1 (return)[ After Gassmann's death in 1774, Jos. Bono (1710-1788) was appointed kapellmeister (Dittersdorf Selbstbiogr., p. 209).]
2 (return)[ Nicolai, Reise, IV., p. 554. Cramer, Magaz. f. Mus., I., p. 928.]
3 (return)[ Cf. K. L. Reinholds Leben, p. 5, and the description by Car. Pichler (Denkw., I., p. 36),]
4 (return)[ Fürstenau, Beitr. z. Gesch. d. sächs. Kap., p. 151. Zur Gesch. d. Mus. in Dresden, II., p. 183. Rudhart, Gesch. d. Oper zu München, I., p. 142.]
5 (return)[ Burney, Reise, II., p. 90. Schubart, Leben, Abschn. 16, I., p. 196. Rudhart, Gesch. d. Oper zu München, I., p. 129.]
6 (return)[ A favourable criticism was given by Schubart, Teutsche Chronik, 1774, p. 100 (Rudhart, p. 157).]
7 (return)[ Calsabigi's words were adapted by Coltellini, and an act was added. Schubart gave a severe criticism (Teutsche Chronik, 1775, p. 239), which he afterwards modified (Ibid., p. 265). Rudhart, I., p. 163.]
8 (return)[ Weber, Marie Antonie, II., p. 43.]
9 (return)[ Rudhart, I., p. 161.]
10 (return)[ [Koch-Stemfeld] Die letzten 30 Jahre d. Hochst. Salzburg, p. 348.]
11 (return)[ It is noticed anonymously in Schubart's Teutsche Chronik, 1775, p. 324, Cf. Rudhart, I., p. 102.]
12 (return)[ "Nissen is mistaken in saying that it was composed in Munich in 1781. The "Offertorium in Contrapunkt in D minor," of which Mozart had a copy made at Augsburg in 1777, was, according to a letter from his father (December n, 1777), this same "Misericordias Domini."]
13 (return)[ Mdme. Campan, Mém. sur Marie Antoinette, V., p. 107. Ires, III., p. 224.]
14 (return)[ Sammartini's Serenate were performed in the open air at Milan (Carpani, Le Haydine, p. 58).]
15 (return)[ [Koch-Sternfeld] Die letzten 30 Jahre, pp. 30,187.]
16 (return)[ Mozart mentions the "zwei Caesationen fur die Grafin," which his father calls the Lodron Nocturnes. The "last Cassation in B," which Wolfgang played at Munich (October 6, 1777), is the divertimento (287 K.) for quartet and horns; the earlier one is a similar divertimento in F major, composed in June, 1776 (247 K.).]
1 (return)[ It is not known when this term came into use—both before and after others were customary: Dramma musicale, dramma per musica, melodramma [Footnote Menestrier]. Des représentations en musique (Paris, 1684), p. 248.]
2 (return)[ Rochlitz, Für Freunde d. Tonk., I., p. 262. Winterfeld, Gabrieli, II., p. 12. Kiesewetter, Schicks. d. welt. Gesanges, p. 24. E. O. Lindner, Zur Tonkunst, p. 1.]
3 (return)[ "Daphne" was adapted by Opitz, and composed by H. Schütz as the first German opera; it was performed in Torgau, 1627 (Fürstenau, Zur Gesch. d. Musik in Dresden, I., p. 97).]
4 (return)[ Æsthetic criticism forms the chief part of Steff. Arteagas' well-known work, Le Rivoluzioni del Teatro Musicale Italiano (Bologna, 1783-88. Ven., 1785, three vols.; translated by Forkel. Leipzig, 1782. 8). Less authentic are G. W. Fink, Wesen u. Gesch. d. Oper (Leipzig, 1835), G. Hogarth's Memoirs of the Opera (Lond., 1855), S. Edwards' History of the Opera (London, 1862).]
5 (return)[ Cf. Winterfeld, Zur Gesch. heil. Tonkunst, II., p. 337,]
6 (return)[ An old copy of his Telemacco indicates it as "opera centesima nona, recitata in Capranica l'anno 1718."]
7 (return)[ Villarosa, Memoria dei Compositori di Musica del Regno di Napoli (Neap. 1840).]
8 (return)[ Ant. Groppo, Catal. di tutti Drammi per Musica recitati ne' Teatri di Venezia dell' a 1637-1745 (Ven., 1745).]
9 (return)[ [Al. Machiavelli] Serie cronologica dei Drammi recitati su de' publ. Teatri di Bologna dell' a 1600-1737 (Bol.f 1737).]
10 (return)[ Burney, Reise, I., p. 293. Cramer, Magaz. f. Mus., II., p. 50. Kelly, Remin., I., p. 65.]
11 (return)[ An account of the scheme of Italian opera is given in the Lettre sur le Mécanisme de l'Opéra Italica (Naples, 1756).]
12 (return)[ Many interesting remarks may be found in Vine. Manfredini's Regole Armoniche (Veo., 1797), IV., 6, p. 119, dello stile serio.]
13 (return)[ Metastasio, Opp. post., I., p 357.]
14 (return)[ J. Brown, Letters upon the Poetry and Music of the Italian Opera (Edinb., 1789), p. 29.]
15 (return)[ Goldoni enumerates the practical directions given to him for writing an operatic libretto. Mém., I., p. 102.]
16 (return)[ Mancini gives an account of the more important among them. Rifl. prat, sul canto fig., p. 14.]
17 (return)[ Even in 1752 Metastasio bitterly complains of this perversion of dramatic] Binging (Opp. post., II., pp. 94, 99, 215, 330).]
18 (return)[ Grétry declares that he once saw a singer go behind the scenes to suck an orange, while another on the stage continued to address him as though he were present (Mém., I., p. 119).]
19 (return)[ Grétry, Mém., I., p. 114.]
20 (return)[ Arteaga (cap. 12) gives a graphic account of the downfall of the opera, which had been incessantly bewailed ever since the publication of Marcello's bitter satire, Il Teatro alla modo (Ven., 1722, 1738). Cf. Le Brigandage de la Musique Italienne (Amst., 1780).]
21 (return)[ Raguenet (Parallèle des Italiens et des François, 1702, § 26, in Mattheson's Musik. Kritik, I., p. 141).]
22 (return)[ Metastasio, Opp. post., II., p. 145.]
23 (return)[ Metastasio, Opp. post., I., p. 282.]
24 (return)[ Arteaga, Rivol., 13 t., II., p. 172 (II., p. 239, trans.), contradicted by Manfredini (Dif. d. Mus. Med., p. 128. Cf. Rousseau, Dictionn. de Mus., Ouverture. Weber, Hinterl. Schr., I., p. 68).]
25 (return)[ Rousseau, Diet, de Mus., Orchestre. Kandler, Vita di Hasse, I. Furstenau, Zur Gesch. d. Mus. in Dresden, II., p. 290.]
26 (return)[ Sacchi, Vita di C. Broschi (Ven., 1784), p. 8. Burney, Reise, I., p. 153.]
27 (return)[ Ap. Zeno, Lettres, IV., p. 21.]
28 (return)[ Arteaga, Rivol., 10, I., p. 67 (II., p. 56).]
29 (return)[ Metastasio, Opp. post., II., p. 409.]
30 (return)[ Grétry, Mém., I., p. 114.]
31 (return)[ Cf. Arteaga, I., p. 69 (II., p. 58). Goldoni, Mém., I., p. 176.]
32 (return)[ Arteaga's criticism (Le Riv., c. 11) is in the main correct. Hiller's (Ueber Metastasio u. seine Werke. Leipzig, 1786) is far more partial. See also Rousseau, Dictionn. de Mus., Génie; Jacobs Nachtr. zu Sulzer, III., p. 95; Herder, Briefe z. Bef. d. Hum., VII., p. 117; A W. Schlegel, Vorles, 16 W, V., p. 350.]
33 (return)[ Karajan, Aus Metastasio's Hofleben (Vienna, 1861).]
34 (return)[ Burney remarks how the character of Metastasio is 'displayed in all his works (Reise, II., p. 170).]
35 (return)[ Metastasio, Opp. post., I., p. 384.]
36 (return)[ He mentions trifling compositions (Opp. post., I., pp. 386, 402); some are printed—e.g., 36 Canoni (Vienna Artaria, 1782).]
37 (return)[ Metastasio, Opp. post., I., p. 384.]
38 (return)[ Metastasio, Opp. post., II., p. 47.]
39 (return)[ Metastasio, Opp. post., II., p. 329. Cf. Mancini, Rifl. prat, sul canto fig., p. 234. Goldoni, Mém., I., 20, p. 110. Hagedom was of opinion that some of Metastasio's operas were perfect tragedies (Werke, V., p. 113), and Bodmer agreed with him (Ibid., p. 184).]
40 (return)[ Metastasio, Opp. post., II., p. 355. In an interesting letter to Hasse (Opp. post., I., p. 344), he dissects his Attilio Regolo, which Hasse was about to compose, so that he may grasp the musical characteristics; he enters into detail so minutely as to leave no doubt of his familiarity with musical technicalities.]
41 (return)[ Metastasio, Opp. post., II., pp. 38, 355.]
42 (return)[ Ap. Zeno writes in his own justification (Lett., III., p. 91): "Ho caricata poi l' opera di sentiment!, poichè questi sono ciö che più piace alla Corte e mas-simamente al Padrone." Metastasio complains of Farinelli's writing an opera for the court ladies, who would only play virtuous parts (Opp. post., II., p. 39).]
43 (return)[ Zeno (Lett., II., p. 413; VI., pp. 100, 194, 287) and Metastasio (Opp. post., II., III., p. 164) complain bitterly of this. As an instance: to a finished opera for five characters a sixth was required to be added (Opp. post., II., p. 37).]
1 (return)[ Leop. v. Sonnleithner has treated thoroughly and well of Mozart's earlier operas. (Càcilia, XXIII., p. 233; XXIV., p. 65; XXV., p. 65).]
2 (return)[ The quintet is omitted in the copy at the Paris Conservatoire, but is present in that at the British Museum (A. M. Z., 1864, p. 495). A song in the third act of the libretto, for Aspasia, is altogether omitted.]
3 (return)[ They are as follows:—]
(1) Aria for Aspasia, "Al destin che la minnacia," in G major, elaborate and rather stiff.
(8) Aria for Ismene, "In faccia al oggetto," in B major 3-4., with a middle movement, in G minor 2-4, Allegretto; pretty but not very striking.
(12) Aria for Sifare, "Lungi da te mio bene," in D major, Adagio; a long-sustained but somewhat spiritless cantilene. It breaks off in 'the middle movement in G major 3-4.
(17) Duet in E flat major, much more elaborate; both the Adagio and Allegro are repeated. The duet has many passages in thirds, but is also somewhat stiff.
(19) Aria for Mitridate "Vado incontro al fato estremo," in F major. The rhythm is forcible and haughty, the harmonies unusually bold and striking. Perhaps this led to its rejection by the singer; the aria which was inserted in its stead doss not rise above the average in these respects.]
4 (return)[ Marpurg, Krit. Beitr., III., p. 44.]
5 (return)[ Opere 41 Gius. Parini publicate ed illustrate da Franc. Reina (Milan, 1802).]
6 (return)[ The three chief characters had already appeared together at Bologna in 1762, in Gluck's "Trionfo di Clelian Bologna" (Dittersdorf, Lebensbeschr.,p. 108).]
7 (return)[ Björnstahl, Briefe, II., p, 296. Teutsch. Mercur, 1789, III., p. 299.]
8 (return)[ Erinnenmgen an Meyer, I., p. 77.]
9 (return)[ Hiller, Wöch. Nachr., III., p. 132.]
10 (return)[ André conjectures that a separate last movement of a symphony (120 K.) which is identical in paper and writing with the score of Ascanio, was intended to serve as a conclusion to the overture when it was performed independently.]
11 (return)[ The subject is taken from Cicero's Somnium Scipionis, which is followed even in details; Metastasio has incorporated the myth of Silius Italicus, who in the fifteenth book of his "Punica" makes Virtus and Voluptas appear to Scipio, that he may choose between manly courage and sensual enjoyment; Metastasio makes the apparitions Costanza and Fortuna ta suit the occasion.]
12 (return)[ G. A. Moreschi, Riflessioni intorno le feste ed azione teatrali (vor Metastasio, Opp., XII., p. IV.).]
13 (return)[ Metastasio recommends this ending to Farinelli's imitation. (Opp. post, I., p. 301).]
14 (return)[ This overture has also been prepared for independent performance by the addition of a closing movement (161 K.).]
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1 (return)[ Winterfeld, Gabrieli, II., p. 146. Kiesewetter, Schicks. d. weltl. Ges., p. 58.]
2 (return)[ P. J. Bacci, vita di S. Filippo Neri (Rom., 1646), I., 19,4 p. 81: Che si cantasse ordino qualche laude spirituale per sollevamento degli animi degli ascoltanti.]
3 (return)[ Bacci, II., 7,11: Nel tempo del camevale per levar loro 1' occasione di andar al corso o aile commedie lascive era solito far fare delle rappresentationi.]
4 (return)[ Menestrier (Des Reprès. en Musique, p. 191)—followed by Bonnet, Hist.de Musique, p. 373, or Bourdelot, Hist, de Mus. I., p. 295—ascribes the introduction of "musique dramatique" to Filippo Neri: "faisant composer par les plus habiles maîtres de musique des récits et des dialogues sur les principaux sujets de l'écriture sainte, il faisoit chanter par les plus belles voix de Rome ces récits dans son église," and brings forward as examples "Jesus and the Samaritan Woman," "Job and his Friends," "The Annunciation," &c. But he seems to have forestalled later performances.]
5 (return)[ Burney,Gen. Hist, of Mus., IV., p. 96. Kiesewetter, Schicks d. weltl. Ges., p. 44.]
6 (return)[ Schelle thought that the vastness of the oratorium of the Chiesa Nuova was unsuited for such performances (N. Zeitschr. f. Mus., LX., p. 79); but there is decided testimony against this view.]
7 (return)[ P. delle Valle, in a letter written 1640. Doni, Opp., II.]
8 (return)[ The celebrated male soprano, Vittorio Loreto, who entered the Papal Kapelle in 1620 (Lindner zur Tonkunst, p. 43), enchanted the public with a Magdalene's song, probably by Dom. Mazocchi (Kircher, Musurg., VII., 9 t. I., p. 674), which he executed in sacello patrun congregations oratorü (Erythräus, pinac. II., 68).]
9 (return)[ According to Quadrio (Stor. di ogni poes., V., p. 425) the term oratorio was first used by Franc. Balducci (d. 1642); in Allacci's Dramaturgia (Ven., 1755) it often occurs after 1659; historians of literature, such as Muratori (d. Perfetta Poesia, III., 5) or Apostolo Zeno (Fontanini, Bibl. d. Eloq. Ital., I., p.489) use it as the customary one.]
10 (return)[ The treatises of Fink (in Ersch and Gruber's Encyclopédie, III., 4 p. 405) and Keferstein (A. M. Z., XLV.,p. 873) are very unsatisfactory,]
11 (return)[ During Lent oratorios were performed in the theatres even at a later date. Goethe (Werke, XIX., p. 182) saw "The Destruction of Jerusalem by Nebuchadnezzar" in Naples. Cf. Dittersdorfs Lebensbeschreibung, p. 144. Teutsch. Mercur, 1789, III., p. 218.]
12 (return)[ Hiller, Wöchentl. Nachr., I., p. 47. Burney, Reise, I., p. 276. At Vienna oratorios were regularly performed in the Imperial Chapel, and afterwards in the theatre, for charitable objects.]
13 (return)[ It was first brought out at Vienna in 1734, with music by Reutter; afterwards composed by Flor. Gassmann (Dittersdorfs Selbstbiogr., p. 203), and partially adapted by Salieri in 1821 (Wiener mus. Ztg., V., p. 294). It was also composed by Jomelli, Cafaro, Bernasconi in Munich, 1754, Sales in Coblenz, 1783, Schuster and Naumann in Dresden (Reichardt, Berl. mus. Ztg., I., p. 171), and by Mussini in Berlin (Ibid., II., p. 39), &c.]
14 (return)[ Scheibe, Krit. Musi eus, 22, p. 216.]
15 (return)[ André informs me that, according to a book of words with which I am unacquainted, this oratorio was performed in Lent of 1786 (not at Vienna, as Sonnleithner inferred), and Mozart appears to have composed another introductory chorus, "Qual fiero caso," and a quintet, "Te solo adoro," which André conjectures to be in Berlin; they have not been found, however (Nohl, Musiker-briefe, pp. 335, 337)]
16 (return)[ Mattheson, Critica Musica, I., p. no: "Dass die tiefen Singbässe einer Harmonie viele Majestät, viele Harmonie und force geben, ist unstreitig; ob aber allemahl etwas agréable, und nicht vielmehr sehr oft was rude und entsetzliches dabei vermacht sey, will dem Zuhörer ùberlaasen."]
17 (return)[ Hiller, Wöchentl. Nachr., I., pp. 326, 343, 353.]
1 (return)[ Opitz's "Dafhe" (1627) follows Rinuccini's original in fidelity to the ancient style; a second adaptation, performed in 1672 and 1678, with music by Gius. Peranda and G. A. Bontempi (Fürstenau, Zur Gesch. d. Mus. in Dresden, I., pp. 234, 251, 254), is enlarged, chiefly by comic scenes of great coarseness between Jakels the piper, Käthe the peasant-girl, and her father Chremes. It was similarly treated in Hamburg. (Lindner, Die erste Deutsche Oper, p. 52).]
2 (return)[ There are two thick volumes in the collection of the King of Saxony, containing comic scenes from nineteen operas by Al. Scarlatti, Gasparini, Giovanni Buononcini, Luigi Manci, Gius. Aldovrandini, and Severo de Luca.]
3 (return)[ Grimm, Corresp. littM I., p. 203.]
4 (return)[ Goethe, Werke, XIX., p. 421.]
5 (return)[ Goethe's Scherz, List und Rache, is an intermezzo thus increased (Werke, XIX., p. 421.).]
6 (return)[ Rousseau, Dictionn. de Mus., Intermidd. C£ Hiller, Wöch. Nachr., I., p. 145.]
7 (return)[ The opera bnffa had no strict rule even as to its divisions. Either the two acts of the intermezzi were preserved, or the opera might be divided into three or four acts.]
8 (return)[ Mattei (Riforma del Teatro vor Metastasio, Opp. III., p. xix.): Le com-medie (per musica) presso di noi son piene di caratteri caricati, e la lingua specialmente Napoletana non è altro che un ammasso di espressioni caricate; non ci è aria, in cui non si esprime o il cane, o la gatta, o gli uccelli, o la ruota che gira o il cannone che spara, e altre cose simili; qui troverete un ubbriaco, là un matto; qui un che parla e sconnetta, là un che balbuttisce ec. Quelle cose son facilissime ad esprimersi in musica (se ben gl' ignoranti le ammirano e restano attoniti) in quella maniera stessa, ch' è facile a un pittore esprimere un volto caricato: poichè comunque riesca il ritratto, basta, che vi si vegga quel lungo naso, o quel occhio Iosco del principale: ognuno lo conosce, ognuno giura chè desso.]
9 (return)[ Arteaga's recipe for an opera buffa (Rivol., c. 15, III., p. 140.; Part II., p. 440) may be recognised in the majority of comic opera libretti.]
10 (return)[ Goldoni, Mém., II., p. 226.]
11 (return)[ Goethe, XIX., p. 420.]
12 (return)[ Goethe, XIX., p. 443.]
13 (return)[ Goethe, XIX., p. 451. Briefw. m. Zelter, II., p. 19.]
14 (return)[ Goldoni, Mém., II., p. 305. Arteaga.]
15 (return)[ Arteaga, Rivol., c. 13, II., p. 298; Part II. p. 263. Manfredini, Difesa d. Mas. Mod., p. 194. Mattei, Rif. del Teatro vor Metastasio, Opp. III., p. 37.]
16 (return)[ Laborde, Essai, III., p. 198.]
17 (return)[ Arteaga, c. 15, III., p. 138; Part II., p. 409.]
18 (return)[ Burney, Reise, I., p. 229.]
19 (return)[ Sonnleithner has furnished me with a book of the words, published in Vienna.]
20 (return)[ Castil-Blaze, L'Opéra Ital., p. 242.]
21 (return)[ Director Franz Hauser possesses the copy of a score of the first act as far as the beginning of the finale, with German words, in which the music has undergone numerous alterations, especially with a reference to the stronger orchestras of the present day. It is not known by whom this arrangement was undertaken.]
22 (return)[ Schubart, Teutsch. Chron., 1775, p. 267. Burney, Reise, II., p. 109. Mozart met her again in 1789, in Dresden, where she died at an advanced age.]
23 (return)[ Arteaga, Riv. del Teatro, 15, III., p. 143; Part II., p. 412.]
24 (return)[ Arteaga, Riv. del Teatro, c. 15, III-, p. 415.]
25 (return)[ One or two less important echoes of "Figaro" are also to be found.]
26 (return)[ Rudhart, Gesch. d. Oper zu München, I., p. 159.]
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