History

Selection of Candidates

Indications for Transplantation

Contraindications to Transplantation

Assessment

12
Surgical Procedures

Key Concepts

Preoperative Rehabilitation

Postoperative Management

Outpatient Rehabilitation

Exercise Limitation and Function Post Transplant

Long-Term Management

Specific Considerations for Paediatric Patients

Conclusion

Acknowledgement

Introduction

Causes and Mechanisms of Injury

Complications Related to Traumatic Injury

Medical and Surgical Management of Patients with Traumatic Injury

Physiotherapy Intervention for the Trauma Patient

Quality of Life after Traumatic Injury

Conclusion

Introduction

Rehabilitation in Special Paediatric Populations

Cystic Fibrosis

Asthma

Other Respiratory Conditions

Obesity

Heart Disease

Exercise Prescription

13
 Introduction

Physical Activity for Cancer Prevention

Medical Treatment of Cancer and the Associated Side Effects

Lack of Physical Activity after a Diagnosis of Cancer

Physical Activity Guidelines for People Living with Cancer

The Role of Exercise Training in the Management of Cancer

Delivery and Timing of Exercise Training for Individuals with Cancer

Evaluation of Exercise Training for Individuals with Cancer

Exercise Prescription for Individuals with Cancer

Monitoring during Exercise for Individuals with Cancer

Strategies for Adherence to Increased Physical Activity for Individuals

with Cancer

Definition and Mechanisms of Muscle Weakness in ICU

Patients Who Are Unconscious/Sedated

Conscious and Stable Patients

Neurocognitive Interventions

Resources

Summary

References

Appendix Normal Values, Conversion Table and Abbreviations

Normal Values

Conversion Table

Abbreviations

Index

14
Copyright

© 2016 Elsevier Ltd. All rights reserved.

Previous editions:
© 1993 Longman Group (UK) Limited.
© 1998, 2002, 2008 Elsevier Ltd. All rights reserved.

No part of this publication may be reproduced or transmitted in

any form or by any means, electronic or mechanical, including
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www.elsevier.com/permissions.
This book and the individual contributions contained in it are
protected under copyright by the Publisher (other than as may be
noted herein).

ISBN 978-0-7020-4731-2

Notices
Knowledge and best practice in this field are constantly changing.
As new research and experience broaden our understanding,
changes in research methods, professional practices, or medical
treatment may become necessary.

15
Practitioners and researchers must always rely on their own
experience and knowledge in evaluating and using any
information, methods, compounds, or experiments described
herein. In using such information or methods they should be
mindful of their own safety and the safety of others, including
parties for whom they have a professional responsibility.

With respect to any drug or pharmaceutical products identified,

readers are advised to check the most current information provided
(i) on procedures featured or (ii) by the manufacturer of each
product to be administered, to verify the recommended dose or
formula, the method and duration of administration, and
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their own experience and knowledge of their patients, to make
diagnoses, to determine dosages and the best treatment for each
individual patient, and to take all appropriate safety precautions.

To the fullest extent of the law, neither the Publisher nor the
authors, contributors, or editors, assume any liability for any injury
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liability, negligence or otherwise, or from any use or operation of
any methods, products, instructions, or ideas contained in the
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16
Printed in Italy

17
Dedication

To Barbara, Jennifer and Ammani

18
Foreword
As previous editors of this textbook we feel very fortunate to have
two remarkably busy professors of physiotherapy who have carried
forward the editorship of this book. They are both actively involved
in leading cardiorespiratory physiotherapy research and in teaching
under- and postgraduate physiotherapists – Eleanor Main in
London and Linda Denehy in Melbourne.
The editors have brought together a wealth of knowledge and
evidence-based practice in respiratory and cardiac medicine,
physiotherapy and assessment techniques. Expert clinicians have
contributed important new material in cardiorespiratory care. This
international collaboration will facilitate further progress for the
benefit of both physiotherapists and patients.
Despite improvements in the design, quality and rigour of allied
healthcare research, there remains a paucity of evidence and a lack
of clarity for best practice in some clinical areas. In physiotherapy
research the ‘gold-standard’ randomized controlled trial is often
fraught with difficulty because of the inability to conceal treatment
allocation from participants. This can create uncontrollable bias
resulting from patient preference, particularly in studies which
involve a long-term burdensome intervention. Therefore clinical
expertise currently remains an important element of evidence-
based practice.
There have been many changes in healthcare provision and we
have come a long way since the early days of ‘chest physiotherapy’
and ‘postural drainage’ prescribed by medical practitioners. This
edition recognizes physiotherapists as highly skilled indepen​dent
practitioners who are integral members of the multidisciplinary

19
team. Their considerable depth of knowledge and ability to
interpret the many and ever-increasing investigative tests enable
them to identify appropriate treatments, exercise or education
programmes which meet the needs of individual patients.
This comprehensive new edition will be a great asset to both
undergraduate and postgraduate physio​therapists and other health
professionals interested in respiratory and cardiac problems. The
increase in research and improvements in clinical practice,
undertaken during the 23-year lifetime of this textbook, are in part
due to imaginative methods, advances in technology and education
by enthusiastic clinicians and academics such as our two new
editors. We believe that this edition will inspire another generation
of physiotherapists to advance our profession.
Barbara A Webber
Jennifer A Pryor
S Ammani Prasad

2016

20
About the Editors

Eleanor Main

Eleanor Main has been involved with clinical physiotherapy,

teaching and research at Great Ormond Street Hospital for Children
and the Institute of Child Health at University College London for
almost 24 years. She qualified as a physiotherapist at the University
of the Witwatersrand, South Africa (1988) and worked as a
paediatric physiotherapist at both the Red Cross Children's
Hospital in Cape Town and then Great Ormond Street Hospital in
London. She completed a BA (English and Psychology) at UNISA in
South Africa (1991), an MSc in research methods from King's
College, London (1995) and a PhD in paediatric respiratory
physiology from University College London (2001).
She was appointed as Lecturer in Children's Physiotherapy

21
Research at UCL in 2001, promoted to Senior Lecturer in 2007 and
to Professor of Physiotherapy in 2015. She has been programme
director for the UCL postgraduate Certificate, Diploma and MSc in
physiotherapy at UCL since 2005 and has supervised five PhD
students and 79 MSc project dissertations to date. In 2011 she was
awarded a Fellowship of the Chartered Society of Physiotherapy in
London for her ‘significant contribution to education, teaching and
learning in the field of cardiorespiratory and paediatric
physiotherapy’. Eleanor's primary research interests relate to
outcome measurement and clinical efficacy studies in
physiotherapy. This research, resulting in more than 80 peer-
reviewed publications, and attracting over £2.8 million in project
grant funding so far, has resulted in substantive advances in the
understanding of assessment and treatment of children who require
physiotherapy.

Linda Denehy

Linda Denehy is a PhD-qualified physiotherapist who is Head of

the Department of Physiotherapy at the University of Melbourne,
Australia. Linda graduated in physiotherapy in Melbourne and
spent 20 years as a clinician managing respiratory medicine,
thoracic surgery and ICU patients both in Melbourne and at the
Brompton Hospital in London. She has been a teaching and
research academic for nearly 20 years and obtained her PhD in 2002
in the management of patients having upper abdominal surgery.

22
Linda developed curricula in cardiorespiratory physiotherapy both
for undergraduate and for postgraduate students and led the
implementation of the new three-year doctor of physiotherapy
entry to practice course at the University of Melbourne. She has
supervised 30 higher degree research students to completion and
has extensive research expertise in the area of cardiorespiratory
physiotherapy, particularly in patient populations who are acutely
unwell, including patients after major surgery and critically ill
patients. She has published more than 100 research publications in
peer-reviewed journals and 15 invited editorials or book chapters
and has been invited to more than 25 national and international
meetings as a keynote speaker. These include the European
Respiratory Society in 2014 and the American Thoracic Society in
2014 and 2016. She is currently involved in developing international
guidelines for ICU mobility and outcome measures in ICU. Linda
has been successful in obtaining funding from more than 30
applications of over $6 million Australian dollars for research into
physiotherapy and rehabilitation, including as a chief investigator
on five nationally competitive grants in rehabilitation after critical
illness, lung cancer and breathlessness in COPD. She reviews for
national and international competitive granting bodies and for
several international scientific journals including Lung Cancer,
Intensive Care Medicine, Critical Care Medicine and Thorax. Her
research has contributed to evidence-led practice, clinical guidelines
and improved patient-centred outcomes.

23
Preface
It has been a real privilege to be invited to co-edit the fifth edition of
this core international cardiorespiratory textbook. It has always
been an important text for undergraduate students around the
world but is also an enduringly valuable reference text for both
experienced and novice practitioners involved with
cardiorespiratory care.
There have been some interesting and important advances in
cardiorespiratory physiotherapy in the nine years since the first
printing of the fourth edition, and we have tried hard to include as
many of the new ideas and new pieces of evidence as possible.
Having said that, we acknowledge without reserve that we ‘stand
on the shoulders of giants’, and many of the essential timeless
features of the earlier editions remain intact.
Before we started, we asked clinical and university staff and
students what they most wanted to see in this new edition and, as a
result, we have made changes that we think will enhance the book.
Some of the changes involved updating information or
reorganizing where it is found in the text, and some are entirely
new chapters. For example, the new first chapter is an overview of
cardiorespiratory anatomy and physiology essentials, with
wonderful new illustrations, which we hope will be an outstanding
clinical reference. Similarly, the assessment chapter, now doubled
in length, provides an expanded and structured systematic
approach to clinical cardiorespiratory assessment. Other new
chapters include two dedicated to cardiac and respiratory problems
or pathology, an outcome measures chapter, a chapter on the
principles of exercise and physical activity in cardiorespiratory

24
populations and a chapter on cardiorespiratory rehabilitation of
special populations, for example, children or those with obesity,
cancer, liver disease or burns. Also new is the structure of the
Physiotherapy Interventions chapter (previously Techniques),
which is now problem-based rather than alphabetical, and which
hopefully will facilitate a clearer clinical reasoning pathway for
students or novice practitioners.
In general, topics related to the care of children with
cardiorespiratory problems have now been incorporated into
appropriate sections of text throughout the book, either because
there is significant overlap in approach or care between adults and
children, or because understanding children with cardiorespiratory
problems facilitates better care of individuals through the lifespan:
problems in childhood frequently continue into adulthood. An
exception is the division between the adult and paediatric ICU
chapters, because differences in the reasons for hospital admission
and clinical and physiotherapy management of these populations
remain substantial.
We are excited about and proud of the new edition and hope that
it continues to serve physiotherapy professionals in
cardiorespiratory care around the world for many years to come.
EM
LD
London and Melbourne 2016

25
 Another Random Document on
Scribd Without Any Related Topics
 D major, composed February 4, 1788, Op. 46 (537 K., part 20),
"Kronungsconcert."
B flat major, composed January 5, 1791, Op. 82, 2 (595 K., part
15).
The greater number of these were composed between 1783 and
1786, when Mozart played much at concerts, and were intended for
his own use; some of them also for that of others (Vol. II., p. 294).
41 This accounts for their great diversity of character and design. Of
the three first which were intended to come before the public
MOZART'S together (Vol. II., p. 293), Mozart wrote to his
PIANOFORTE
MUSIC.
father, while still at work upon them (December
23, 1782):—
The concertos are a happy medium between too easy and too
difficult; they are very brilliant, pleasing to the ear, without, of
course, being empty. Here and there are places which appeal
exclusively to connoisseurs, but even ignoramuses will be pleased
with them without knowing why.
It is plain that he knew what he intended. Of the later concertos
he writes (May 24, 1784):—
I cannot make a choice between the two concertos in B flat and D
(450, 451, K.). I consider them both tough morsels for the
performers (Concerte die schwitzen Machen): but the one in B flat is
more difficult than the one in D. I am very curious to hear which of
the three concertos in B flat, D, and G major (453 K.) you and my
sister like best; that in E flat does not belong to them, being quite
peculiar of its kind, and written for a small rather than a large
orchestra. So that we have only to do with the three concertos, and
I am curious to find whether your opinion agrees with the universal
one here, and with my own. They ought, it is true, to be heard with
all the parts, and well played.
The emphasis which Mozart laid on the orchestra is very
noticeable. The essential merit and originality of his concertos
consists in his combination of the orchestra and the solo instrument
into a whole, by means of the co-operation of all their separate and
independent elements. 42 The prominence given to the orchestra
(which, it must be remembered, owed to Mozart its richer
composition, both of wind and stringed instruments) in those larger
portions of the work where it occurs independent of the piano, as in
the tutti of the ritornelli, gives a symphonic character to the
concertos. Even in those places where the pianoforte asserts itself as
the solo instrument the orchestra participates so directly in the
course of the pianoforte part as to form a not disjointed whole; in
fact, the concertos have been aptly designated as symphonies with a
part for the pianoforte. 43 Mozart's art of blending the tone-
PIANOFORTE colouring of the orchestra, which drew tears from
CONCERTOS.
his old father at the hearing of one of his new
pianoforte concertos, shows his delicate sense of euphony and
accurate knowledge of instrumental effects. The pianoforte, with its
comparative want of sustained tone, is at a disadvantage even with
solo stringed or wind instruments, far more so with a combination of
them. This was still more the case at that time, in consequence of
the defective mechanism of the instrument; and both art and
ingenuity were required to make it at all effective. When, after an
elaborate ritomello, which has given a sense of fulness and
satisfaction to the hearers, the pianoforte enters, Mozart aims at
producing such a contrast, either by means of extreme simplicity or
of a brilliant pianoforte passage, as shall gain over the listener to the
peculiar charm of the new element, and excite his attention, which is
then kept up by the competition of the rival forces. The composer
has no intention of confining the orchestra within the narrow limits
of a modest accompaniment (for in that case why should he have
appointed it so fully?); he means it to put forth its whole strength,
as well as to support and raise the pianoforte part. An inexhaustible
succession of fine effects is thus produced. The delivery by the
orchestra of the melody in sustained chords supports, as it were, the
tendrils thrown out by the pianoforte, and gives a firm basis for
figures and passages containing bold harmonic successions: But
while it thus seems subservient to the solo instrument, the intensive
strength and the tender fragrance of its sound effects are made to
form an admirable contrast to the light and brilliant versatility, the
sharpness, and clearness of the pianoforte. It seems scarcely
necessary to illustrate by an example the universal characteristics of
the species, but I may instance the wonderfully fine andante of the
Concerto in C major (467 K.) Here the orchestral part is rich in
striking harmonic detail, and in fine and original sound effects, which
so completely enchant and satisfy the ear as scarcely to allow of a
climax. In contrast to this we have a surprisingly simple pianoforte
part, displaying the distinctive properties of the instrument without
effort or difficulty, and hovering, as it were, like a higher spiritual
MOZART'S element over the orchestral accompaniment, with
PIANOFORTE
MUSIC.
which it is nevertheless inseparably connected.
Even Beethoven (who made a profound study of
Mozart's pianoforte concertos) cannot be said to have surpassed him
in this combination from within of different instrumental forces. The
superiority of his great pianoforte concertos rests upon other
grounds.
It must not be supposed, however, that Mozart had no higher
qualities than a finely cultivated sense for the blending of tone
colours. The invention, elaboration and distribution of the motifs
were governed by the nature of the resources at his command;
these had to be taken into account in the first sketch of the work,
that so justice might be done them in its completed form; the germ
must contain the capacity for development under the most varied
conditions. There is scarcely one instance in the concertos of an
important motif confided to the orchestra or the pianoforte alone;
they are all shared in common. But when a subject is broadly and
elaborately treated by the orchestra, it is naturally kept in the
background by the pianoforte, while other motifs, merely announced
by the orchestra, are rendered with their full effect and
embellishments by the solo instrument. This competition of the two
forces is most evident in the alternating effects given to the working-
out of the different subjects, but even in the brilliant figures and
passages the orchestra appears like a well-proportioned edifice,
decked with a profusion of arabesque-like ornament by the
pianoforte. Thus the charm of these concertos, most rightly so
called, depends upon the active co-operation of the contrasted
elements, by means of which the whole work is richly and brilliantly
grouped, as a picture is grouped by a judicious disposition of light
and shade.
The division of the concertos into three movements, as well as the
formation of the movements after the analogy of the sonata, were
found ready to hand, and only further developed by Mozart. The first
and principal movement contains the essential ingredients of the
sonata form, namely, a second well-defined subject, and the
working-out division but it is freer, and, owing to its improved
resources, more fully appointed. A distinct first part with a repetition
PIANOFORTE does not exist; in its place there appears the first
CONCERTOS.
ritornello, with the solo movement belonging to it.
The principal subjects, with their working-out, are shared between
the orchestra and the piano; but the solo is no mere repetition of the
orchestral part; it differs both in the grouping and treatment of the
subjects, and leads up to an inevitable climax. A short ritornello
brings this section to a close, and introduces the working-out part,
equally shared between the pianoforte and orchestra. The severer
forms of counterpoint are only sparingly used, the harmonic element
being the main support of an animated figure treatment; the
polyphonic and homophonie manner are so blended throughout as
to display the principal subjects from ever-varying points of view,
and to keep the interest alive and active from first to last. This
middle movement, on which as usual the main interest is
concentrated, leads back to the principal key and the introductory
ritornello. The latter is generally shortened, and the first part is not
literally repeated, but undergoes modifications in arrangement and
elaboration. The conclusion is formed by the customary cadenza,
which might also be introduced at other pauses, but was invariable
here. It gave opportunity for a free improvisation, consisting of
brilliant passages wrought into a sort of capriccio with the addition
of an elaborate variation on one of the subjects, or of several
subjects so condensed as to form a resume of the whole movement.
44 The cadenza thus forms the concluding coda of the pianoforte
part, and the orchestra brings the movement to an end in similar
fashion by a more or less elaborate ritornello. In this way the first
movements of the concertos are developed out of the general
sonata form, with such a regard to the relative claims of the
orchestra and the pianoforte as serves to distinguish them from
corresponding movements of the quartet and the symphony.
MOZART'S The two other movements are altogether
PIANOFORTE
MUSIC.
simpler in design and execution. The slow
movement is in song-form, its working out
sometimes that of a rondo, sometimes varied, but always simple and
clear, and abounding in charming detail. Here again Mozart has
displayed a fund of deep and noble sentiment in its purest form, and
the fantastic and romantic elements, mingled with a dreamy
resignation, and an earnest endeavour after the expression of
individual feeling, are more apparent in these movements than in
any other of his compositions. Startling harmonic progressions,
scattered touches of piquancy contrasting with vague sentimentality,
and rhythmical whimsicalities, give all the greater charm that they in
no way interfere with simplicity of conception or purity of form. I
need only adduce by way of illustration the simple and beautiful
romanze of the Concerto in G major (453 K.), or the pleasing and
highly original Siciliana of the Concerto in A major (488 K.). The
andante of the C major concerto already mentioned is, however,
incomparably the finest (467 K.). The emotion is so pure and lofty
that the sorrowful impulses which prompt it, harshly expressed
though they may be in places, such as the following—[See Page
PIANOFORTE Image] penetrate the music like memories of a
CONCERTOS.
long since vanquished grief that has no more
power to trouble the pure serenity of a mind which has mounted
from resignation to holy joy. This example, among many others,
should teach us that beauty does not consist in the mere rejection of
all that is harsh or keen, but in the maturity of the conception which
gives birth to the work, and in the harmony of the conditions under
which it is represented. Such fruits as these can only be offered by
an artist who has discovered the true secret of life.
 The last movement of the concertos is always the easiest; it is
generally in rondo form, sometimes in variations, lively and cheerful
in tone; its predominant 2-4 time preserves its original character of a
dance; or sometimes it is in 6-8 time, after the fashion of a hunting
song, as in the rondo of the Concerto in B flat major (450 K.) which
closes in a long crescendo with a regular hunting flourish of
trumpets. 45 On the whole these last movements are more
MOZART'S interesting than those of the other pianoforte
PIANOFORTE
MUSIC.
compositions, and full of graceful, even
humorous, passages, of which the last movement
of the C minor Concerto (491 K.) may serve as an illustration. The
peculiar harmonic treatment gives the subject a character entirely its
own, and a new transition at the close invests it with a surprising
charm. The Concerto in D minor also (466 K.) confirms the oft-
repeated observation that Mozart's compositions in the minor keys
are his deepest and most important, for its last movement is
distinguished above all others by its fire and intensity of expression.
46 On the other hand, the middle movements of these two
symphonies (in E flat and B flat major), although not wanting in
grace, are inferior to their other two movements in force and
passion. It is true that the andante of the C minor symphony was
encored cm its first performance (Vol. II., p. 288), but the effect it
made depended not so much on its melodies, charming as they are,
as on the obbligato treatment of the wind instruments, which was an
entire novelty at that time.
There can be no doubt that Mozart's concertos afford the best
standard for our judgment of him as a pianoforte composer. The
majority of them, written for himself in his best days, take the
highest rank among his works. The first three (413-415 K.) intended
for large audiences are, as Mozart rightly indicates, light in
character; so is the Concerto in E flat major (449 K.), written for
Fräulein Ployer, and the Concerto in B flat major, probably intended
for Fraulein Paradies (456 K.); next to these may be placed the
Concertos in D major (451 K.) and F major (459 K). They are all
distinct in their main characteristics; some, such as those in B flat
major (450 K.), G major (453 K.), A major (414, 488 K.), are cheerful
and graceful; others, as the D minor (466 K.) and C minor (491 K.),
are passionately agitated; others again, serious and self-contained,
as the E flat major (452 K.)

Volume I. Volume III.

FOOTNOTES OF CHAPTER XVIII.
1 (return)
[ Ed. Fournier, Mozart ä Paris (Revue Franç.,
1856, II., t. 7, p. 28).]
2 (return)
[ Cf. Histoire du Théätre de l'Opéra en France
(Paris, 1753; 2nd Edit., 1757). Castil-Blaze,
L'Académie Imp. de Musique de 1645 ä 1855
(Paris, 1855,1., II.).]
3 (return)
[ Grimm, Corr. inéd., p. 222; cf. Corr. Litt., I., p.
93. The following is not bad (Corr. Litt., II., p.
205): "M. Hasse, qui avait entendu parler de la
légèreté et de la pétulance françaises, ne se
lassait point, lorsqu'il fut en ce pays-ci, d'admirer
la patience avec laquelle on écoutait ä l'Opéra
une musique lourde et monotone." Goldoni
amusingly describes the impression made upon
him by the French opera (Mém., II., p. 182).]
4 (return)
[ Grimm, Corr. Litt., XV., p. 283; cf. IV., p. 165.
Grétry gives more particular instances of the
faults of the old style ( Mém., I., p. 301).]
5 (return)
[ The last performance of one of Lully's operas
("Thésée ") was in 1778.]
6 (return)
[ Raguenet, Parallèle des Italiens et François en
ce qui regarde la Musique et les Opéras (.Paris,
1702), translated into German, with notes, and
the rejoinder of Freneuse de la Vieuville ( Bonnet,
Histoire de la Musique, p. 425; Bourdelot, Hist,
de la Mus., I., p. 291), in Mattheson's Critica
Musica (Hamburg, 1712), I., p. 91, and in
Marpurg's Krit. Briefen, I., pp. 65, 89, 113, 398.
Freneuse, Comparaison de la Mus. Ital. et de la
 Mus. Franç. Brussels, 1705 (in Bourdelot'8 Hist,
de la Mus., 1725 and 1743, II.-IV.). Raguenet,
Défense du Parallèle (Paris, 1705).]
7 (return)
[ La Harpe, Corresp. Litt., II., p. 302.]
8 (return)
[ When Grimm first came to Paris he wrote to
Gottsched: "M. Rameau is rightly considered by
all connoisseurs to be the greatest musician who
has ever lived" (Danzel Gottsched, p. 349). His
opinion soon changed, but the account he
afterwards gives of Rameau (Corr. Litt., IV., p.
80), prejudiced as it is, recognises Rameau's
merits, though without giving him the credit of
them. In his Lettre sur "Omphale" (1752, Corr.
Litt., XV., p. 281), Grimm gave a detailed criticism
in a very moderate tone. A good account of him
may be found in Ad. Adam's Derniers Souvenirs
d'un Musicien, p. 39.]
9 (return)
[ Hiller, Wöch. Nachr., 1770, p. 331. Schelle, N.
Ztschr. f. Mus., LVII., and LVIII., p. 119.]
10 (return)
[ According to Castil-Blaze (L'Opéra Italien, p.
144), the operas produced by the Bouffons were,
"La Serva Padrona," by Pergolese; "ü Giocatore,"
by Orlandini: "ü Maestro di Musica," by Al.
Scarlatti; "La Finta Cameri'era," by Atella; "La
Donna Superba," by Rinaldo da Capua; "La
Scaltra Gover-natrice," by Cocchi; "ü Cinese
Rimpatriato," by Selletti; "La Zingara" by Rinaldo
da Capua; "Gli Artigiani Arrichiti," by Ladlla; "II.
Paratajo" by Jomelli; "Bertoldo in Corte," by
Ciampi; "I Viaggiatori," by Leo.]
11 (return)
[ The Italian opera was conducted from the
pianoforte only, while in the French opera time
was beaten audibly with a stick. Cf. Grétry, Mém.,
I.p. 39.]
12 (return)
[ The heads of the parties had their regular
 places below the box of the King and Queen.]
13 (return)
[ It was republished (Corr. Litt., XV., p. 315,) and
translated into German (N. Ztschr. f. Mus., IV., p.
63, where it is wrongly ascribed to Rousseau).
Grimm speaks of its extraordinary success to
Gottsched, and Frau Gottsched speaks of an
imitation of it directed against Weisse's operetta,
"Der Teufel ist los" (Danzel Gottsched, p. 350).]
14 (return)
[ The account which he gives to Rameau's
nephew of his uncle and Italian music is graphic
enough (Goethe, XXIII., p. 208).]
15 (return)
[ This was in the well-known Lettre sur la
Musique Française (1753), to which the Lettre
d'un symphoniste de l'Académie Royale de
Musique ä ses camarades de l'orchestre (1753)
was a witty after-piece.]
16 (return)
[ Grétry, Mém., I., p. 279.]
17 (return)
[ Rousseau, Confessions 1., VIII. Grimm, Corr.
Litt., I., p. 92. Fétis, Curios. Hist, de la Mus., p.
107.]
18 (return)
[ Grimm, Corr. Litt., I., p. 114.]
19 (return)
[ Rousseau had apparently a natural musical
talent, which was quickened by Italian music; his
logical reflections sometimes led him into error,
but he remained accessible to new musical
impressions, even when they contradicted his
expressed opinions.]
20 (return)
[ Diderot appears to have had some musical
taste, but not much cultivation, and in this
respect Grimm had some influence upon his
opinions, as he certainly had upon Grimm's in
more important matters. The article "Poème
lyrique" in the Encyclopédie (publ. Corr. Litt., XV.,
 p. 349), is a curious mixture of Italian taste, and
of reflections after Diderot's manner: the views it
upholds are often warped and superficial.]
21 (return)
[ Grimm, Corr. Litt., VI., p. 229. The parodies are
collected in Les Parodies du Nouveau Théätre
Italien ( Paris, 1738,I.-IV.). Supplément aux
Parodies (Paris, 1763,1. III.).]
22 (return)
[ Favart, Mém., I., p. XVII.]
23 (return)
[ Favart, Mém., I., pp. 203, 214, 228, 233.]
24 (return)
[ [ D'Orville] Histoire de l'Opéra Bouffon (Amst.,
1760). [Footnote Desboulmiers] Histoire du
Théätre de l'Opéra-Comique (Paris, 1769, I., II.).
Fétis, Curios. Hist, de la Mus., p. 342. Castil-
Blaze, Acad. Imp. de la Mus., I., p. 216.]
25 (return)
[ Grimm, Corr. Litt., VII., p. 289.]
26 (return)
[ Goldoni concedes the superiority of the opéra-
comique over the Italian huffa (Mém., II., p.
227).]
27 (return)
[ Grimm, Corr. Litt., IV., p. 164; VII., p. 126. After
1765 he thought his style "un peu vieux et faible,
mais ailleurs plein de finesse, de charme, de
grace, et de vérité. C'est toujours malgré sa
faiblesse l'homme chez lequel nos jeunes
compositeurs devraient aller ä l'école" (Corr. Litt.,
IV., p. 414). He afterwards exhorts Philidor and
Grétry to yield the field to him with honour (Corr.
Litt., V.» pp. 140, 369; VI., p. 63).]
28 (return)
[ A. Adam, Derniers Souvenirs d'un Musicien, p.
107.]
29 (return)
[ Grimm, Corr. Litt., VI., p. 61.]
30 (return)
[ Grimm, Corr. Litt., III., p. 136.]
31 (return)
[ Grimm judged him so severely (Corr. inéd., p.
219; cf. Corr. Litt., III., p. 136; VI., p. 208; IX., p.
463); that one suspects personal dislike. Madame
de Genlis rightly protested against his severity
(Mém., II., p. 22).]
32 (return)
[ Grimm, even in this case, ascribed all the merit
to the poet (Corr. Litt., VI., pp. 197, 206);
Madame de Genlis, on the contrary, maintained
that Monsigny's music caused one to overlook the
improbabilities of the piece ( Mém., II., p. 21)]
33 (return)
[ G. Allen, Life of Philidor (Philadelphia, 1863). At
first Grimm thought his music no better than
other French music (Corr. Litt., II., p. 346; III., p.
89); after 1764 he notes his increasing progress
(III., p. 401; IV., p. 200), and praises him highly
in 1768 (VI., p. 14). He was accused of stealing
from Italian masters, but Grimm retorted that it
required great talent to steal in such a way (V., p.
25; VI., p. 145). Later on Grimm considered that
Philidor inclined too much to Gluck's manner (IX.,
p. 378; X., p. 358), and finally he declared that
Philidor had grown feeble (XII., p. 468; XIII., p.
137).]
34 (return)
[ Tagebuch der Mannh. Schaub'., I., p. 264.]
35 (return)
[ Marmontel relates the affair more
circumstantially (Mém., IX.; Ouvr., II., p. 72).]
36 (return)
[ Grimm discusses this question after the manner
of Diderot, on the production of "Le Déserteur,"
the first comic opera of the kind (Corr. Litt., VI.,
p. 212). Madame du Deffand thought the
exhibition of passion in "Le Déserteur" of very
doubtful propriety (Corr. inéd., I., p. 175).]
37 (return)
[ Grimm condemns the "barbarous fashion" of
mixing spoken dialogue and song in the comic
opera, and asserts that there can be no great
composers in France until real recitative is made
use of (Corr. Litt., IV., p. 166; VI., pp. 120, 209).]
38 (return)
[ He has given a detailed account of his
education, of the suggestions for his works and
of his views on dramatic music in his Mémoires
ou Essais sur la Musique (Paris, 1789; Brussels
1829,1.-III.). The naïveté of intense vanity is
apparent everywhere. His opinions show some
power of observation, but are for the most part
trivial and arbitrary.]
39 (return)
[ He describes his way of working to the
celebrated physician Tronchin (Mém., I., p. 21):
"Je lis, je relis vingt fois les paroles que je veux
peindre avec des sons; il me faut plusieurs jours
pour échauffer ma tète; enfin je perds l'appétit,
mes yeux s'enflamment, l'imagination se monte,
alors je fais un opéra en trois semaines ou un
mois." He maintains that this excitement is more
likely to lead a composer aright than attention to
rules ( I., pp. 168, 204).]
40 (return)
[ Prince Henry of Prussia paid him the most
appropriate compliment in the words: "Vous avez
le courage d'oublier que vous êtes musicien pour
être poète" ( Mém., I., p. 121, cf., p. 346).]
41 (return)
[ Mém., I., p. 112.]
42 (return)
[ Mém., I., pp. 141, 238; III., p. 144.]
43 (return)
[ Mém., I., p. 169.]
44 (return)
[ Mém., I., pp. 146, 170.]
45 (return)
[ Mém., I., p. 231.]
46 (return)
[ He declared the French language to be the one
best suited to music ( I., p. 400), although he
does not conceal its difficulties ( I., p. 134), and
demonstrates that France is destined to be pre-
eminent in music.]
47 (return)
[ Mém., I., p. 212; cf. pp. 224, 260.]
48 (return)
[ Mém., I., p. 339; II., p. 45.]
49 (return)
[ Mém., I., pp. 237, 375.]
50 (return)
[ Mém., I., p. 356.]
51 (return)
[ Mém., II., p. 10. He sometimes gave him good
advice (I., p. 215) and Grétry embraced his views
(III., p. 377).]
52 (return)
[ Grétry, Mém., I., p. 270; cf. II., p. 331.]
53 (return)
[ Grimm says, after the performance of "Le
Huron" (Corr. Litt., VI., p. 34): "M. Grétry est un
jeune homme qui fait ici son coup d'essai; mais
ce coup d'essai est le chef-d'ouvre d'un maître,
qui élève l'auteur sans contradiction au premier
rang." His praise of the "Lucile".]
54 (return)
[ Grimm, Corr. Litt., X., p. 228.]
55 (return)
[ Grétry, Mém., I., p. 150.]
56 (return)
[ He himself examines the grounds on which his
music has become naturalised in France, "sans
me faire des partisans enthousiastes et sans
exciter des ces disputes puériles, telles que nous
en avons vu (Mém., I., p. 169).]
57 (return)
[ It is almost comical to observe the pertinacity
with which the Grand-Opèra brought out its old
 pieces, to be as pertinaciously attacked by
Grimm.]
58 (return)
[ A collection of Klopstock's odes, set to music by
Gluck has often been published; he had the
"Herrmannsschlacht" ready in his head, according
to his habit, but it was never written out. For
Gluck's intercourse with Klopstock in Karlsruhe.
(see Strauss, Kl. Schr., p. 42. p. 122) and the
"Tableau parlant" (VI., p. 251) was equally
strong, and he accompanied it with a respectful
and appreciative criticism.]
59 (return)
[ It is worthy of note how certain intellectual
currents, running through an age, take
simultaneous effect in different spheres. The
tendency to individuality in art, to truth and
nature, which was due to the encyclopedists,
made itself manifest side by side with the
principle of simple beauty which Winckelmann
laid down as characteristic of ancient art.]
60 (return)
[ Planelli, Dell' Opera in Musica (Neap., 1772), p.
148, approves of Gluck's principles, and the latter
praises Planelli's performance of "Alceste"; Vine.
Manfredini (Regole Arm., p. 163) takes much
exception to it.]
61 (return)
[ Schelle has (N. Ztschr. f. Mus., LIX., p. 42)
published Calsabigi's letter (Mercure de France,
Aug. 21,1784), in which the latter, who
considered himself neglected, represents his
relations with Gluck.]
62 (return)
[ Mém. pour servir ä l'Hist. de la révolution
opérée dans la Musique par Gluck, p. 8.]
63 (return)
[ Calsabigi retracted his opinion on the opera in
the letter prefixed to his "Elfrida" in 1794. At that
time he believed in Paesiello as the true
philosophical composer.]
64 (return)
[ Berlioz rightly protests against Gluck's views
(Voy. Mus., II., p. 269; X Travers Chants, p. 150).
Cf. Hanslick, Vom Musikalisch-Schönen, p. 24.]
65 (return)
[ A. B. Marx, Musik des neunzehnten Jahrh., p.
82.]
66 (return)
[ Marx ibid., p. 183; he modified his opinion
afterwards (Gluck u. d. Opera, II., p. 67. II.]
67 (return)
[ It failed in Naples in 1774 (Galiani, Corr. inéd.,
II., p. 96).]
68 (return)
[ Count Durazzo had the score printed there;
Favart tells him how highly Mondonville and
Philidor thought of the opera. (Favart, Mém., II.,
pp. 67, 102, 180).]
69 (return)
[ Sonnenfels, Briefe IIb. d. Wien. Schaubühne
(Ges. Schr., V., p. 155; Hiller, Wöch. Nachr., 1768,
p. 127). Riedel, Ueber die Musik des Ritter Gluck,
p. IX.]
70 (return)
[ Allgem. deutsche Bibl., X., 2 p. 31. Nicolai,
Reise, IV., p. 529. Reichardt relates (A. M. Z., XV.,
p. 612; Schletteier Reichardt, I., p. 264) that the
King afterwards expressed himself in violent
terms against Gluck. Cf. A. M. Z., III., p. 187.]
71 (return)
[ Agricola criticised "Alceste" in the Allgem.
deutschen Bibliothek (X., 2 p. 29, XIV., 1 p. 3;
also in Forkel's Musik. Krit. Bibl., I., p. 174) in a
pedantic, trivial spirit, but not ill-naturedly.]
72 (return)
[ Calsabigi says that he wrote the libretti for
"Semiramide" and "Iperm-nestra" on Gluck's
commission, and they were afterwards taken as
the foundation of Salieri's "Danaides" (Cramer,
Magaz. d. Mus., I., p. 366; N. Ztschr, f. Mus. LIX.,
p. 42).]
73 (return)
[ This is correctly put forward by Marx ( Musik
des neunzehnten Jahr-hunderts, p. 84).]
74 (return)
[ His admirable ballet music was slow in making
its way in Paris; it was so confidently assumed
that the French were the first masters in the
world for ballet music, that a foreigner had to
contend against much prejudice. La Harpe
remarks that want of success in this respect was
in Gluck's favour, for that his system, consistently
carried out, would exclude ballet.]
75 (return)
[ Interesting details of this visit are given by Frz.
M. Rudhart, Gluck in Paris (Munich, 1864).]
76 (return)
[ Burney, Reise, II., p. 253. Cf. Cramer's Magazin,
1783, p. 561.]
77 (return)
[ Madame de Genlis, Mém., II., p. 248.]
78 (return)
[ A number of pamphlets and newspaper articles
of this and following years are collected in
Mémoires pour servir ä l'Histoire de la révolution
opérée dans la musique par M. le Chev. Gluck (ä
Naples et ä Paris, 1781), partly translated by
Siegmeyer: Ueber Gluck und seine Werke (Berlin,
1823). Here again the dispute is chiefly carried
on by men of literary rather than musical
knowledge (Madame de Genlis, Mém., II., p.
250). The first favourable notices were at once
translated by Riedel and published with an
enthusiastic preface, Ueber die Musik des Ritters
Gluck ( Vienna 1775). This called forth Forkel's
criticism (Musik. Krit. Bibl., I., p. 53). He was
incapable of appreciating Gluck's true greatness,
and as partial and philistine as other Berlin critics
of that day; he was spiteful besides; but some of
his remarks are true enough. The personal
animosity which Forkel afterwards threw into his
attacks is quite repulsive.]
79 (return)
[ Grimm, Corr. Litt., VIII., p. 320.]
80 (return)
[ Grimm, Corr. Litt., VIII., p. 321; IX., pp. 34,
350.]
81 (return)
[ Grimm, Corr. Litt., VIII., pp. 321, 427; IX., p.
350.]
82 (return)
[ Grimm, Corr. Litt., VIII., p. 321. Garat, Mém. sur
M. Suard, II., p. 238. La Harpe, Corr. Litt., I., p.
86. Rudhart, Gluck in Paris, p. xo. A speaking
testimony of his reverence for Gluck is the
"Réponse sur un morceau de l'Orphée de M. le
Chev. Gluck," and the unfinished "Observations
sur l'Alceste Italien de M. le Chev. Gluck," where
some striking observations are made.]
83 (return)
[ Grimm, Corr. Litt., VIII., pp. 78, 322. When he
remarked that Gluck influenced other composers,
such as Grétry, he turned the full sharpness of his
criticism upon them.]
84 (return)
[ Berlioz, À Travers Chants, p. 127.]
85 (return)
[ Mdlle. de l'Espinasse, in Stendsal, Vie de
Rossini, p. 607. As might be expected, Grimm
bestowed his highest praise upon "Orphée" (Corr.
Litt., VIII., p. 390).]
86 (return)
[ Winterfeld, Zur G each. heil. Tonk., II., p. 308.]
87 (return)
[ Berlioz, Voy. Mus., II., p. 279; À Travers Chants,
p. 142. Schelle, N. Ztschr. f. Mus., LV., p. 205.
LVI., p. z.]
88 (return)
[ Galiani, Corr. inéd., II., p. 106.]
89 (return)
[ Marmontel, Mém. Litt., IX.; Ouvr., II., p. no.]
90 (return)
[ Grimm, Corr. Litt., IX., p. 348. Dorat describes
very comically in an Irishman's letter the party-
fight in the pit (Coup d'Oeil sur la Littér., I., p.
211). Amusing incidents were not wanting. At
one concert a song by Gluck was announced; as
it began the Piccinnists ostentatiously left the
hall, and the Gluckists applauded noisily; it
afterwards appeared that the song was by
Jomelli (Grimm, Corr. Litt., X., p. 440).]
91 (return)
[ An account of the whole dispute from this side
is given by Garat, Mém. Hist, sur M. Suard, II., p.
231.]
92 (return)
[ Grimm, Corr. Litt., X., p. 34. Schelle, N. Ztschr. f.
Mus., LV., p. 197.]
93 (return)
[ Grimm, Corr. Litt., IX., p. 352. Galiani, Corr.
inéd., II., p. 292.]
94 (return)
[ Marmontel, Mém. Litt., IX.; Ouvr., II., p. 115. P.
L. Ginguené, Not. sur Piccinni, p. 25.]
95 (return)
[ Grimm, Corr. Litt., IX., p. 352. Galiani, Corr.
inéd., II., p. 291.]
96 (return)
[ To Marie Antoinette's question as to whether his
opera, "Armida," was finished, and how he liked
it, Gluck is said to have answered composedly:
"Madame, il est bientöt fini, et vraiment ce sera
superbe!" (Madame Campan, Mém., 7 p. 131.)]
97 (return)
[ Grimm, Corr. Litt., IX., p. 428.]
98 (return)
[ Grimm, Corr. Litt., IX., p. 469.]
99 (return)
[ Grimm gives a minute and amusing account of
all this.]
100 (return)
[ So Grimm says. His friendliness towards Piccinni
is confirmed by Galiani (Corr. inéd., II., p. 248),
and Madame de Genlis (Mém., II., p. 248). Cf.
Gin-guené, Not. sur Piccinni, p. 45]
101 (return)
[ Grimm, Corr. Litt., IX., p. 500; X., p. 23.]
FOOTNOTES CHAPTER XIX.
1 (return)
[ [Goudard] Le Brigandage de la Musique
Italienne (Amsterdam, 1780) is directed against
Italian musicians, but includes in this category
"Le Général Gluck et son Lieutenant-Général
Piccinni et tous les autres noms en ini."]
2 (return)
[ Histoire du Théätre de l'Opéra en France, I., p.
164. Fétis, Curios. Hist, de la Mus., p. 325.
Burney gives a detailed account of a "Concert
Spirituel" at which he was present in 1770 (Reise,
I., p. n).]
3 (return)
[ Nothing is known of this music, so far as I am
aware; Mozart does not seem to have kept it
himself, and therefore did not bring it to
Salzburg.]
4 (return)
[ This Sinfonie Concertante is lost beyond
recovery. Mozart sold it to Le Gros, and kept no
copy; he must have thought he could write it
again from memory; but apparently cared the
less to do so as there were no virtuosi in
Salzburg able to perform the symphony.]
5 (return)
[ L. de Lomenie, Beaumarchais, II., p. 89.
Dutens, Mém., II., p. 59. Madame du Deffand,
Lettr., III., p. 172, 297.]
6 (return)
[ Madame du Deffand, Lettr., IV., p. 107.]
7 (return)
[ The Dauphin was born on December 11, 1778.]
8 (return)
[ Madame de Genlis, Mém., I., p. 288.]
9 (return)
[ She married M. de Chartus (afterwards Duc de
Castries) in the summer of 1778, with a dowry
from the King, and died in childbirth (Madame du
Deffand, Lettr., IV., p. 52).]
10 (return)
[ Jos. Frank narrates in his Reminiscences (Prutz,
Deutsch. Mus., II., p. 28):]
11 (return)
[ The Duchesse de Chabot, daughter of Lord
Stafford, mentioned as an acquaintance by
Grimm and Madame Epinay (Galiani, Corr. inéd.,
II., p. 305).]
12 (return)
[ She was the daughter of the Duke of Orleans,
sister to the then Duc de Chartres, the future
Egalité. A short time previously a duel, of which
she was the occasion, between the Duc de
Bourbon and the Comte d'Artois, had made a
great stir (Du Deffand, Lettr., IV., p. 28. Grimm,
Corr. Litt., X., p. 1.)]
13 (return)
[ That is on his first visit to Paris. The Duchess
entered a convent in her fifteenth year, and
remained there several years (Genlis, Mém., III.,
p. 84).]
14 (return)
[ "Cf. Madame de Genlis, Mém., I., p. 289; II., p.
185.]
15 (return)
[ Grimm, Corr. Litt., IX., p. 174.]
16 (return)
[ Noverre's ballet "Les Petits Riens" was given in
June, 1778 (in Italian by Italian singers), and was
praised by Grimm, but without mention of the
music (Corr. Litt., X., p. 53). This composition has
also been irrecoverably lost.]
17 (return)
[ The imposing effect of the simultaneous attack
of a fine orchestra was the occasion of this
catchword. Raaff told Mozart of a piquant bon
 mot ä propos of the term. He was asked by a
Frenchman, at Munich or some other place:
"Monsieur, vous avez été ä Paris?" "Oui." "Est-ce
que vous étiez au Concert Spirituel?" "Oui." "Que
dites-vous du premier coup d'archet? avez-vous
entendu le premier coup d'archet?" "Oui, j'ai
entendu le premier et le dernier." "Comment, le
dernier? qui veut dire cela?" "Mais oui, le premier
et le dernier, et le dernier même m'a donné plus
de plaisir."]
18 (return)
[ Mozart speaks in a later letter (September
11,1778) of two symphonies which had been
much admired, and of which the last was
performed on September 8. With this agrees his
assertion (October 3, 1778) that he had sold to
Le Gros two overtures (i.e., symphonies) and the
Sinfonie Concertante. There are no further traces
of this symphony.]
19 (return)
[ Mozart has made considerable abbreviations in
the first movement of this symphony, while
working oat the score in the manner described
above.]
20 (return)
[ Süddeutsche Mus. Ztg., 1857, No. 44, p. 175.]
21 (return)
[ The father writes to Breitkopf (August
10,1781): "The six sonatas dedicated to the
Elector Palatine were published by M. Sieber, in
Paris. He paid my son for them fifteen louis neuf,
thirty copies and a free dedication."]
22 (return)
[ A fac-similé of the letter to Bullinger will be
found at the end of the third volume.]
23 (return)
[ Mémoires et Correspondance de Madame
d'Epinay (Paris, 1818). Cf. Grimm, Corr. Litt., XI.,?
468. Madame de Genlis, Mém., III., p. 99. Sainte-
Beuve, Causeries du Lundi, II., p. 146.]
24 (return)
[ Grimm's letter to L. Mozart, which the latter
forwarded to his son (August 13, 1778), runs as
follows: "Il est zu treuherzig, peu actif, trop aisé
ä attraper, trop peu occupé des moyens qui
peuvent conduire ä la fortune. Ici, pour percer, il
faut être retors, entreprenant, audacieux. Je lui
voudrais pour sa fortune la moitié moins de
talent et le double plus d'entregent, et je n'en
serais pas embarrassé. Au reste, il ne peut tenter
ici que deux chemins pour se faire un sort. Le
premier est de donner des leçons de clavecin;
mais sans compter qu'on n'a des écoliers qu'avec
beaucoup d'activité et même de charlatanerie, je
ne sais s'il aurait assez de santé pour soutenir ce
métier, car c'est une chose très fatiguante de
courir les quatre coins de Paris et de s'épuiser ä
parler pour montres. Et puis ce métier ne lui plaît
pas, parcequ'il l'empêchera d'écrire, ce qu'il aime
par-dessus tout. Il pourrait donc s'y livrer tout ä
fait; mais en ce pays ici le gros du public ne se
connaît pas en musique. On donne par
conséquent tout aux noms, et le mérite de
l'ouvrage ne peut être jugé que par un très petit
nombre. Le public est dans ce moment si
ridiculement partagé entre Piccinni et Gluck que
tous les raisonnements qu'on entend sur la
musique font pitié. Il est donc très difficile pour
votre fils pour réuissir entre ces deux partis. Vous
voyez, mon cher maître, que dans un pays où
tant de musiciens médiocres et détestables
même ont fait des fortunes immenses, je crains
fort que M. votre fils ne se tire pas seulement
d'affaire."]
25 (return)
[ Cf. the account 'by Sainte-Beuve, Causeries du
Lundi, VII., p. 226; II., p. 158.]
26 (return)
[ Merck, Briefe, II., p. 282.]
27 (return)
[ Madame de Genlis, Mèm., IV., p. 3.]
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