[Footnote 21: This was shown in his conduct to Grétry (Mém., I., p. 91), Naumann (Meissner, Biogr., I., p. 150), and Burney (Reise, I., p. 142).]
[Footnote 22: Chrysander, Handel, II., p. 378.]
[Footnote 23: Burney, Reise, I., p. 150.]
[Footnote 24: Mancini, Rifless. sul Canto Figurato, p. 152.]
[Footnote 25: Dittersdorfs account in his Autobiography of his stay at Bologna in 1762, and his intercourse with P. Martini and Farinelli, will be found interesting (p. 110).]
[Footnote 26: Burney, Reise, I., p. 149.]
[Footnote 27: A short Osanna in four parts, with accompaniment for strings, in complicated canon form (223 K.) shows the same tendency.]
[Footnote 28: Cf. for the mottoes of these, Padre Martini, Esemplare, II., p. xxv.]
[Footnote 29: Cf. Barthold, Die geschichtl. Persdnl., in Casanova's Memoiren, II., p. 177.]
[Footnote 30: Cf. Schubart, Deutsche Chron., 1776, pp. 499, 554, 613.]
[Footnote 31: Barney, Reise, I., p. 185.]
[Footnote 32: Kelly, Remin., I., p. 225.]
[Footnote 33: He was drowned at a water party (Parke, Mus. Mem., I., p. 204). Holmes says that his brother Ozias Linley preserved an Italian letter from Mozart to Thomas Linley.]
[Footnote 34: Rochlitz (Für Freunde d. Tonk., II., p. 284), highly coloured as usual.]
[Footnote 35: On Holy Thursday, the Misereres of Anerio, Naldini, and Scarlatti were performed in turns, until in 1714 Bai's Miserere displaced them. Since 1821 Allegri's Miserere has only been sung once. Baini, Mem. Stor. Crit., II., p. 195. Kandler, G. Pierluigi da Palestrina, p. 96.]
[Footnote 36: Cf. Burney's more critical account (Reise, I., p. 203) and Mendelssohn's (Reise-briefe, pp. 122, 163).]
[Footnote 37: So at least it was said; but Burney says that the Pope had copies made for the Emperor Leopold, the King of Portugal, and Padre Martini, and that the Papal kapellmeister, Santarelli, gave him a copy, which he had printed in London, 1771 (Reise, I., pp. 202, 208): he heard it again in Florence, and was offered a copy. In face of these statements, Baini's assurance (Cäcilia, II., p. 69) that no copy or score of the Miserere had ever been made, must be held to be exaggerated.]
[Footnote 38: Metastasio declares (Lett., I., p. 99) that the Miserere, which had thrown him into ecstasies in Rome, made no impression at all in Vienna, performed by singers who were _secondo il corrente stilo eccellentissimi._]