A short version of this paper was read at the British Musicology Conference in London, 18–21 April 1996. I wish to thank Peter Branscombe, Jenny Doctor and Elizabeth Gibson for their critical reading of the paper at various stages The primary research on which this paper is based was funded by a grant from the Social Sciences and Humanities Research Council of CanadaGoogle Scholar

1 Mozart. Briefe und Aufzeichnungen, ed. Wilhelm Bauer, Otto Erich Deutsch and Joseph Eibl, 7 vols (Kassel, 1962–75), iii, 305–7 The list was meticulously annotated over the years by Otto Erich Deutsch, first in ‘The Subscribers to Mozart's Private Concerts’, Music and Letters, 22 (1941), 225–34, then in Mozart: Die Dokumente seines Lebens (Kassel, 1961), 485–92, and finally in Mozart. Briefe, vi, 167–77 The next major study of the list was made by Heinz Schuler, ‘Mozarts Akademien im Trattnersaal, 1784. Ein Kommentar zum Mozart-Brief. Wien, 20 Marz 1784’, Mitteilungen der Internationalen Stiftung Mozarteum, 38 (1990), 1–47. I came across this study too late to incorporate it into the present paper, but I should point out that Schuler and I do not agree on the identity of a number of people. H. C. Robbins Landon also identified some of the concert's subscribers in Mozart The Golden Years 1781–1791 (London and New York, 1989), 248–50, but, perhaps most importantly, he established that Mozart's patron, Johann Esterházy, was Johann Baptist ('Red John'), not Johann Nepomuk, who ‘was largely absent from the city during this critical period’ (pp 114–19 and 254–5). The standard reference work for the Austrian nobility, Constant von Wurzbach, Biographisches Lexikon des Kaiserthums Oesterreich, 60 vols. (Vienna, 1856–91), is limited in its usefulness for this study to the extent that it focuses on men with important military and political careers and makes scant mention of the women who played such active roles in Vienna's cultural life.Google Scholar

2 Vienna, Haus-, Hof- und Staatsarchiv, Kabinettsarchiv, Nachlass Zinzendorf, Tagebücher des Grafen Zinzendorf, vols 6–57 (1761–1812/13). The diaries’ author was Count Johann Karl Christian Heinrich Zinzendorf and Pottendorf (1739–1813).Google Scholar

3 One of the earliest readings of Zinzendorf for this purpose was made by Carl Ferdinand Pohl, Joseph Haydn (Leipzig, 1882), ii, ‘Musikpflege des Adels’, 158–64. While accurate, his transcriptions represent but a small selection from the diaries. More recently, Mary Sue Morrow scanned the diaries for information about private concerts in Vienna, which she discusses in the first chapter of her book Concert Life in Haydn's Vienna. Aspects of a Developing Musical and Social Institution (Stuyvesant, NY, 1988). Unfortunately, her transcriptions of Zinzendorf are extremely faulty Also, her discussion of private patronage from 1760 to 1810 is perhaps too brief to take fully into account the tremendous political, social and economic changes that came about during this period.Google Scholar

4 Link, Dorothea, The National Court Theatre tn Mozart's Vienna Sources and Documents, 1783–1792 (Oxford, forthcoming), 204–398.Google Scholar

5 Zinzendorf was the dedicatee of a number of operas produced in Trieste while he was governor there, including La vendemmia (1779), I pastori delle alpi (1780), Il cavagliere Magnifico (1781) and Le nozze in contrasto (1781).Google Scholar

6 Josepha Duschek was one of the few professional musicians encountered in this study to have been admitted to the social circles of the lower nobility.Google Scholar

7 Edward Olleson, ‘Gottfried van Swieten, Patron of Haydn and Mozart’, Proceedings of the Royal Musical Association, 89 (1962–3), 63–74; see also Judith Eckelmeyer, The Cultural Context of Mozart's ‘Magic Flute’, Social, Aesthetic, Philosophical (Lewiston, 1991), ch 5: ‘Gottfried van Swieten and the Magic Flute Project'.Google Scholar

8 Van Swieten founded the Kavaliers-Gesellschaft, a group of patrons who financed the performances, some time in the 1780s According to Deutsch, Mozart. Die Dokumente, 290, the group consisted of Prince Johann Karl Dietrichstein, Prince Ferdinand Philipp Joseph Lobkowitz (d 1784), Prince Johann Nepomuk Schwarzenberg, Count Anton Georg Apponyi, Count Anton Batthyány and Count Johann Esterházy. Deutsch's source was probably Eduard Hanslick, Geschichte des Concertwesens in Wien (Vienna, 1869; repr Westmead, 1971), 47, who gives an identical list except for Esterházy, whom he incorrectly identifies as Franz. The active participation of some of these is substantiated in the following list of known performances Prince Dietrichstein sponsored a performance of Handel's Alexander's Feast in March 1793 (Joseph Eibl, Mozart. Die Dokumente seines Lebens. Addenda und Corrigenda, Kassel, 1978, 79). Mozart had finished his reorchestrations of this work, K 591, and of the Ode for St Cecilia's Day, K 592, in July 1790, but nothing is known about the performances for which they were made (Deutsch, Mozart. Die Dokumente, 370) If Karoline Pichler can be trusted, Prince Dietrichstein was one of those who sponsored oratorios under Mozart's direction (ibid., 473), and therefore could have been the sponsor in 1790 Prince Paar sponsored a performance of Handel's Athalia in his palace on 31 December 1794 (Johann Ferdinand von Schönfeld, Jahrbuch der Tonkunst von Wien und Prag, 1796, facsimile ed. Otto Biba, Munich, 1976, 73; Zinzendorf, reported in Morrow, Concert Life, 12). According to Schönfeld, Jahrbuch, 69, Count ‘Apony’ had taken over Johann Esterházy's patronage of van Swieten's oratorios by 1795 (The Jahrbuch misidentifies Johann Esterházy as Franz Esterházy, which is probably the source of Hanslick's error.) Prince Joseph Johann Nepomuk Schwarzenberg, son of Prince Johann Nepomuk (d 1789), hosted performances of Acis and Galatea on 24 March 1797 (Zinzendorf, reported in Eibl, Mozart. Die Dokumente, 87) and of Messiah on 23 March 1799 and again on 23 and 24 December 1799 (ibid., 88–9, without naming his sources) Other oratorios, presumably part of the Kavaliers-Gesellschaft's activities, included a performance of Handel's Ode for St Cecilia's Day and The Choice of Hercules on 24 December 1793, sponsored by Prince Lichnowsky (Österreichische Monatsschrift 1793–94, in Morrow, Concert Life, 12) Prince Schwarzenberg sponsored a performance of Handel's Alexander's Feast and Haydn's Der Sturm on 28 December 1793 (Edward Olleson, ‘Georg August Griesinger's Correspondence with Breitkopf & Härtel’, Haydn Yearbook, 3 (1965), 5–53 (p 38)), and also gave performances of Haydn's Die sieben letzten Worte unseres Erlösers am Kreuze on 26 and 27 March 1796 and of Handel's Acts and Galatea on 24 March 1797 (Zinzendorf, in Morrow, Concert Life, 12) Prince Lichnowsky gave a performance of Handel's Judas Maccabaeus on 15 April 1794 (Zinzendorf, ibid). Prince Paar gave a performance of Messiah on 5 April 1795 (Zinzendorf, ibid.). Citing Reinhold Bernhardt, ‘Aus der Umwelt der Wiener Klassiker Freiherr van Swieten (1734–1803)’, Der Bär, 6 (1929–30), 74–164, Morrow lists further performances of oratorios given under van Swieten's direction and, by implication, own sponsorship: Judas Maccabaeus during Lent 1786, Hasse's La conversione di S. Agostino during Lent 1787, Messiah during Lent 1790, Alexander's Feast and Ode for St Cecilia's Day during Lent 1791, and Mozart's Requiem during Lent 1792.Google Scholar

9 Followed by a public performance in the Burgtheater on 7 March (Forkel, quoted in Deutsch, Mozart Die Dokumente, 273).Google Scholar

10 Apparently following a performance in Jahn's Rooms some time in November for Mozart's benefit (Deutsch, Mozart Die Dokumente, 290, probably relying on Pohl, Joseph Haydn, ii, 136)Google Scholar

11 Deutsch, , Mozart: Die Dokumente, 294, and Zinzendorf, 7 April 1789Google Scholar

12 Deutsch, , Mozart. Die Dokumente, 273.Google Scholar

13 Zinzendorf, 7 April 1789. ‘J'y pris un peu d'ennui quoique la musique fut bien belle’Google Scholar

14 Zinzendorf, 26 February 1792: ‘magnifiquement mis dans le costume du siecle de Louis 14. peruque d'allonge, canon, echarpe en baudrier, noeuds au lieu de boucles, grandes manches'. I am grateful to John Sidgwick for his help with the translation, which he researched in consultation with the Comédie Française in Paris. Further to ‘canon’ (in English, canton) he reports that it is ‘a sort of lace skirting which appears at thigh-height’, and to ‘echarpe en baudrier’, that it is ‘the sash worn diagonally, ideal for the setting off of fine bellies and for the pinning-onto of jewel-speckled decorations'.Google Scholar

15 For example, Zinzendorf, 27 December 1790, observed that ‘M de Hartig’ successfully imitated the Burgtheater actor Weidmann in Der vernünftige Narr.Google Scholar

16 The German actor and playwright Joachim Perinet, writing in 1786, complains about the nobility's chatter during the German plays at the Burgtheater ('und ein französisches Gerede übertäubt die Sprache des deutschen Schauspielers’, quoted in Otto Schindler, ‘Das Publikum des Burgtheaters in der Josephinischen Ära: Versuch einer Strukturbestimmung’, Das Burgtheater und sein Publikum, i, ed. Margret Dietrich, Vienna, 1976, 11–95 (p. 48)) Not only did the chatter disturb the actors, but, he continues, while the nobility had plenty of opportunity to watch repeated performances in the course of their subscriptions, the classes who could afford to attend the theatre only infrequently had their theatrical experience spoiledGoogle Scholar

17 [Joseph Ferdinand von Sonnleithner,] Wiener Theater Almanach fur das Jahr 1794 (Vienna, [1794], copy in Vienna, Stadtbibliothek, 14738A), ‘Nachricht von Privattheatern’, 43ff My sincere thanks to Michael Robinson for transcribing the section for me, an excerpt of which is reproduced in Appendix 2. These ‘Privattheater’ refer neither to the fledgling commercial theatres that sprang up in Vienna after 1776 when Joseph lifted the court's monopoly on theatre, nor to aristocratic theatrical establishments of the sort Haydn's employer maintained on his estate in Eszterháza, but rather to acting societies. In this context the terms comédies de société, ‘Privattheater’ and ‘Privatgesellschaften’ can be taken to refer to the same thing.Google Scholar

18 For example, Zinzendorf, 18 March 1786. ‘A 6^b 1/2 chez le Comte Jean Eszterhasy. Une troupe de Société y joua la pièce de Schroeter Stille Wasser sind gern tief’Google Scholar

19 Quoted from Cliff Eisen, New Mozart Documents: A Supplement to O. E. Deutsch's Documentary Biography (London, 1991), 44, in his translation.Google Scholar

20 The play was to have been produced on 3 February 1785 in the Kärntnertortheater, but permission was denied at the last minute. However, the printed plays, which had already been produced, were allowed to be sold Harald Goertz, Mozarts Dichter Lorenzo Da Ponte (Vienna, 1985), 39.Google Scholar

21 Zechmeister, Gustav, Die Wiener Theater Nächst der Burg und Nächst dem Karntnerthor von 1717 bis 1776 (Vienna, 1971), 74–6Google Scholar

22 A few words of explanation might be helpful at this point Before 1776, the two court theatres, the Burgtheater and the Kärntnertortheater, had been run by the lessee Count Johann Nepomuk Koháry. When in 1776 Joseph II put the court theatre directly under court management, he founded the Nationaltheater, devoted to the performance of German spoken drama, and established it in the Burgtheater. Initially he made the Kärntnertortheater available free of charge to independent performers and companies. But in 1785 he annexed it as a second stage to accommodate his burgeoning theatrical enterprise, which had been expanded to include opera buffa and Singspiel companies. An overview of what was performed at the Kärntnertortheater in 1776–85 is provided in Franz Hadamowsky, Wien Theater Geschichte: Von den Anfangen bis zum Ende des ersten Weltkriegs (Vienna, 1988; special study edn 1994), 457–68.Google Scholar

23 In 1776, to stimulate the rapid creation of a repertory of high-quality German plays, Joseph set up a competition which called not just for original German plays but also for good translations of the French classics by Corneille, Racine and Voltaire. The winners had their plays performed at the Burgtheater and received an author's fee as well as the box-office receipts of the third performance, which could be double the author's fee. The competition was enormously popular and drew submissions from throughout the German-speaking lands. However, Joseph discontinued it at the end of the 1788–9 season as one of several economizing measures implemented to meet the financial demands of the war with Turkey.Google Scholar

24 Countess Pálffy Zichy's fine acting in the 1786 Esterházy production of Gemmingen's Die Familie was specifically mentioned in the AlmanachGoogle Scholar

25 The performances were on 18 and 19 February, 18 March, 2 and 4 April, and 2 May 1786Google Scholar

26 Reichard reports that Brockmann directed the performance of Stille Wasser sind betruglich on 18 March, which suggests that he might have directed the entire series except for Gemmingen's play, which the playwright directed himselfGoogle Scholar

27 Schroder was engaged at the Nationaltheater from Easter 1781 to Easter 1785. Viktorine, oder Wohltun bringt Zinsen was one of the last plays he wrote for the Burgtheater (première 20 November 1784). At least two more plays by Schröder were given in the Esterházy series, Stille Wasser sind betrüglich on 18 March (Burgtheater, 24 April 1784) and Der Vetter aus Lissabon on 4 April (Burgtheater, 2 October 1784).Google Scholar

28 At the beginning of the 1789–90 season he was made the sole director of the acting company.Google Scholar

29 He attended four plays, on 6 May, 12 and 18 December 1791, and 14 January 1792Google Scholar

30 A state dinner for the cream of Vienna's society was held in the Orangerie at Schönbrunn on 7 February 1786 in honour of Archduchess Maria Christine and Albert, duke of Sachsen-Teschen, Governor General of the Netherlands. Der Schauspieldirektor and Prima la musica, poi le parole were specially commissioned to showcase the German and Italian companies of the court theatre. Christopher Raeburn, ‘An Evening in Schönbrunn’, Music Review, 16 (1955), 96–100Google Scholar

31 Lange, Joseph, Biographie des Joseph Lange, k k Hofschauspielers (Vienna, 1808), 166, and Link, The National Court Theatre, 495–500.Google Scholar

32 M Elizabeth C Bartlet, ‘Grétry, André-Ernest Modeste’, The New Grove Dictionary of Opera, ed. Stanley-Sadie (Londonr 1992; repr. 1994), ii, 539.Google Scholar

33 In his letter of 20 March 1784 (Mozart Briefe, iii, 307) Mozart writes: ‘Morgen hätte meine erste academie in theater seyn sollen – fürst Louis Lichtenstein giebt aber bey sich opera entfuhrt mir nicht allein den kern der Nobleße, sondern debauchirt mir auch die Besten leute aus dem Orchestre’Google Scholar

34 Zinzendorf, 14 March 1784. ‘Rose, M^e d'hazfeld a merveille. Colas, Gindof officier Polonois, médiocrement quelque fois la voix rauque, la Mere Baubie M^e de Starh parfaitement. Wollenstein pere de Rose mediocrement Tarouca, Pierre le Roux parfaitement mis, joua avec beaucoup d'assurance et quoique sans voix, chanta tres passablement. Le Duo alla passablement, le Trio et le Quintetto mal.’Google Scholar

35 Zinzendorf, 21 March 1784 ‘Ensuite M^es de Hazfeld et de Puffendorf executerent a ravir l'opera Italien Pyrame et Tisbé. Mais le pere fut detestablement rendu par M. Gindof, officier des gardes Polonoises.’Google Scholar

36 Zinzendorf, 25 March 1784: ‘L'ami de la maison, opera comique. M^e de Hazfeld la jeune personne, M^e de Starh sa maman, M. Gindof, Sericourt, Barthelemy, Cliton ou l'ami de la maison’Google Scholar

37 Zinzendorf, 27 December 1787: ‘La seconde piéce Renaud d'Ast demande a etre jouée avec feu. Le seul rôle D'Alain fut bien [rendu?] par le C Louis. Le jeune Dietrichstein chanta tres bien dans le rôle du tuteur.’Google Scholar

38 Zinzendorf, 9 March 1788 ‘On joua d'abord la partie de chasse de henry IV. ce Roi fut indignement representé par le P^ce Zalmont. Le cadet Bouillé joua bien, et M^es de Roombek et de Puffendorf.’Google Scholar

39 Zinzendorf, 27 February 1792: ‘Mais on oublia toute cette perfection a la seconde piěce Renaud d'Ast, Comédie en deux actes et en Prose, melée d'ariettes par M^rs Radet et Barré Musique de M. D'Alyrac Dietrichstein etoit le gouverneur [Lissinon?], Cephise sa pupille’Google Scholar

40 Zinzendorf, 12 February 1786. ‘L'opera d'Alceste ne commença qu'a 6^h 3/4. M^e d'hazfeld née Zierotin joua ce role dans la grande perfection, surtout les airs Non vi turbate, no etc, et l'air du cri. Admete est tres mediocre, et Ismene M^elle [deheissenstein?] passable.’Google Scholar

41 Pohl, Joseph Haydn, ii, 162, and Deutsch, Mozart: Die Dokumente, 234.Google Scholar

42 Rudolph Angermüller, ‘Anti-Da Ponte’, Mitteilungen der Internationalen Stiftung Mozarteum, 43 (1995), 1–49 (p 3), goes so far as to specify February as the month when this production supposedly took place.Google Scholar

43 Reminiscences of Michael Kelly (London, 1820; repr. New York, 1968), i, 251Google Scholar

44 Michtner, Otto, Das alte Burgtheater als Opernbühne. Von der Einführung des deutschen Singspiels (1778) bis zum Tod Kaiser Leopolds II (1792) (Vienna, 1970), 113.Google Scholar

45 Kelly compounds the confusion by declaring that Bernasconi was one of three sopranos who, for about a year off and on, substituted for Nancy Storace after she lost her voice on 1 June 1785 at the première of Gli sposi malcontenti. ‘During the continuance of Storace's illness, three operas were produced, in which Signora Coltellini, Madame Bernasconi, and Signora Laschi performed. The last of these operas was composed by Signor Rigini [Il Demogorgone, 12 July 1786]’ (Kelly, Reminiscences, 232) Celeste Coltellini sang in the court opera during the 1785–6 season and then not again until 1788, Luisa Laschi sang in the company during the 1786–7 season but not before Bernasconi, however, received neither a salary nor payment for guest performances in either season. She is known to have sung in Piacenza during the 1786 spring season in Antonio Sacchini's Armida (Online Catalog of the University of Virginia Library) and in Lucca in 1786 from 5 August to 4 October (Claudio Sartori, I libretti italiani a stampe dalle origine al 1800, Milan, 1990–4, ii, 360)Google Scholar

46 Wiener Zeitung, 10 January 1784, p 49: ‘In dem Theater nächst dem Kärntnerthore spielt die Fuhrmannische und Wilhelmische Truppe wechselweise – Mad. Bernasconi hat sich anheischig gemacht, eben allda 8mal zu unbestimmten Zeiten wälsche Opern zu geben, und hat auch schon 3mal Iphigenie, und 2mal Alceste mit der Musik von Hrn. Ritter Gluck, aufgeführt.’ Wiener Blättchen, 14 December 1783, announcing the fare in the Kärntnertortheater on that day: ‘Iphigenia in Taurus eine italienische Opera in 4 Aufzügen Musik von Herrn Ritter Gluck'.Google Scholar

47 A copy of the libretto, which presents the German translation of 1781 and Da Ponte's Italian translation on facing pages, can be found in the Library of Congress, shelf no. Schatz 3905.Google Scholar

48 Zinzendorf, 13 March 1786. ‘A 10^h j'allois attendre Louise, qui revenoit de l'opera Idomenée de chez le P^ce Auersperg.’Google Scholar

49 It has recently been suggested that ‘Baron Pulini’ was Francesco Pollini (1762–1846), who was in Vienna for most of 1786 Ivan Klemencic, ‘Franc (Francesco) Pollini's Ancestors and his Early Career in Ljubljana’, Off-Mozart: Musical Culture and the ‘Kleinmeister’ of Central Europe 1750–1820, ed Vjera Katalinic (Zagreb, 1995), 139–51 (p. 148), and Elena Biggi Parodi, private communication.Google Scholar

50 Deutsch, Mozart. Die Dokumente, 336.Google Scholar

51 Pohl, Joseph Haydn, li, 162. Deutsch, Mozart. Die Dokumente, 234, initially identified Bridi as Dr Antonio Giacomo Bridi, but later, in Mozart Briefe, v, 214, as Giuseppe AntonioGoogle Scholar

52 Daniel Heartz, in the Foreword to his edition of Idomeneo, Neue Mozart Ausgabe, II/5, xi (Kassel, 1972), p xxi, explains that the performance was given during Lent. However, there is no evidence that restrictions on theatrical performances during Lent applied to private houses in Vienna at this time The restrictions on public performances during Lent had in any case been relaxed by 1786, for starting that year the court theatre presented plays in the Burgtheater during all of Lent except for Holy Week Private theatrical performances, however, were not entirely unregulated. All noncommercial, private theatrical performances had to be registered in advance with the police (Otto Biba, ‘Grundzuge des Konzertwesens in Wien zu Mozarts Zeit’, Mozart Jahrbuch 1978/79 des Zentralinstitutes fur Mozartforschung der Internationalen Stiftung Mozarteum Salzburg, Kassel and Basle, 1990, 132–43 (p. 134)) Unfortunately the police records were destroyed in a fire in the Justizpalast in 1927Google Scholar

53 Zinzendorf, 26 March 1786 ‘A l'opera la Serva padrona musique nouvelle de Paisiello au lieu de l'ancienne de Pergolesi Benucci et la Storace jouerent comme des anges, il y a de jolis morceaux Giornovichi que Louise ne voit pas fort, joua un Concert du violon avec beaucoup de grace et de douceur’Google Scholar

54 Erected in 1705 by Johann Georg Bauernfeind, the Bauernfeindsche Theater and surrounding property was bought by Auersperg on 29 December 1778 to enlarge the grounds of his palace, which he had purchased the previous year Not long thereafter he replaced the old theatre building with a new one By 1784 he had expanded the grounds to include a winter garden containing a temple to the goddess Flora At some point the theatre was converted into a factory manufacturing oil of vitriol, but just when is not known. A document from 1798 confirms that it existed as a factory by then, but the oft assumed date of 1789 for the conversion is contradicted by continued performances in the theatre until at least 1793. Probably the theatre remained in use until the death of Johann Adam in 1795 and was converted into a factory by his nephew and heir, Karl For an overview of Auersperg's theatrical activities see Szmolyan, Walter, ‘Das Bauernfeindsche Theater im Palais Auersperg in Wien’, Osterreichische Musikzeitschrift, 18 (1963), 553–9Google Scholar

55 ‘Le soir au theatre du ^Pce Auersperg au faubourg de la Josephstadt pour voir le ballet de la jalousie reciproque.’ Zinzendorf, quoted by Szmolyan, ‘Das Bauernfeindsche Theater’, 556, from Emil Carl Blümml and Gustav Gugitz, Alt-Wiener Thespiskarren (Vienna, 1925), 472, n 25.Google Scholar

56 Zinzendorf, reported in Pohl, Joseph Haydn, ii, 161–2 Cf the libretto listed in Sartori, I libretti italiani, i, 283. ‘Armida Dramma per musica in due atti da rappresentarsi sul Teatro di S A. il sig. prencipe Adamo d'Auersperg. Vienna, Gius de Kurzbek, 1782. Pag. 44. Musica nella maggior parte di Vincenzo Righini’Google Scholar

57 Pohl, Joseph Haydn, ii, 162Google Scholar

58 [Sonnleithner,] Wiener Theater Almanach für das Jahr 1794, 58 It was probably not performed in January 1788, as stated by Deutsch, Mozart. Die Dokumente, 234, since Axur was the commissioned wedding opera for the marriage of Archduke Franz and Princess Elizabeth, and was given its first performance only on 8 January. Yet another production of Axur is known from an extant libretto. ‘Axur Re D'Ormus. Drama tragicomico in cinque atti da rappresentarsi nel Teatro di Società di S. A. il principe regnante di Lobkowitz Poesia dell'abate Da Ponte […], Musica di Antonio Salieri Vienna, Mattia Andrea Schmidt’ (Sartori, I libretti italiani, i, 381). The host was probably Joseph Franz Maximilian Lobkowitz, who founded his orchestra in 1794 (see below).Google Scholar

59 ‘His opera [Idomeneo], too much filled up with accompaniments, which was given by the nobility at Prince Auersperg's, did not receive the approbation that is usually vouchsafed to his art when he [Mozart] is heard on the fortepiano.’ Pfeffer und Salz, 5 April 1786, cited in the original German in Deutsch, Mozart: Die Dokumente, 236, and quoted here from Otto Erich Deutsch, Mozart: A Documentary Biography, trans Eric Blom, Peter Branscombe and Jeremy Noble (London, 1965), 270.Google Scholar

60 Deutsch, , Mozart: Die Dokumente, 236.Google Scholar

61 Heartz, Daniel, Foreword to the Neue Mozart Ausgabe edition of Idomeneo, p. xxi.Google Scholar

62 Mozart letter of 27 June 1781 (Mozart: Briefe, iii, 135).Google Scholar

63 Eva Mikanova, ‘Unknown Mozartiana from Bohemia’, Hudební rozhledy, Czechoslovakia, 41 (1988), 181–5Google Scholar

64 They arrived with their family in Vienna on 15 September 1790 to participate in the triple wedding of three of their children and the coronation of Leopold in Frankfurt, and stayed until 10 and 14 March 1791Google Scholar

65 Zinzendorf, 27 December 1790. ‘Avant 6^h a la maison du P^ce Auersberg au fauxbourg. J'y montois a la loge … Die familie [in Gothic script in the original] Zinner hongrois jeune homme representa le peintre, M^e Etienne Sichy sa fille, le P^ce Charles Lichtestein Karl, M. de falkenhayn son pere Therese Lichnowsky la soeur de Karl, Louise Lichnowsky la fille du jardinier. Moins bien jouerent M de hartig comme mari de Therese, M. de Wurmbrand le mauvais rôle de complimenteur, M^e de haddik, Amelie, M de haddik le major, et encore un officier. Le rois de Naples cria souvent Bravo! bravissimo! La second piéce Der vernünftige Narr Ici Zinner fit le rôle du hausknecht, M. de hartig celui del'aubergiste Therese celui de Therese, le P^ce Charles celui de l'anglois, hartig imita tres bien Weidmann Par une ouverture dans le plafond on jetta des billets a l'honneur de Leurs Majestés. Puis un ballet de la troupe de Marinelli'. Carl Edler von Marinelli owned and operated the Leopoldstadtertheater. This performance was also noted in the diary of the theatre's Kapellmeister, Wenzel Muller (Vienna, Stadtbibliothek, Tagebuch, f. 57^v). ‘d[en] 27^ten haben wir Gesang, und Tanz bey Furst Adam Auersperg gegeben in gegenwart, des Allerhochsten Hofes-Kaiser-Konige-Erz[herzoge]: [etc]: Furst Auersperg gab der Gesellschaft 50 Ducaten zum vertheilen’ Otto Biba published this passage in ‘Koniglicher Besuch im Palais Auersperg Eine Festkantate von Lorenzo Da Ponte und Joseph Weigl’, Das Josefstadter Heimatmuseum, 49–50 (1968), 212–23 (p 214) However, neither Biba nor anyone else seems to be aware of Zinzendorf's diary entry in connection with Müller's note.Google Scholar

66 Further descriptions of this sumptuous feast, which Zinzendorf neither attended nor reported, are provided by Biba, ‘Koniglicher Besuch’, with quotations from Anon, Lust-Reisen durch Bayern, Wurttemberg, Pfalz, Sachsen, Brandenburg, Österreich, 2 vols. (Leipzig, 1792), ii, 160ff, and the memoirs of Da Ponte and Joseph Weigl. The event was also reported in the Wiener Zeitung, 19 January 1791, p 141: ‘The day before yesterday, Their Sicilian Majesties and Their Royal Highnesses condescended to take the midday meal with the numerous invited nobles at Prince Adam von Auersperg's After rising from the table, there was a musical academy and then a ball, which Their Majesties the Emperor and Empress also honoured with their presence The princely winter garden and the palace were illuminated most magnificently the whole night through’ Quoted in translation from Dexter Edge, ‘Review Article: Mary Sue Morrow, Concert Life in Haydn's Vienna’, Haydn Yearbook, 17 (1992), 108–66 (p. 159). The term ‘musical academy’ ('musikalische Akademie') is used in an unusually broad sense here and misled Edge into speculating that Mozart's Piano Concerto, K.595, may have been given its first performance on this occasion. The error was taken over by H. C. Robbins Landon, The Mozart Essays (London and New York, 1995), 225.Google Scholar

67 A notice in the Wiener Blättchen, 4 April 1785, announced the performance of serious and comic plays and ‘Operetten’ by the company of Antonio Lazzari during the summer months in the ‘Trattnerischen Hause'.Google Scholar

68 Zinzendorf, 7 February 1783: ‘A 7^h au Théatre de la porte de Carinthie ou l'Improvisateur Talassio parla en chantant sur plusieurs questions. Lequel des deux sexes est plus constant en amour? Comparison du Siecle des Medicis avec celui d'Auguste Apologie de la poësie'.Google Scholar

69 Hanslick, , Geschichte des Concertwesens in Wien, eh 2. ‘Die fürstlichen Privatcapellen und der musicirende Adel’, 36–52Google Scholar

70 Pohl relies on primary sources that can be traced even if he does not always identify them.Google Scholar

71 ‘Musikkapellen, großere oder kleinere, hielten zu jener Zeit die furstl. Hauser Schwarzenberg, Auersperg (Dirigent Schenk), Liechtenstein, Kinsky, Lobkowitz (Kapellmeister A Wranitzky), Batthyány, Grassalkovics (Dirigent Kramer), die Grafen Ladislaus und Joseph Erdody, Johann Pálffy, etc’ Pohl, Joseph Haydn, ii, 158–9Google Scholar

72 Antonin Mysliík, ‘Repertoire und Besetzung der Harmoniemusiken an den Hofen Schwarzenberg, Pachta und ClamGallas’, Haydn Yearbook, 10 (1978), 110–19 (p 111). See also Appendix 1, n. 35, for a discussion of the SchwarzenbergsGoogle Scholar

73 Johann Baptist Schenk, ‘Autobiographische Skizze’, Studien zur Musikwissenschaft, 11 (1924), 75–85 (p. 83): ‘[17]94 Anfangs May hatte ich die Ehre bey Sr. Durchlaucht Herrn Karl von Auersperg bis gegen Ende November auf dero Herrschaften zuseyn Daselbst schrieb ich zwey kleine Singspiele, welche allda aufgefuhrt worden sind.’Google Scholar

74 A Prince Auersperg is known to have employed the clarinettist Wenzel Sedlack in about 1805, but it is not known in what context Roger Hellyer, ‘Sedlak, Wenzel’, The New Grove Dictionary of Music and Musicians (London, 1980), xvii, 100.Google Scholar

75 Landon, Mozart: The Golden Years, 117 This information improves on what was known previously Milan Postolka, ‘Wranitzky’, Die Musik in Geschichte und Gegenwart (Kassel, 1968), xiv, col 881, relying on Gottfried Johann Dlabacž, states that Wranitzky was appointed music director to Count Johann Nepomuk Esterházy von Galantha (recte Johann Baptist) at the latest in 1785Google Scholar

76 Vienna, Haus., Hof. und Staatsarchiv, Hofarchiv, Generalintendanz der Hoftheater, Sonderreihe 21–27, Rechnungen der k. k. Theatral-Hof-Directions CassaeGoogle Scholar

77 Mozart. Briefe, in, 194 ‘– das Erste ist der Junge fürst liechtenstein, (er will es aber noch nicht wissen lassen) dieser will eine Harmonie Musick aufnehmen, zu welcher ich die stücke setzen soll – da würde freylich nicht viel ausfallen – doch wenigstens wäre es etwas sicheres – und ich würde den accord niemalen anders als lebenslänglich eingehen –’Google Scholar

78 Hannes Stekl, ‘Harmoniemusik und “türkische Banda” des Fürstenhauses Liechtenstein’, Haydn Yearbook, 10 (1978), 164–75 (p 166)Google Scholar

79 Postolka, Milan, ‘Lobkowitz’, The New Grove Dictionary, xi, 101; Vera Schwarz, ‘Fürst Franz Joseph Maximilian Lobkowitz und die Musikpflege auf Raudnitz und Eisenberg’, Haydn Yearbook, 10 (1978), 121–31 (p. 123)Google Scholar

80 Hanslick, , Geschichte des Concertwesens, 39, calls him Prince Palm; Pohl, Joseph Haydn, ii, 159, calls him Count Palm.Google Scholar

81 Meier, Adolf, ‘Die Preßburger Hofkapelle des Fürst primas von Ungarn, Fürst Joseph von Batthyány, in den Jahren 1776 bis 1784’, Haydn Yearbook, 10 (1978), 81–9Google Scholar

82 Stand, Géza, Adelstheater in Ungarn (Vienna, 1977), discusses the theatrical activities of the families Batthyány, Grassalkovich, Pálffy, Erdödy and Esterházy, among othersGoogle Scholar

83 The performance was repeated in Vienna on 16 and 17 April 1791 at the Tonkunstler-societat concerts (Roger Hellyer, ‘The Wind Ensembles of the Esterházy Princes, 1761–1812’, Haydn Yearbook, 15 (1984), 5–92 (pp 16–17)) Othmar Wessely, ‘Krommer, Franz’, The New Grove Dictionary, x, 278, states that the violinist and composer Krommer was appointed Kapellmeister to Prince Antal Grassalkovich de Gyarak after 1793, which implies the existence of an orchestra rather than just a wind band.Google Scholar

84 Schönfeld, Jahrbuch der Tonkunst von Wien und Prag, 1796, 77 See the passage quoted belowGoogle Scholar

85 Seifert, Herbert, ‘Die Verbindungen der Familie Erdödy zur Musik’, Haydn Yearbook, 10 (1978), 151–63 (pp 151–3)Google Scholar

86 Pisarowitz, Karl Maria, ‘Willmann’, The New Grove Dictionary, xx, 441–2.Google Scholar

87 Hanslick, , Geschichte des Concertwisens, 38, and Mysliík, ‘Repertoire und Besetzung’, 114, who adds that the Harmoniemusik was dissolved in 1810.Google Scholar

88 Hanslick, , Geschichte des Concertwesens, 42Google Scholar

89 Jiři Sehnal, ‘Die Musikkapelle des Olmützer Erzbischofs Anton Theodor Colloredo-Waldsee 1777–1811’, Haydn Yearbook, 10 (1978), 132–45Google Scholar

90 Schonfeld, Jahrbuch der Tonkunst von Wien und Prag, 1796, 77, my translation. The popularity of wind bands was fuelled by imperial example Joseph II founded his Harmoniemusik in 1782. His brother Archduke Maximilian also had a wind band, which he took with him to Bonn in 1784 when he became Elector of Cologne (Hanslick, Geschichte des Concertwesens, 39) Joseph continued to be on the alert for good wind players. In the spring of 1785 he offered to employ Martin Lang, a virtuoso on the waldhorn, in the Harmoniemusik, if his wife, the actress Marianne Lang-Boudet, joined the Nationaltheater, but Munich would not release them (Lange, Biographie des Joseph Lange, 135) Again, in a memorandum of 11 March 1785 to Rosenberg (in Rudolph Payer von Thurn, Joseph II als Theaterdirektor: Ungedruckte Briefe und Aktenstücke aus den Kinderjahren des Burgtheaters, Vienna, 1920, 61), Joseph instructed him to find out whether there was any truth in the rumour that the oboist Deymer had just been released from the service of Prince Schwarzenberg and, if so, to hire him for the theatre orchestra There were four oboists named Deymer (or Teimer) at Schwarzenberg's the father Ignaz and his sons Johann, Philipp and Franz. The theatre payment records of the court show that no Deymer (or Teimer) was hired at this time.Google Scholar

91 Riesbeck, Johann Kaspar, Briefe eines reisenden Franzosen über Deutschland: An seinen Bruder zu Paris (Zurich, 1783), quoted in translation in Neal Zaslaw, Mozart's Symphonies. Context, Performance Practice and Reception (Oxford, 1989), 100 Meier, ‘Die Preßburger Hofkapelle’, 83, states that Batthyány recruited the players for his orchestra largely from Vienna.Google Scholar

92 Otto Biba gives a complete roster of musicians working in the churches of Vienna in ‘Die Wiener Kirchenmusik um 1783’, Musikgeschichte des 18 Jahrhunderts, Jahrbuch für Österreichische Kulturgeschichte, 1/ii (Eisenstadt, 1971), 7–77.Google Scholar

93 Ernst Hess, ‘Stadler, Anton’, Die Musik in Geschichte und Gegenwart, xii, col. 1119, repeats Pohl in stating that Galitzin employed Anton and Johann Stadler in his Kapelle before they were engaged by Joseph in 1782.Google Scholar

94 Information provided by Julia Moore, ‘Beethoven and Musical Economics’ (Ph.D dissertation, University of Illinois at Urbana-Champaign, 1987), 564, raises the possibility that Johann Adam Auersperg did, in fact, maintain an orchestra. Moore states that Johann Schenk was one of two Kapellmeisters known to have served Prince Johann Adam Auersperg, and that ‘Schenk was pensioned when the Kapelle was disbanded upon the Prince's death [1795]’ This item forms part of a rough and ready list of 85 private orchestras in the Austro-Hungarian empire, which Moore compiled from sundry sources to draw attention to a subject needing further study.Google Scholar

95 Dexter Edge, ‘Mozart's Viennese Orchestras’, Early Music, 20 (1992), 64–88.Google Scholar

96 Ibid, 87, n. 55.Google Scholar

97 Comédies de société at which Mlle Paar danced, either alone or with Lord Morton or with Lord Morton and Edgecumbe, took place on 23 and 29 February and 7, 14, and 21 March. The first three dates saw the performances of plays, the latter two operas. All performances took place at Liechtenstein's except the first, which was at Louis's.Google Scholar

98 Although mounted as an opera, L'ape musicale was produced privately by Da Ponte and the participating singers, and the performances were treated by the management of the court opera as a series of benefit concertsGoogle Scholar

99 The data are taken from Link, The National Court Theatre, 5–190Google Scholar

100 On 1 September 1791 Zinzendorf reports that during the ritual meal that was consumed by the emperor in the presence of several hundreds of spectators as part of the coronation ceremonies for Leopold II in Prague, Leopold lingered longer than necessary after dinner, despite the strong body odour of the throng, much to the discomfort of ZinzendorfGoogle Scholar

101 Morrow, , Concert Life in Haydn's Vienna, 23.Google Scholar

102 Johann Fekete de Galántha, Wien im Jahre 1787. Skizze eines lebenden Bildes von Wien, entworfen von einem Weltbürger, cited in Stekl, ‘Harmoniemusik’, 165.Google Scholar

103 Zaslaw, , Mozart's Symphonies, 375.Google Scholar

104 Identified by Pohl, Joseph Haydn, ii, 160, as Anton Apponyi.Google Scholar

105 Jahrbuch der Tonkunst von Wien und Prag, 1796, ‘Dilettantenakademien’, 69–74Google Scholar

106 Franz Sales von Greiner, councillor in the Bohemian-Austrian chancellery, lived in the house ‘Zur Mehlgrube’ on the Neue Markt (Deutsch, Mozart Die Dokumente, 473) His daughter Karoline Pichler was the author of Denkwürdigkeiten aus meinem Leben (Vienna, 1844)Google Scholar

107 Adam Adalbert Hönig von Henikstein was an ennobled wholesale merchant, later adviser to the government and director of the salt works at Wieliczka (Deutsch, Mozart Die Dokumente, 487)Google Scholar

108 Marianne von Martinez (1744–1812) was a pupil of Johann Adolph Hasse, Haydn and Nicola Porpora, and a friend of Metastasio, who lived in her family's house between 1730 and 1782.Google Scholar

109 Maria Theresia von Paradis (?1759–1824) was a blind pianist and composer who lived in ViennaGoogle Scholar

110 ‘Endlich entschloß sich der Adel, ihn [Marinelli] aufzumuntern und fieng an, sich Logen zu bestellen, ihm folgte der Bürgerstand und im kurzen waren alle Logen besetzt.’ Anon., Etwas für Alle über die Aufführung des Baums der Diana, in dem Marinellischen Schauspielhause in der Leopoldstadt (Vienna, 1788), 8.Google Scholar

111 From Joseph Weigl's autobiography, 1819, in Deutsch, Mozart. Die Dokumente, 446.Google Scholar

112 Translation by John A. Rice, ‘Vienna under Joseph II and Leopold II’, The Classical Era. From the 1740s to the End of the Eighteenth Century, ed. Neal Zaslaw, Man and Music (London, 1989), 126–65 (pp. 130–1).Google Scholar

113 It has recently been questioned whether Mozart was paid for these reorchestrations Confirmation of payments, if not of the amount, can be found in the correspondence surrounding their publication by Breitkopf & Hartel. In a letter of 17 January 1802 Griesinger refers to them as van Swieten's purchased property ('er wird Ihnen aber die Handel-Mozartschen Werke, sein bezahltes Eigentum, dennoch überlassen’, Olleson, ‘Georg August Griesinger's Correspondence’, 33–4)Google Scholar

114 Zinzendorf, 18 May 1791 ‘Chez le P^ce Kaunitz. Le Baron disserta musique et dit qu'il n'y en a plus, que depuis Galuppi qui etoit le dernier artiste, tous les airs se ressemblent, que les anciens etudioient le sentiment, l'expnmoient dans leur musique qui etoit inseparable du chant, au lieu qu'aujourd'hui on se content de faire du bruit.’ Cf. van Swieten's statement reported in the first volume of the Allgemeine musikalische Zeitung (1798–9). ‘I belong, as far as music is concerned, to a generation that considered it necessary to study an art form thoroughly and systematically before attempting to practice it. I find in such a conviction food for the spirit and for the heart, and I return to it for strength every time I am oppressed by new evidence of decadence in the arts. My principal comforters at such times are Handel and the Bachs and those few great men of our own day who, taking these as their masters, follow resolutely in the same quest for greatness and truth.’ Anton Schindler, Beethoven as I Knew Him, ed. Donald MacArdle, trans. Constanze Jolly (Chapel Hill, 1966), as cited in Tia DeNora, Beethoven and the Construction of Genius. Musical Politics in Vienna, 1792–1803 (Berkeley, 1995), 26.Google Scholar

115 See Zaslaw, Mozart's Symphonies, 531ff, for a discussion of the criticism levelled at Mozart's music by his contemporariesGoogle Scholar

1 Nancy Storace was the prima buffa in the Italian company 1783-7, Francesco Benucci was the primo buffo 1783-95Google Scholar

2 Zinzendorf uncharacteristically makes an error here when he misidentifies the composer of the opera as SartiGoogle Scholar

3 When Zinzendorf writes just ‘Zichy’, he appears to mean his friend Count Stephan (Etienne) Zichy-Vásonykeo (1757-1841), who married Countess Therese Pálffy and who later became a shareholder in the nine-member ‘Hoftheaterunternehmungsgesellschaft’ that took over the management of the court theatres in 1807 A less probable alternative is Stephan's brother, Count Karl Zichy-Vásonykeo (1753-1826), who in 1776 married Countess Anna Maria Khevenhuller-Metsch, a pupil of Mozart's Karl introduced Mozart to Prince Wenzel Anton Kaunitz-Rietberg (Mozart Briefe, iii, 213) and was one of Mozart's supporters, along with Prince Kaunitz, Countess Uhlfeld Thun and Baron van Swieten (ibid., 221, 376, 379) Other members of the Zichy family in Vienna include Leopoldine, who was the sister of Karl and Stephan and whom Zinzendorf frequently reports as being in the company of Stephan and his wife Further, the subscription lists to the Burgtheater 1782-94 contain a Countess Franz Zichy and a Count Sigmund Zichy (see also 27 December 1788)Google Scholar

4 The Harmoniemusik was created by Joseph II in April 1782 (memorandum of Joseph to Count Orsini-Rosenberg, 24 April 1782, in Payer von Thurn, Joseph II. als Theaterdirektor, 30) The ensemble consisted of the clarinettists Anton and Johann Stadler, the oboists Georg Triebensee and Johann Vent, the bassoonists Wenzel Kauzner and Ignaz Trobney (Drobney) and the horn-players Jakob Eisen and Martin Rupp Each player was paid 400 fl annually to play in the ensemble Joseph is known to have made use of their services for the dinner in the Orangerie at Schönbrunn on 7 February 1786 as well as for the dinners at Laxenburg during the court's stay there in the summer of 1784 (Zinzendorf, 29 June 1784) At the same time that he created the Harmoniemusik Joseph appointed the eight players to the Burgtheater orchestra, where they received an additional annual salary of 350 flGoogle Scholar

5 Galitzin, Prince Dimitrij (1720-93), the Russian ambassador in ViennaGoogle Scholar

6 Countess Maria Anna Hortensia Hatzfeld, née Zierotin who married Count Clemens August Johann Nepomuk HatzfeldGoogle Scholar

7 Starting in 1784-5, Zinzendorf shared a box at the opera with the Oeynhausens and Countess FeketeGoogle Scholar

8 Lolotte (?Lolot) Bassewitz is frequently mentioned in the diaries as singing and playing the keyboard. She often appears at social events with her mother, ‘M^e de Bassewitz’. It is not clear how she is related to Countess Charlotte (Lolotte) Christine Calenberg-Muskau, née Bassewitz, who was married to Count Konrad Heinrich Calenberg-Muskau (as identified by Georges Englebert, Comte de Zinzendorf: Journal chronique belgobruxelloise 1766-1770, Brussels, 1991) See also notes 78 and 80 belowGoogle Scholar

9 Louis, Prince (b. 1759) We know from Zinzendorf that he lived in the Viennese suburb of Gumpendorf and had a summer residence in Feldsperg Zinzendorf also mentions a Princess Louis and a Count and Countess Louis Zinzendorf's ‘Prince Louis’ may, in fact, be Prince Louis Liechtenstein.Google Scholar

10 A large number of the French plays performed in the comédies de société had been performed at court in the 1750s and 1760s. L'été des coquettes, for example, had been performed at the Burgtheater on 5 March 1761 and Les plaideurs between 1752 and 1757 Information about the repertory presented at the court theatres before 1776 is taken chiefly from ZechmeisterGoogle Scholar

11 The Honourable John Douglas (1756-1818), second son of the 14th Earl of Morton (Landon, Mozart The Golden Years, 250)Google Scholar

12 Countess Wilhelmine Josephine Therese Starhemberg, née Neipergg, was married to Count Ludwig (Louis) Joseph Max Starhemberg (1762-1833). His father, Prince Georg Adam Starhemberg (1724-1807), Obersthofmeister to Joseph II, in 1761 married Princess Marie Françoise Josepha Salm-Salm d'Hoogstraten (1731-1806) The family owned the Starhemberg'sche Freihaus, a complex of buildings that contained Schikaneder's theatre, where Mozart's Die Zauberflote was produced.Google Scholar

13 Zinzendorf mentions a Prince and Princess Clary, a Count and Countess Clary, a Countess Therese Clary and her brother, and Leopold Clary Wurzbach (Biographisches Lexikon, ii, 381-3) identifies a Prince Leopold Clary (1736-1800) and a Prince Karl Joseph Clary (1777-1831), whose mother was a daughter of Prince Charles de Ligne.Google Scholar

14 Wallerstein, also spelt Wallenstein and Waldstein. Elsewhere Zinzendorf also mentions ‘M^me Wallenstein’, ‘Isabelle Wallenstein’ and ‘les Wallenstein Ulfeid’ Deutsch (Mozart. Briefe, vi, 109) identifies the ‘gråfin Wallenstein’ in Mozart's letters of 29 May 1782 and 21 February 1785 as Countess Marie (Anna) Elisabeth Waldstein, née Uhlfeld (1747-91), who was the younger sister of Countess Uhlfeld Thun, and who also appeared on Mozart's 1784 list of subscribers. She was married to Count Georg Christian Waldstein (1743-91), who could be the person referred to here by Zinzendorf. Other Waldsteins in Vienna include Count Ferdinand Ernst (1762-1823), Beethoven's patron from the composer's Bonn period, Count Franz de Paula (1759-1823) and Count Vincenz Ferrerius (1731-97).Google Scholar

15 Elisabeth (Lisette) Franziska (b 1759), never married, was the fourth daughter of Count Eugen Franz Erwein Schönborn (1727-1801) and Princess Maria Elisabeth Salm (1729-75), who married in 1751 She had four sisters, Marie Christine (1754-97), who married Count Franz Tarouca; Amalie Ludovica (1756-1802), who remained single; Maria Theresia (b. 1758), who in 1781 married Count Johann Rudolph Czernin von Chudenitz (1757-1845), as of 1824 Oberstkämmerer and Hoftheaterdirektor; and Maria Franziska (b. 1763), who married Count Franz Joseph Sternberg. Their father married a second time, in 1776, Princess Marie Therese Colloredo (b. 1744), who remained childlessGoogle Scholar

16 Alois, Probably Prince (Louis, Ludwig) Joseph Liechtenstein (1759-1805), who also hosted comédies de société on 21 and 25 March 1784. He married in 1783 Countess Karohna Manderscheid-Blankenheim und Gerolstein (b. 1768). His uncle was Prince Karl Borromäus Joseph Liechtenstein (1730-89), who married Princess Maria Eleonora Oettingen-Spielberg (b. 1745). Another relation was Prince Johann Joseph Liechtenstein (1768-1836), who married Landgravine Josepha Fúrstenberg (1776-1836)Google Scholar

17 Johann, Prince Karl Baptist Dietrichstein-Proskay-Leslie (1728-1808), since 1764 Obriststallmeister (‘le grand Ecuyer’), who in 1764 married Countess Marie Christine Thun (1738-88) Both were close friends of Joseph II's They had five surviving children, of whom Wurzbach (Biographisches Lexikon, iii, 302-3) names four Franz Joseph Johann (1767-1854), Maria Theresia (b 1768), Moriz (b. 1775) and Joseph, the youngest Maria Theresia married Count Philipp Kinsky in 1787 In a comédie de société on 17 December 1787 hosted by Prince Dietrichstein, Zinzendorf reports the participation of ‘le jeune Dietrichstein’ and ‘le cadet Maurice’ ‘Le jeune Dietrichstein’ presumably is the heir, Prince Franz Joseph Johann, who left Vienna some time after 1788 to serve in the military. Two other Dietrichsteins are known from the subscription list to the Burgtheater, a Count Ludwig Dietrichstein and a Count Joseph Dietrich-stein, who in 1783 married Zinzendorf's niece Countess Therese Zinzendorf (1765-85)Google Scholar

18 Batthyány, Prince Louis Other members of the family include Count Anton Batthyány, who belonged to van Swieten's Kavahers-Gesellschaft and subscribed to Mozart's 1784 concerts (Deutsch, Mozart Die Dokumente, 290, and Mozart Briefe, vi, 306). A Count Batthyány, bishop of Siebenbürgen, is named as the employer of the oboist Wenzeslaus Schlauf who gave an academy in the Burgtheater on 18 February 1785 (Wiener Blattchen, 18 February 1785, p 158) Prince Joseph Batthyány (1727-99) lived in Pressburg from 1775, first as archbishop and, as of 1778, as cardinal. In 1776 he founded an orchestra, numbering 24 players at its peak, which he disbanded in 1783Google Scholar

19 Prince Joseph Maria Karl Lobkowitz (1725-1802) spent part of his career (1764-77) as a diplomat in St Petersburg, where he maintained a private orchestra. He married Countess Czernin. Their daughter Maria Josepha (1756-1822), Zinzendorf's ‘Henrietta’, married Count (later Prince) Karl Auersperg Joseph Maria Karl's elder brother, Ferdinand Philipp Joseph (1724-84), the ruling prince, had a son, Joseph Franz Maximilian (1772-1816), who was to become active as a patron of music In 1794 he assembled a private orchestra, in 1807 he became a member of the directorship of nobles who took over the management of the court theatres, and in 1809 he joined Prince Kinsky and Archduke Rudolph in putting up an annuity for Beethoven He died heavily in debt, leaving behind seven small children, who were taken into the care of his brother-in-law Joseph SchwarzenbergGoogle Scholar

20 Thomas Sheridan's The Rivals, translated into German as Die Nebenbuhler, had been playing in the Burgtheater since 8 February 1777Google Scholar

21 von Puffendorf, Mme Anna, née Baroness Posch, was married to Konrad Friedrich von PuffendorfGoogle Scholar

22 Countess Maria Esterházy, née Pálffy (1747-99), was married to Count Johann (Jean) Baptist ‘Red John’ Esterházy (1748-1800) (Landon, Mozart The Golden Years, 117)Google Scholar

21 La somnambule was presented at Laxenburg on 28 April 1756. Rose et Colas had most recently been given in French at the Karntnerthortheater on 8 January 1776 The court Singspiel company gave it in German translation on 19 January 1783Google Scholar

21 Antonio Marchesi. Zinzendorf reports that Marchesi sang ‘with a thunderous voice’. He identifies him as ‘the brother of the poor performer we had here’, who would have been the Signor Marchesi listed, without a Christian name, among the salaried personnel of the Italian opera company from 1 November 1783 to the end of February 1784, and then no more (Vienna, Haus-, Hof- und Staatsarchiv, Generalintendanz der Hoftheater, Rechnungen der k. k. Theatral-Hof-Directions Cassae, S R 20, Consignation no 8) The Marchesi of the thunderous voice was introduced to the Viennese public by the Wiener Bláttchen, 22 March 1784, as ‘Herr Marchesi der áltere’. He gave an academy that evening in the Burgtheater and also contributed an aria to Mozart's academy on 1 April 1784 This Marchesi, later identified in the theatre account books as Antonio, is listed in the account books for 1784-5 as having received payment for several guest performances with the Italian opera company (Hoftheater, S. R. 21, Consignation no 130) He must have pleased, for in the following year, 1785-6, he was engaged for the entire season, and made his début as Poncrazio in I viaggiatort felici on 6 May 1785 (Theaterzettel, 6 May 1785)Google Scholar

25 That same evening Mozart performed at Karl Zichy's. ‘weil ich zum graf Zitchi zur Academie muß‘ (Mozart· Briefe, iii, 307).Google Scholar

26 Le dédain affecté, translated and adapted by Friedrich Ludwig Schröder as Wenn sie bȯse seyn kònnten, so wàren sie es, was given its first performance at Laxenburg on 15 June 1784 and its official première at the Burgtheater on 19 June 1784. L'esprit de contradiction was given in the original French in the Burgtheater on 8 April 1761. It entered the German repertory of the Burgtheater as Die Widersprecherinn on 29 December 1770.Google Scholar

27 La pupille was given at Laxenburg on 28 March 1753 and at the Burgtheater in German as Das Múndel on 13 August 1769 Zinzendorf provides the name of the opera (‘Ensuite M^es de Hazfeld et de Puffendorf executerent a ravir l'opera Italien Pyrame et Tisbé‘), and the payment record from the Hausarchiv Liechtenstein mentioned in the text identifies the composer as Vincenzo Righini.Google Scholar

28 Les deux billets was given at the Burgtheater as Die beyden Billets on 12 January 1788Google Scholar

29 Prince Wenzel Anton Kaunitz-Rietberg (1711-94), State Chancellor for Interior and Foreign Affairs, married Maria Ernestine Starhemberg (1717-49), with whom he had six sons and one daughterGoogle Scholar

30 The visiting violinist Regina Strinasacchi gave an academy in the Burgtheater on 29 March 1784 and another in the Karntnertortheater on 29 April 1784 In the latter, she and Mozart played a duet for violin and keyboard, Sonata in B♭, K 454Google Scholar

31 Prince Johann Adam Auersperg (1721-95) married first Maria Katharina Schonfeld (d 1753) and then Maria Wilhelmine Neipergg (d. 1775). His brother, Prince Karl Joseph Anton (1720-1800), married Maria Josepha Rosalia Trautson (1724-92) Their son, Count Karl (1750-1822), married in 1776 Maria Josepha Lobkowitz, daughter of Prince Joseph Maria Karl.Google Scholar

32 Zinzendorf's ‘M^e de Thun’ probably refers to Countess Maria Wilhelmine, Thun-Hohenstein, née Uhlfeld (1744-1800), who in 1761 married Count Franz Joseph Thun-Hohenstein (1734-1800) and who patronized Mozart when he first came to Vienna Her mother-in-law, the fourth wife of Count Johann Joseph Anton Thun-Hohenstein (1711-88), was Countess Elisabeth Thun (Zinzendorfs ‘C^esse Elisabeth’) Countess Uhlfeld Thun had three daughters Maria Elisabeth (‘Elisabeth Thun’) (1764-1806), who in 1788 married Count Andreas Kyrillowitsch Razumowsky, later Russian ambassador in Vienna; Maria Christine (1765-1841), who in 1789 married Prince Karl Lichnowsky, and Maria Carolina Thun, who in 1793 married Richard Meade, earl of Clanwilliam, the British attaché in Vienna (information on the daughters comes from Alfred Orel, ‘Grafin Wilhelmine Thun’, Mozart Jahrbuch 1954, 89-101 (p. 98))Google Scholar

33 Salieri, Antonio (1750-1825) was the music director of the court's Italian opera companyGoogle Scholar

34 Lange, Aloysia (c 1761-1839), Mozart's sister-in-law, was engaged as a singer at the court theatre in 1779 to sing in the Singspiel and in the seasons when there was no Singspiel in the Italian opera company In the context of the escalating salaries paid over the years to her colleagues, her constant salary of 1706 fl. 30 x shows that her career was in a steady decline. She owed her continuing employment only to her husband, Joseph Lange, who was a member of the court theatre's acting company However, she was eventually dismissed at Easter 1789, when the Singspiel company was disbanded for the second time, and her husband was paid 900 fl annually as compensation for her lost income. Lange, Biographie des Joseph Lange, 151; memorandum of Joseph to Count Rosenberg, 2 August 1788, in Payer von Thurn, Joseph II als Theaterdirektor, 82. She was taken on again briefly in November 1791 for the planned revival of the Singspiel company, but was again let go when it did not come about Some time later she left Vienna, and her husband and children, to pursue her career in GermanyGoogle Scholar

35 Prince Johann Nepomuk Schwarzenberg (1742-89) married in 1768 Countess Maria Eleonora Oettingen-Wallerstein The Schwarzenbergs maintained a Harmoniemusik, which Zinzendorf heard at their dinner parties on 29 January, 29 March, 15 April, 5 May 1787, and 11 January and 11 February 1788 The Schwarzenberg who subscribed to Mozart's 1784 concerts may have been Prince Johann Nepomuk (Mozart Briefe, vi, 176) According to Deutsch, Mozart: Die Dokumente, 290, he was also a member of van Swieten's Kavaliers-Gesellschaft. Firm evidence for a Schwarzenberg's patronage of van Swieten's concerts, however, comes from the late 1790s and applies to Johann Nepomuk's eldest son, Prince Josephjohann Nepomuk (1769-1833). Zinzendorf reports a performance of Handel's Acts and Galatea at Schwarzenberg's on 24 March 1797 and a performance of Handel's Messiah on 23 March 1799 The latter was apparently repeated on 23 and 24 December of that year (Eibl, Mozart: Die Dokumente, 87-9) Joseph Johann Nepomuk became a member of the Hoftheaterunternehmungsgesellschaft in 1807. His brother Prince Karl made his career in the army; his sister Princess Marie Caroline married Prince Lobkowitz. The Schwarzenbergs who maintained the Harmoniemusik are identified somewhat differently by Mysliík, ‘Repertoire und Besetzung’, 111. According to Myshík, the Harmoniemusik grew out of the Kapelle founded by Prince Joseph Adam (1722-82), and was continued by his heir, Prince Joseph Johann (1769-1833)Google Scholar

36 Casti, Giambattista (1724-1803) wrote his Il poema Tartaro (1779-83), a satire on the Russian court, after visits to Russia in 1776 and 1778-9. Considered politically too risky to publish, the work circulated privately until it was eventually published in 1796.Google Scholar

37 Countess Buquoy von Lonqueval was married to Count Johann Buquoy, Freiherr de Baux (1741-1803). Count Johann founded a poverty-relief organization in Prague which so pleased Emperor Joseph that he called Buquoy to Vienna in 1784 and appointed him president of the secular Hofstiftungs-Hofkommission Zinzendorf also refers to an unidentified brother.Google Scholar

38 Fràulein Josepha Barbara Auernhammer (1758-1820) had been a pupil of Mozart's since 1781. She gave academies at the Karntnertortheater on 3 November 1782 and in the Burgtheater on 24 February 1785 She was also responsible for the publication of much of Mozart's keyboard music by Artaria (Deutsch, Mozart Die Dokumente, 175 and 256, and Mozart: Briefe, vi, 58)Google Scholar

39 Fräulein Katharina Altamonte (Altomonte) was one of the soloists in the performance of Handel's Messiah at Count Johann Esterházy's on 6 March 1789.Google Scholar

40 Mandini, Stefano was a member of the Italian opera company 1783-8.Google Scholar

41 Count (Prince as of 1790) Franz Xaver Orsini-Rosenberg (1723-96) was Oberstkämmerer to Joseph II. In 1776 he assumed the duties, though not the title, of Musikgraf or director of the court theatre, and, except for a 20-month period under Leopold II, held this position until 1794Google Scholar

42 Although primarily a poet and satirist, Casti also wrote a number of librettos, mainly in Vienna, with an eye to courting the patronage of Joseph II Following his successful collaboration with Giovanni Paisiello in Il re Teodoro in Venezia (23 August 1784), Casti was commissioned to provide a libretto for Antonio Sahen, La grotta di Trofonio (12 October 1785) The première was originally scheduled for the court's séjour at its summer residence in Laxenburg in June 1785, but the séjour was cancelled at the last minute.Google Scholar

45 Casti's writings continued to be of interest even after he had left Vienna On 20 August 1786 at someone's summer residence in Rosegg, Rosenberg read for the assembled company the first few scenes of Casti's libretto Teodoro in Corsica, which Casti had mailed to him Intended as a sequel to Il re Teodoro in Venezia, it was, however, never set to music.Google Scholar

44 The visiting singer Mme Caravogho or Caravoglia gave an academy at the Burgtheater on 16 March 1785 with her husband, a bassoonist. Sartori, I libretti italiani, vii, 146, lists a Maria Carracci Caravogho and a Barbara Caravoglia.Google Scholar

45 Maria Theresia von Trattner, née Nagel (1758-93), married in 1776 Johann Thomas Edlen von Trattner, aged 59 (Mozart: Briefe, vi, 94)Google Scholar

46 Barbara von Ployer, daughter of Gottfried Ignaz von Ployer who was ennobled in 1773, was a pupil of Mozart's. She is known to have performed in several private academies (Deutsch, Mozart Die Dokumente, 198).Google Scholar

47 La sérénade was performed at the Burgtheater in 1752.Google Scholar

48 Count August Hatzfeld (d. 1787), brother of Count Clemens August Johann Nepomuk and canon of Eichstadt, played the violin Mozart composed a Rondo for tenor and solo violin, K 490, for him to play in the performance of Idomeneo at Prince Johann Adam Auersperg's on 13 March 1786Google Scholar

49 Countess Marie Karohne Charlotte (Lolotte) Thiennes de Rumbeke, née Countess Cobenzl (1755-1812), who in 1778 married Count Charles Thiennes de Rumbeke She was a cousin of Count Johann Philipp Cobenzl, and was Mozart's first pupil (Mozart Briefe, vi, 57, and Peter Clive, Mozart and his Circle A Biographical Dictionary, London, 1993, 128-9)Google Scholar

50 Otto Heinrich Freiherr von Gemmingen-Hornberg-Treschlingen (1755-1836) was Baden's ambassador in Vienna 1782-1805 He was also the author of a number of plays, the most successful of which, Der deutsche Hausvater (1780), was produced at the Burgtheater in 1781, in an adaptation by Friedrich Ludwig Schroder, as Die Familie. It dropped out of the repertory in 1784 Its subsequent revival on 14 May 1786 was preceded by a performance at Johann Esterházy's on 2 May 1786, in which the author himself participated For this performance he created a new role expressly for Elisabeth Thun Mozart knew Gemmingen from Mannheim, where in November 1778 he had started to compose the melodrama Semiramis to Gemmingen's textGoogle Scholar

51 The identity of this Lichnowsky is uncertain Zinzendorf refers to a Princess Lichnowsky and her children, ‘l'ainé, le cadet, la cadette’, as well as to the sisters Louise and Therese Lichnowsky (6 August, 19 December, 27 December 1790) Known members of the family include Princess Charlotte Caroline, née Countess Althann, whose name appeared on Mozart's 1784 list of subscribers Her children include Countess Henriette (1769-after 1829), Prince Karl Alois Johann Lichnowsky (1756/1758/1761-1814) and Count Moritz Joseph (1771-1837) Prince Karl invited Mozart to travel with him to Berlin in April 1789, and on 9 November 1791, under mysterious circumstances, won a judgment against Mozart for 1435 fl. 32 x (Walther Brauneis, ‘“… wegen schuldigen 1435 f 32 x r”. Neuer Archivfund zur Finanzmisere Mozarts im November 1791’, Mitteilungen der Internationalen Stiftung Mozarteum, 39 (1991), 159-63). See also Landon, The Mozart Essays, 213-23, who assembles the known information about Prince Karl Lichnowsky to provide a context for this discovery In her memoirs, Countess Lulu Thürheim describes Prince Karl as a ‘cynical rake and a shameless coward’ (quoted in H. C. Robbins Landon, Beethoven. A Documentary Study, London and New York, 1970, 67). Prince Eduard Maria, the eldest child of Prince Karl and Maria Christiane, née Thun-Hohenstein, was born in 1789.Google Scholar

52 Baron Gottfried van Swieten (1734-1803), Director of the Court Library since 1777 and President of the Court Commission on Education and Censorship since 1781.Google Scholar

53 Either Count Johann Rudolf Chotek (1746-1824), Kommerzienhofrats-Präsident, later Hofkanzler, son of Count Johann Karl Chotek (1705-87), or Count Johann Nepomuk Chotek (b 1749), from 1791 President of the Hofkammer, who in 1772 married Countess Sidonie Clary Aldringen.Google Scholar

54 L'impromptu de campagne was performed at Schönbrunn in 1747 and at the Burgtheater between 1752 and 1757.Google Scholar

55 Les Ménéchmes was performed at Schönbrunn in 1747 and Les moeurs du temps at the Burgtheater in 1761.Google Scholar

56 Louise von Diede, baroness Furstenstein, née Countess Calenberg-Muskau, was Zinzendorf's cousin She was married to Wilhelm Christoph von Diede, a Danish diplomat.Google Scholar

57 Le Mercure galant was performed at the Burgtheater in 1761. It entered the German repertory, on 9 October 1784 as Die Heurath durch ein Wochenblatt.Google Scholar

58 The opera had first been performed in Vienna on 26 December 1767; the revised French version was given in Paris in 1776Google Scholar

59 Viktorine was in the repertory of the Burgtheater since its first performance on 20 November 1784.Google Scholar

60 The Pálffy and Pálffy-Erdod families are complex. Zmzendorf names a Joseph Pálffy and a Count Charles Pálffy. The former could be Prince Joseph Franz Pálffy-Erdod (1764-1827), who married Countess Maria Karohna Hohenfeld (b 1774), and who was a subscriber to Mozart's 1784 concert series (Deutsch, Mozart. Die Dokumente, 578) The latter was probably Prince Joseph Franz's cousin, Count Karl Pálffy-Erdod (1767-1823), who married Countess Ernestine Hoyos. He was the brother of Count Leopold Pálffy IV (1764-1825) and Count Ferdinand (1774-1840), who in 1807 became a member of the Hoftheaterunternehmungsgesellschaft. They were sons of Count Leopold III (1739-99) and Countess Maria Josepha Waldstein. Leopold III was the brother of Count Karl Hieronymus (1735-1816), who married Princess Maria Theresia Liechtenstein (1741-66), whose son was the Prince Joseph Franz mentioned above Not to be omitted is Mozart's pupil, Countess Josepha Gabriela Pálffy (b. 1765), who was the daughter of Countess Maria Gabriele Colloredo (sister of the archbishop of Salzburg) and an unidentified Count Pálffy. Finally, the subscribers to the boxes in the Burgtheater for the 1782-3 season include, besides Count Leopold and Count Karl, a Count Johann Pálffy (Hoftheater, S R. 19, Specification no. 2)Google Scholar

61 Reichsgraf Joseph Fries (b. 1763), who is referred to by Zmzendorf on 18 March 1786 as ‘le jeune Fries’, was the eldest son of Reichsgraf Johann Fries (1719-85), an industrialist and banker, and Countess Anna Fries His siblings include Victoire, Sophie and Moritz.Google Scholar

61 Masek, Vincenc (1755-1831), composer and pianist, also was one of the first performers on the glass harmonica. He and his wife later gave an academy at the Burglheater on 21 May 1791.Google Scholar

65 Johann Christian Fischer, an oboist in the service of the king of England, played his popular set of variations on a minuet of his own composition in his academy of 16 March 1787 (Theaterzettel, 16 March 1787). Mozart's variations on a theme by Nicolas Dezède, K. 264 (315d) were composed in Paris in 1778 and published by Artaria in Vienna in 1786 (Wiener Zeitung, 26 April 1786), but they were also sold the previous year in manuscript copy by Lorenz Lausch along with Fischer's minuet and other sets of variations (Deutsch, Mozart: Die Dokumente, 214). ‘Saper bramate’ is the tenor aria for Count Almaviva from Paisiello's Il barbiere di Siviglia.Google Scholar

64 Heureusement was performed at the Burgtheater between 1768 and 1772. La famille extravagante was performed at court in 1748 and at the Burgtheater between 1768 and 1772, and entered the German repertory on 21 January 1781 as Die Rechnung ohne WirthGoogle Scholar

65 Prince Charles Joseph de Ligne (1735-1814) married in 1755 Princess Françoise Liechtenstein (1739-1821). In the early part of his life he lived alternately in Belgium, France and Vienna. In the family palace at Beloeil, which he inherited in 1768, he established a theatre and wrote at least 16 stage works, including the libretto Céphalide, set to music by Ignatz Vitzthumb. The revolution forced him to move permanently to Vienna. He published his oeuvre as Mélanges militaires, littéraires et sentimentatres, 34 vols. (Dresden, 1795-1809). His seven children include Prince Louis (1766-1813) and Charles (1769-92) Zinzendorf reports that a ‘P^ce de Ligne fils’ often participated with his father in the comédies de sociétéGoogle Scholar

66 Stille Wasser sind betruglich had been playing at the Burgtheater since 24 April 1784Google Scholar

67 The visiting violinist Giovanni Marie Giornovichi (Jarnovichi) gave an academy at the Karntnertortheater on 22 March 1786 and another private performance, at Prince Johann Adam Auersperg's, on 26 March 1786Google Scholar

68 Deutsch, (Mozart Briefe, vi, 286) identifies the host as Prince Wenzel Johann Joseph Paar (1719-92). He had a son, Count Wenzel (1744-1812) In his diaries Zinzendorf refers to both a count and a princeGoogle Scholar

69 The singer Josepha Duschek and her husband, the composer Franz Xaver Duschek, lived in Prague During their visit to Vienna in the spring of 1786, supposedly on the invitation of Joseph II, they gave an academy at the Kärntnertortheater some time soon after their arrival on 14 March 1786 (Deutsch, Mozart Die Dokumente, 237).Google Scholar

70 Zinzendorfs entry of 25 March identifies the host of this event as Prince Auersperg: ‘petite despute avec Louise, sur ce que le P^ce Auersperg ne lui avoit point envoyé de billet pour son opera‘Google Scholar

71 ‘La serva padrona Intermezzo a due voci da rappresentarsi in Vienna sul Teatro di S. A il sig. principe Adamo d'Auersperg l'anno 1786 Vienna, Gius. nob de Kurzbek. Pag. 26‘ (Sartori, I libretti italiani, v, 204)Google Scholar

72 Der Vetter aus Lissabon was first performed at the Burgtheater on 2 October 1784. Der Wittwer was first performed at the Burgtheater on 21 June 1774Google Scholar

71 Le babillard was performed at Laxenburg in 1755 and at the Burgtheater between 1768 and 1772.Google Scholar

74 Ignaz von Born (1742-91), a geologist, mineralogist and author of several scientific books, was appointed director of the k.k. Naturalien-Cabinets in 1776. He was also the master of the masonic lodge ‘Zur wahren Eintracht‘Google Scholar

75 Zinzendorf often refers to Baron van Swieten simply as ‘le Baron’.Google Scholar

76 Count Antonio Ottaviano Collalto (1719-93) moved to Vienna in 1780 to take up the family title and property after the Austrian branch of the family had been extinguished through the deaths of Count Thomas Collalto in 1769 and his brother Francesco Agostino in 1779. Antonio Ottaviano had a son, Count (Prince as of 1822) Odoardo III (1747-1833).Google Scholar

77 The entire opera was played in a transcription for winds by the imperial Harmoniemusik in their academy in the Karntnertortheater on 2 March 1787Google Scholar

78 Zinzendorf's musical cousin was probably Count Georg Alexander Hermann Calenberg-Muskau (d. 1795), who in 1769 married Marie Henriette de la Tour du Pin Mountauban (d 1771) However, Georg's elder brother, Count Konrad Heinrich Calenberg-Muskau, also played the keyboard (eg on 27 March 1791)Google Scholar

79 Il curioso accidente had been playing at the Burgtheater since 9 August 1777 in German translations as Geschwind, ehe man es erfährt.Google Scholar

80 Henriette Louise von Lippe, née Countess Calenberg-Muskau (1745-99), married in 1774 Karl Christian von Lippe-Bisterfeld-Weissenfeld (1740-1808). She was the sister of Louise von Diede, baroness Fürstenstein, née Countess Calenberg-Muskau, and of Count Georg Alexander Hermann Calenberg-Muskau (d. 1795). She had a second brother (Zinzendorf, 27 February 1791), who could have been Count Konrad Heinrich (see above, n. 8). All four were cousins of Count Karl Zinzendorf's on his mother's side.Google Scholar

81 Countess Anna Fries hosted the comédie de société at Prince Wenzel Anton Kaunitz's (‘Dela a la Comédie de M^e de Fries chez le P^ce Kaunitz‘)Google Scholar

82 Morichelli, Anna was newly arrived in Vienna to replace Nancy Storace at the Italian opera, but she left at Easter 1788 after only one seasonGoogle Scholar

83 Alfieri, Vittorio (1749-1803), playwright.Google Scholar

84 Himlin, Katharina (Hümlin) received singing lessons from Vincenzo Righini in 1783-4 and again for three months in 1784-5, at the expense of the court theatre The theatre account book for 1787-8 shows her engaged for the Singspiel company from 1 September 1787 to the end of February 1788, but for some reason she made her début ahead of her engagement, on 9 August 1787, and not in the Singspiel but in the Italian opera buffa company. When the Singspiel company was dissolved at the end of the 1787-8 season, she received a year's salary as severance pay (Hoftheater, S. R. 24, Consignation no 115). She was hired again on 12 October 1793 for the Italian company.Google Scholar

85 Renard d'Ast, comédie mêlée d'ariettes, 2, P.-Y Barré and J.-B Radet, after La Fontaine, L'oraison de Saint Julien.Google Scholar

86 Deutsch, , Mozart Die Dokumente, 175 ‘Später heiratete sie den Magistratsrat Johann Bessenig.‘Google Scholar

87 Ibid, 273, identifies this ‘Muller’ as the harpist Mlle Josepha Müllner (b. 1770), who was employed as the court harpist 1811-23. She is known to have given academies at the Burgtheater on 14 March 1784 and 23 February 1788.Google Scholar

88 This opéra comique was performed at the Kärntnertortheater on 12 February 1776 Zechmeister gives ‘Colle’ (Charles Collé) as the librettist and suggests either Saint-Georges or Desfontaines as the composer Elisabeth Cook, ‘Saint-Georges’, The New Grove Dictionary of Opera, iv, 128, lists an opéra comique by the shorter name of La chasse to a text by Desfontaines, which was first performed on 12 October 1778 at the Comédie Italienne in Paris.Google Scholar

85 ‘Jefte. Oratorio in due parti messo in musica dal sig Sacchini. Vienna, Ghelen, 1788. Pag 24‘ (Sartori, I libretti italiani, ii, 521). If the libretto was reworked by Lorenzo Da Ponte, this work could be the Il sacrificio di Jefte that he remembers having written in Vienna and that is considered lost.Google Scholar

90 Joseph Valentin Adamberger and Ignaz and Anna Maria Saal had joined the court theatre as members of the Singspiel company, Adamberger in 1780 and the Saals in 1782 Over the years they sang in both the Singspiel and the Italian opera companies, for the 1787-8 season, all three were members of the Singspiel company and in the following season, when the German company had been disbanded, they were retained for the opera buffa company (Hoftheater, S R. 24, Consignation no. 9, and S R. 25, Consignation no. 10)Google Scholar

91 Adriana Ferrarese del Bene replaced Anna Morichelli as the leading lady in the Italian opera company She made her début on 13 October 1788 as Diana in L'arbore di Diana (Theaterzettel, 13 October 1788) and was put on salary from 1 September 1788 (Hoftheater, S. R 25, Consignation no. 6).Google Scholar

92 Wife of Count Johann Hilmar Adolph von Schönfeld, the Saxon ambassador in Vienna. He had accompanied Leopold's daughter Maria Theresia on her wedding trip from Florence to Saxony in the autumn of 1787, and was made Reichsgraf by Joseph II in 1788.Google Scholar

93 The tenor Domenico Mombelli, who joined the Italian opera company in 1786, composed six canzonette, which were published by Artaria as ‘op. 1, 6 Ariette (canzonette)‘ (Wiener Zeitung, 20 February 1790) These canzonette apparently circulated in manuscript before they were published. Mombelli also composed the oratorio La morte e la deposizione della croce di Gesu Cristo, which was performed by the Tonkünstlergesellschaft on 15 March 1788.Google Scholar

94 This was the second performance of the oratorio in Mozart's reorchestration, following upon the first given in November 1788 in Jahn's Rooms (Deutsch, Mozart: Die Dokumente, 290).Google Scholar

95 Artana issued two sets of Italian songs by Martín y Soler, VI Ariettes (plate no. 115) and 12 Canzonette Italiane, Canto col acc. del Cembalo o Arpa o Chitarra (1787)Google Scholar

96 Probably Paisiello's opera, performed at Prince Auersperg's on 26 March 1786.Google Scholar

97 La surprise de l'amour italienne was given at both Schonbrunn and the Burgtheater in 1761Google Scholar

98 Le jaloux sans amour was given on 12 August 1782 at the Burgtheater in German translation as Der eifersůchtige UngetreueGoogle Scholar

99 This was the second performance, again in Mozart's reorchestration, following upon the first, given at Gount Johann Esterházy's under van Swieten's direction on 6 March 1789 with Mozart conducting (Deutsch, Mozart: Die Dokumente, 294).Google Scholar

100 Weigl, Joseph (1766-1846), son of the violoncellist by the same name in the Burgtheater orchestra, was Antonio Salieri's assistant at the court opera.Google Scholar

101 Villeneuve, Luisa was a member of the Italian opera company 1789-91Google Scholar

102 Distler, Franziska (b. 1777) made her début with the Italian opera company as Elamir in Salieri's Axur, re d'Ormus on 8 January 1788. The theatre account books for 1787-8 and 1788-9 show payments to her for just this role (Hoftheater, S R. 24, Consignation no 111, and S. R 25, Consignation no 94). She shared an academy with her sister Elisabeth on 27 February 1788 Zinzendorf describes her on 11 February 1790 as a superb contraltoGoogle Scholar

103 The wife of the Spanish ambassador Marquis José Agustin Llano, who took up office in Vienna in September 1786.Google Scholar

104 Der vernünftige Narr had been playing at the Burgtheater since 1 July 1784.Google Scholar

105 The marchese di Gallo entertained in a building owned by Kinsky (‘A 7_b passé chez Gallo a la maison de Kinsky‘) Kinsky was not the host, as has sometimes been reported.Google Scholar

106 Zinzendorf does not identify the cantata, but Da Ponte does in his memoirs See also Biba, ‘Königlicher Besuch’, 217, and Sartori, I libretti italiani, v, 519: ‘I voti della nazione napolitana. Cantata a quattro voci per festeggiare il giorno natalizio de Ferdinando IV re delle due Sicilie, Poesie dell'abbate da Ponte. Musica di Francesco Piticchio Vienna, Società Tipografica, 1791‘Google Scholar

107 On 28 February 1788 Zinzendorf reported that ‘Le vieux Raithrath Herrmann’ was 77 years oldGoogle Scholar

108 L'avocat Pathelin was given in the Burgtheater in 1754Google Scholar

109 Les fausses confidences was performed in the Burgtheater in French in 1770 and in German as Die falschen Vertraulichkeiten on 1 October 1774.Google Scholar

110 Les femmes savantes was performed in the Burgtheater in 1754.Google Scholar

111 Le joueur was performed in the Burgtheater in 1752.Google Scholar

112 The participation of Prince Clary is known from Zinzendorf's entry on 26 February 1792 ‘Le joueur fut moins bien rendu que l'année passée, ou le P^ce Clary le rendit beaucoup mieux.‘Google Scholar

113 Le dépit amoureux had been playing at the Burgtheater since 15 August 1786 in German translation as Der Ehemann aus IrrthumGoogle Scholar

114 Count Joseph Stockhammer was the treasurer of the masonic lodge ‘Zur gekrönten Hoffnung’ in 1785.Google Scholar

115 Das Ehrenwort was published in 1792, but was not performed at the Burgtheater until 28 November 1794Google Scholar

116 Le glorieux was performed at Schönbrunn in 1746 and at the Burgtheater in 1753 Le dédit was performed at the Burgtheater between 1768 and 1772Google Scholar

117 Liebhaber und Nebenbuhler in einer Person was first performed at the Burgtheater on 28 September 1790.Google Scholar

118 Die Indianer in England was first performed at the Burgtheater on 12 April 1790.Google Scholar

119 Dupuis et Desronays was performed at Laxenburg in 1763-4 and at the Burgtheater in 1770Google Scholar

120 Zinzendorf, : ‘dans la Schenken Straße, maison d'Eszterhasy chez M^e la P^esse Lubomirska[?]’ Biba, ‘Königlicher Besuch’, 222, n. 17, reports that the score of Joseph Weigl's melodrama Amletto (1791) was composed for Princess LubomirskyGoogle Scholar

121 La coquette corrigée was performed at the Burgtheater in 1761Google Scholar

122 Dorothea Sardi Bussani was a member of the Italian opera company 1786-94, Irene Tomeoni Dutillieu 1791-1805 and Vincenzo Maffoli for the 1791-2 season.Google Scholar

123 Prince Alexander Mihailovich Beloselski (1757-1809) was the Russian ambassador to Dresden, where Mozart played for him on 15 April 1789 (Eisen, New Mozart Documents, 57).Google Scholar

124 Verbrechen aus Ehrsucht had been playing at the Burgtheater since 10 July 1784.Google Scholar

125 Zinzendorf, ‘Jaspard Mollo de’ Duchi di Lusciano, Improvisateur dans une autre genre que Ghiselieri, Poëte et musicien, fesant des [drames?] couplets en improvisant lentement' Domenico Cimarosa (1749-1801) was in Vienna for the production of his new opera, Il matrimonio segreto (7 February 1792).Google Scholar

126 Franz Georg Edler von Keess was the son of Franz Bernhard Edler von Keess (1720-95). Franz Georg gave regular concerts at his home in about 1785 Adalbert Gyrowetz, writing in 1848, in Deutsch, Mozart: A Documentary Biography, 558. ‘On his [Gyrowetz's] arrival there [in Vienna about 1785] he was presented at the house of Hofrath von Käss, who was known as the leading musical connoisseur and dilettante in Vienna, and who gave society concerts in his house twice a week, at which leading virtuosi at that time in Vienna, and the leading composers, viz. Joseph Haydn, Mozart, Dittersdorf, Hoffmeister, Albrechtsberger, Giarnovichi etc etc were gathered together; Haydn's symphonies were performed there.’ In 1788 Johann Baptist Schenk composed six symphonies for the academies of ‘Herrn von Keess’ (Schenk, ‘Autobiographische Skizze’, 79). Keess is also known to have organized concerts on 10 July and 27 September 1789 in the garden of the Liechtenstein palace (Wenzel Müller's Tagebuch, and Der Wienerbothe, 25 September 1789, as reported in Edge, ‘Review’, 156-7).Google Scholar