either in Nissen or Jahn. I have no wish to be punctilious about
trifles, where, as in the case of Jahn, the principal points are
correct. Further, by this faithful production of the letters,
(nothing being omitted but the constant repetition of forms of
greeting and subscription,) we find many an additional feature in
the Maestro's life, and chiefly various facts with regard to the
creation and publication of his works, which may serve to
complete and to amend various statements in Dr. Ludwig Ritter von
Kochel's "Chronological Thematic Catalogue of the Musical
Compositions of W. A. Mozart," (Leipzig, Breitkopf and Hartel).
This will be effected not only by the hitherto unpublished
letters, though comparatively few in number, but also by passages
being given in full, which have been hitherto suppressed as of no
consequence. I have referred to Nissen and Jahn only when, in
spite of all my inquiries, I could not discover the proprietor of
the original, or procure a correct copy.

I must also remark that all letters without a special address are
written to his father. I have only adhered to Mozart's defective
orthography in his few letters of early date, and in the rest
adopted the more modern fashion. I did so for this simple reason,
that these defects form a charm in his juvenile letters, from
being in accordance with their boyish contents, while, with
regard to the others, they only tend to distract the attention
from the substance of the letters, instead of imparting
additional interest to them. Biographers can, and ought always to
render faithfully the original writing, because quotations
alternate with the text of the biographer; but in a regular and
uninterrupted series of letters this attraction must be very
sparingly used, or it will have a pernicious effect.