1 See Eizaburo Tsuchida, Würfelmusik und die Tradition der Ars Combinatoria, in: Music & Musicology - A Tribute to Professor Hattori Kozo on His Sixtieth Birthday (1986), pp. 421-466 (in Japanese) and pp. (48)-(49) (synopsis in German).
2 We can find a modern edition among them: W. A. Mozart's "Melody Dicer", Carousel Publishing Corp., 1983, with the Köchel number K. 516F [sic], which should be corrected to K. Anh. C 30.01. The other web site also introduces anonymous K. Anh.C 30.01.
3 See E. Tsuchida, op. cit., pp. 438-441.
4 The transcription of this fragment is given in Neue Mozart-Ausgabe (NMA) VIII/19/1, p. 184.
5 Leopold Mozart wrote the alphabet with both 26 capital and 26 small letters for Wolfgang in his letter of 20 April 1778. See Emily Anderson, editor, Letters of Mozart and his Family (London 1938; rev. 3/1985), p. 530.
6 See Otto Erich Deutsch and Joseph Heinz Eibl, Mozart. Dokumente seines Lebens, dtv dokumente (1963; rev. 2/1981), p. 145.
7 See Marion M. Scott, Haydn; Fresh Facts and Old Fancies, in: Proceedings of The Musical Association LXVIII(1941-42), pp. 87ff.
8 See NMA VIII/19/1, p. X.
9 See Carola Groag Belmonte, Die Frauen im Leben Mozarts (rev. 2/1924), p. 132.
10 He was the father of Barbara Ployer. Gottfried Ignaz von Ployer, who was once thought to be her father, has been proven to be her uncle. See Walter Senn, Abbé Maximilian Stadler: Mozarts Nachlaß und das Unterrichtsheft" KV453b, in: Mozart-Jahrbuch 1980-83, Kassel etc. 1983, pp. 287-298, especially p. 297. See also Otto Erich Deutsch and Joseph Heinz Eibl, op. cit., p. 145.
11 The modern German spelling is Franziska.
12 See E. Anderson, op. cit., p. 902n. Cf. O. E. Deutsch and J. H. Eibl, op. cit., p. 145, which notes Franziska(1769-1850).
13 See NMA III/9, p. VII.
14 See NMA VIII/22/2, p. XI.
15 See NMA VIII/20/2, pp. VIII, XII.
16 See NMA II/7/4, p. VIII.
17 See Köchel, 6th edition, p. 576. Joseph Franz von Jacquin (1766-1839) was the brother of Gottfried and Francisca. See O. E. Deutsch and J. H. Eibl, op. cit., p. 147.
18 See Köchel, op. cit., pp. 583, 602.
19 See Köchel, op. cit., p. 585, and E. Anderson, op. cit., p. 908.
20 See NMA II/7/4, p. XII.
21 See Köchel, op. cit., p. 517.
22 Alan Tyson cautiously proposes this method (rastrology) with the comment that: "the value of such banal observations is that the paper-type can be identified with a good degree of certainty from photographs", in: "Le nozzze di Figaro". Lessons from the autograph score, in: The Musical Times 122 (1981), pp. 456-461, especially pp. 458-459.
23 The facsimile of K. 487/496a is found in Hans Pizka, Das Horn bei Mozart (1980), pp. 217-220, and NMA VIII/21, pp. XII-XV.
24 I am grateful to Dr. Alan Tyson for this valuable information by personal communication and who also informed me "The particular paper-type which was always used by Mozart with 12 staves were sometimes rather ruled differently. In 1781 and 1782 the 12 staves had a 'total span' (the distance from the top line of stave 1 to the bottom line of stave 12) of 182.5-183 mm. Later on, in 1785, for instance, the 12 staves had a 'total span' of 189 mm. But in 1787 the 'total span' was often 187.5 mm." And: "Even though the autograph of K. 516f has only 8 staves today, the measurement of them showed me that the 'total span' (of 12 staves) had originally been 187.5 mm."
25 A "Four-staff music" is referred in the Köchel sixth edition as K. 626b/13, but since it is regarded at present as "lost" (this comment also comes from personal communication from Dr. Tyson), it is impossible to examine either K. 626b/13 has any relations with K. 516f or not.
26 See E. Anderson, op. cit., p. 904.
27 See NMA III/10, p. XII.