1 (return)[ Diet, des Théätres, III., p. 126. An edition by Christoph Balard appeared in 1712, and the text is printed (Rec. des Opéras, XII., 1).]
2 (return)[ Idomeneus's vow, his unwillingness to sacrifice his son, the consequent pestilence, and his dethronement by the people, are found in ancient writers; the rest is modern.]
3 (return)[ I owe to the courtesy of Herr Reg. Lenz, of Munich, the original libretto with the dialogues in full, not abbreviated as they afterwards were for composition: "Idomeneo, dramma per musica, da rappresentarsi nel teatro nuovo di corte per comando di S. A. S. E. Carlo Teodoro, nel Carnovale, 1781" (Munich: Frz. Jos. Thuille.).]
4 (return)[ A regular finale to an opera seria was first introduced by Giov. Gammerra in his "Pirro" (1787); so says Manfiredini (Reg. Armon., p. 121), who disliked this mixture of styles.]
5 (return)[ ALoysia Weber was no longer in Munich; she had removed with her family to Vienna, where the good offices of the imperial ambassador, Count Hardeck, had procured her an engagement as prima donna. It is an error to suppose that this visit of Mozart to Munich had anything to do with his relations to Aloysia.]
6 (return)[ Similar stories were told elsewhere of the Maras (Cf. Forkel's Musik. Alman., 1789, p. 122; and the account of Mara in Zelter's Briefw. mit Goethe, III., p. 418; VI., p. 149).]
7 (return)[ "The accompaniment to the subterranean voices," writes Wolfgang (January 3, 1781), "is in only five parts, namely, three trombones and two horns, which proceed from the same place as the voices. The orchestra is silent at this place." This arrangement was not carried out without opposition from Count Seeau.]
8 (return)[ The notice was also published in the Augsburgischen Ordinari-Postzeitung February 5, 1781, No. 31), Rudhart, Gesch. d. Oper zu München, I., p. 168.]
9 (return)[ So says Rochlitz (A. M. Z., I., p. 51). His authorities, however, are on the main points untrustworthy.]
10 (return)[ Reichardt, who was usually rather inclined to depreciate Mozart, gives an appreciative criticism of "Idomeneo," and speaks of it as the purest work of art which Mozart ever completed (Berl. Mus. Ztg., 1806, p. 11). Seyfried's criticism of the opera is insignificant (Cäcilia, XX., p. 178), but Ulibicheffs remarks are often striking, and show much delicate perception (Nouv. Biogr., II., p. 94).]
11 (return)[ I should not like to assert that this tremolo passage was not suggested by the words; just as in Idomeneo's aria (13) the words "fuor del mar ho un mar in seno" have suggested the billowy motif of the accompaniment.]
12 (return)[ The recitative preceding this aria was originally (as the libretto shows) much longer and more fully composed; many pages were cut out for performance and some small alterations were made.]
13 (return)[ Hogarth, Mem. of the Opera, II., p. 198.]
14 (return)[ Another musical surprise at the close of Electra's second aria is expressive of the dramatic situation. The last note of the voice passes into a march heard in the distance, and beginning with the second part, so that the audience is at once transported into the midst of it. Mozart has employed the same musical expedient in the march in "Figaro," and Spohr in the minuet at the beginning of "Faust."]
15 (return)[ As one example among many, I may quote Idomeneo's prayer (26). Thepizzicatoviolin accompaniment, imitating the harp, is enlivened by the division of the passage among the strings; then comes an independent fully appointed passage for the wind instruments, with an harmonic movement increasing to a climax, which has an original colouring by means of its peculiar sound effects. And the repetition shows us a new development of the previously given elements. A partiality for certain passages for the wind instruments, mostly in thirds and sixths, is apparent both in "Idomeneo" and in the choruses to "König Thamos"; it is observable elsewhere, but in moderation.]
16 (return)[ For the quintet on which it was founded see p. 94. The serenata was afterwards made use of in many combinations.]
17 (return)[ Schinck (Litterar. Fragm., II., p. 286) describes a concert of Stadler's in Vienna, 1784: "I have heard a piece for wind instruments by Herr Mozart to-day. Magnificent! It consisted of thirteen instruments, and at every instrument a master! The effect was grand and magnificent, beyond description!"]
18 (return)[ The violoncello and double-bass have, properly speaking, no independent part; they only strengthen the fundamental bass, which would not be sufficiently prominent with the second bassoons alone.]
19 (return)[ This Adagio has been arranged to an offertory, "Quis te comprehendat" (Coblenz: Falkenberg).]
20 (return)[ It has already been remarked that a relationship exists between the melodies of Mozart's instrumental works, and those of his German—never of his Italian—operas; there are in this serenata suggestions here and there of the "Entfuhrung," which was composed soon after.]
1 (return)[ Nicolai, Reise, V., p. 231.]
2 (return)[ This rondo (373 K.) was composed, according to the autograph, on April 2, 1781, for Brunetti; it is in C major (allegretto grazioso 2-4,) accompanied by the quartet, two oboes, and two horns, and is simple and graceful without much demand of execution.]
3 (return)[ The unfinished allegro movement in B flat major (372 K.), begun on March 24, 1781, probably belongs to this sonata, which was not afterwards written down.]
4 (return)[ The words of the rondo (374 K., Concertarien, No. 5), "A questo seno," appear to have been taken from an opera called "Zeira." A short recitative introduces the rondo, of which the theme is thrice repeated and closes with a coda. The song is simple throughout, without any passages, and for a voice of moderate compass; the accompaniment (the quartet, two oboes and two horns) is also easy. It is plain that Ceccarelli was a singer of no pretensions. The cantilene, however, is expressive, and there are some original harmonic touches.]
5 (return)[ The mother of the composer, at that time prima donna at the German Theatre (Jahrb. d. Tonkunst, 1796, p. 69).]
6 (return)[ "The Imperial Councillor, Von Braun, is one of our greatest musical connoisseurs. He thinks very highly of the compositions of the great Ph. Emanuel Bach; and here he is opposed by the majority of the public in Vienna." (Nicolai, Reise, IV., p. 556.)]
7 (return)[ There was a chorus of 200 voices for Dittersdorf s "Esther," 1772 (Selbst-biogr., p. 203). K. R[isbeck] speaks of 400 assistants (Briefe, I., p. 276).]
8 (return)[ At his concert in Leipzig he played these variations again after an improvised fantasia (354 K.).]
9 (return)[ Neue Wien. Musikzeitg., 1852, No. 35.]
10 (return)[ So it had been promised (Vol. II., p. 65); but Mozart asserts repeatedly that he only had a salary of 400 florins (Vol. II., pp. 176, 181).]
11 (return)[ The representations of Aloysia's mother, which Mozart afterwards learned to receive with caution, may have had some influence on his judgment of Aloysia. The account given by her husband, Jos. Lange, is very different. He narrates in his autobiography (p. 116) that they conceived an attachment for each other soon after Aloysia's arrival in Vienna: "She had the misfortune to lose her father by a fit of apoplexy. Her inconsolable grief, and my care for her family, drew us closer together; my sympathy lightened her sorrowing heart, and she consented to marry me, hoping to find in her husband the friend she had lost in her father. As she had contributed to the support of her family by the exercise of her talent, she continued to make her mother an annual allowance of 700 gulden, and paid her an advance of 900 gulden which had been made to the family by the court."]
1 (return)[ He wrote to Breitkopf (August 10, 1781): "My son is no longer in the service of this court. He was summoned to Vienna by our Prince, who was there, we being in Munich. But his highness lost no opportunity of insulting and ill-treating my son, who, on the other hand, received much honour from all the high nobility of Vienna. My son was therefore easily persuaded to forsake his ill-rewarded service, and to remain in Vienna."]
2 (return)[ Jahrb. d. Tonkunst, 1796, p. 51.]
3 (return)[ Devrient, Gesch. der Deutsch. Schauspielkunst, III., p. 117.]
4 (return)[ Cf. Sonnenfels' programme of his theatrical management in the year 1770, in Müller's Abschied von der Bühne, p. 73.]
5 (return)[ Muller, Abschied, p. 79. Lange, Selbstbiogr., p. 25.]
6 (return)[ Lange, Selbstbiogr., p. 65. Meyer, C. Schröder, I., p. 361.]
7 (return)[ Müller, Abschied, p. 95. A. M. Z., XXIV., p. 253.]
8 (return)[ Carl Pichler, Denkwürdigkeiten, I., p. 78.]
9 (return)[ Meyer, I., pp. 361, 375.]
10 (return)[ A survey and account of the Vienna stage of the time will be found in K. R[isbeck], Briefe über Deutschland, I., p. 258. Nicolai, Reise, IV., p. 587. Meyer, C. Schroder, I., p. 355.]
11 (return)[ An accurate account of the state of German opera is given by Muller (Abschied von der Bühne, p. 253). Cf. A. M. Z., XXIV., p. 254. K. R[isbeck] (Briefe über Deutschland, I., p. 269) says that the members of the opera were looked down upon by those of the old comedy, and there were almost daily ridiculous displays of jealousy and ill-nature.]
12 (return)[ Forkel, Musik. Krit. Bibl., II., p. 392.]
13 (return)[ Sonnleithner, Recensionen, 1862, No. II., p. 18.]
14 (return)[ Lange, Selbstbiogr., p. 104. Muller, Abschied, pp. 259, 261.]
15 (return)[ Theaterkal., 1781, p. 183.]
16 (return)[ Müller, Abschied, pp. 181, 189, 194.]
17 (return)[ Thepersonnelof the opera from 1781 to 1783, which, with their salaries, I have borrowed from Meyer (C. Schroder, I., p. 356), was as fellows:—Male singers: Adamberger (2,133 fl. 30 kr.), Souter (1,200 fl.), Dauer (?), Fischer (1,200 fl.), Gunther (1,200 fl.), Schmidt (1,200 fl.), Ruprecht (700 fl.), Hoffmann (600 fl.), Frankenberger (400 fl.), Saal (800 fl.). Female singers: Mdlle. Cavalieri (1,200 fl.), Madame Lange (1,706 fl. 20 kr.), Madame Fischer (1,200 fl.), Mdlle. Teyber (800 fl.), Mdlle. Haselbeck (600 fl.), Mdlle. Brenner (400 fl.), Madame Saal (800 fl.),Madame Bernasconi (500 ducats). The orchestra, under the leadership of Kapellmeister Umlauf, consisted of six first and six second violins, four tenors, three violoncelli, three double-basses, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, and drums. The total pay amounted to 16,124 florins.]
18 (return)[ Schmid, Gluck, p. 107.]
19 (return)[ Mosel, Ant. Salieri, p. 72.]
20 (return)[ Cramer, Magazin der Musik, I., p. 353. Auembrugger was further known to fame as a physician, and his daughters Franziska and Mariane were distinguished pianoforte-players.]
21 (return)[ In Forkel's Musik. Alman., 1784, p. 189, the question as to why the music of Viennese composers should be liked in North Germany, but the music of North Germany should be disliked in Vienna, is treated of in a contribution for Vienna, showing the two different standpoints.]
22 (return)[ Nicolai, Reise, IV., p. 556.]
23 (return)[ Allg. Wiener Musikztg., 1821, p. 56.]
24 (return)[ Müller, Abschied, p. 185.]
25 (return)[ Forkel, Musik. Bibl., III., p. 340.]
26 (return)[ Cramer, Magazin der Musik, I., p. 353, where it is erroneously stated that Gluck's "Alceste," "Iphigenia in Tauris," and "Orpheus" were given in Italian. Cf. Muller, Abschied, p. 270. A. M. Z., XIV., p. 268. The German translation of "Iphigenia" was by Alxinger (Forkel, Musik. Alman., 1783, p. 153.)]
27 (return)[ Reichardt describes his interview with Joseph II., in the summer of 1783 (A. M. Z., XV., p. 667. Schletterer, Reichardt, p. 326): "The Archduke Maximilian led the conversation on Gluck, whom they both considered as a great tragedian: but now and then the Emperor was not so much in favour of Gluck's operas as could have been wished."]
28 (return)[ Wien Ztg.,1731, No. 95, Anh. "Alceste" was repeated on December 13. Ibid., No.100, December 27 (No.104); "Iphigenia" was played on December 9 (No.99), and on January 3,1782; "Orpheus" was performed in Italian., Ibid., 1782, No. 2.]
29 (return)[ A. M. Z., XV., p. 668. Schletterer, Reichardt, I., p. 327.]
30 (return)[ Mosel, Salieri, p. 22.]
31 (return)[ Ludwig Berger's narrative was taken from the lips of his teacher in 1806, and is identical with Mozart s own account (Cäcilia, X., p. 238; A. M. Z., XXXI., p. 467). Other accounts differ somewhat, as usual in such cases.]
32 (return)[ Clementi thought it advisable on the republication of this sonata to assert his prior claims, as follows: "Cette sonate, avec la toccata qui la suit, a été jouée par l'auteur devant Sa M. J. Joseph II., en 1781, Mozart étant présent." There can be no doubt that Mozart was conscious of the reminiscence.]
33 (return)[ Bridi's account says that the Emperor had laid a wager with the Grand Duchess that Mozart would surpass Clementi, and won it.]
34 (return)[ Paesiello composed sonatas and capricci for the Grand Duchess.]
35 (return)[ Dittersdorf, Selbstbiogr., p. 236.]
36 (return)[ This criticism belongs to the toccata rather than to the sonata; it is markedprestissimo, and is a brilliant study of passages in thirds and fourths.]
37 (return)[ The account which follows is founded on an accurate account of Joseph's chamber concerts (Musik. Corresp., 1790, p. 27).]
38 (return)[ Mosel, Salieri, p. 22.]
39 (return)[ Mosel, Ibid., p. 71.]
40 (return)[ A. M. Z., XXIV., p. 285.]
41 (return)[ The A. M. Z., XV., p. 512, narrates an apocryphal anecdote to the effect that the Emperor Joseph once wrote a song, and secretly inserted it in a little Italian opera which he gave in his private theatre at Schönbrunn. On his asking Mozart what he thought of the song, the latter, "with childlike frankness and gaiety," replied, "The song is good, but he that wrote it is better."]
42 (return)[ A. M. Z., XV., p. 66. Reichardt, Mus. Monatschr., 1792, p. 57.]
43 (return)[ A characteristic scene is related by Mosel (Salieri, p. 130).]
44 (return)[ Dittersdorf tells a story which illustrates this (Selbstbiogr., p. 241)]
45 (return)[ Reichardt, A. M. Z., XV., p. 667 (Schletterer, Reichardt, p. 325; Griesinger Biogr. Not. übcr Jos. Haydn, p. 63).]
46 (return)[ Besides Mosel's Biography cf. the account by Rochlitz (Für Freunde der Tonkunst, IV., p. 342; A. M. Z., XXVII., p. 412).]
47 (return)[ A. Hüttenbrenner, a pupil of Salieri, relates upon his authority (A. M. Z., XXVII., p. 797) that Mozart often came to Salieri, saying: "Lieber Papa (?) geben sie mir einige alte Partituren aus der Hofbibliothek (?), ich will sie bei Ihnen durchblättem," and that he often ate his midday meal during these studies.]
48 (return)[ Mosel (Salieri, p. 211) confines this to silence on the merits of Mozart's works. But although Salieri occasionally spoke in praise of Mozart in afteryears (Hüttenbrenner, A. M. Z., XXVII., p. 797; Rochlitz, Für Freunde der Tonkunst, IV., p. 345), I have heard upon trustworthy authority in Vienna, that Salieri, even in his old age, when among confidential friends, expressed, with a passion that was painful to his hearers, the most unjust judgments on Mozart's compositions. Thayer's attempt to justify Salieri (A. M. Z., 1865, p. 241) led me to make a searching examination of the facts.]
49 (return)[ K. R[isbeck], Briefe, I., p. 272.]
50 (return)[ "A cantata composed for Prince Aloys von Lichtenstein by W. A. Mozart," of which there is a copy in the Royal Library in Berlin, is certainly not by Mozart (242 Anh. K.).]
51 (return)[ The Wien. Zeit., 1781, No. 98, announces "Six sonatas for the piano with accompaniment for the violin by the well-known and celebrated master, Wolfgang Amade Mozart, Op. 2, 5 fl." (296, 376-380, K.). No. 2 (in C major) was composed in Mannheim (p. 400), and No. 4 (in B flat major) was previously known to his sister, as he writes to her (June 4, 1781).]
52 (return)[ Clementi left Vienna at the beginning of May, 1782.]
53 (return)[ "The 'Entführung,'" says a notice from Vienna in Cramer's Magazin, I., p. 352, "is full of beauties. It surpassed public expectation, and the delicate taste and novelty of the work were so enchanting as to call forth loud and general applause."]
54 (return)[ This symphony (385 K., part 5) with the superscription, "ä Vienna nel mese di Juglio, 1782," has only a minuet, and no march. The second minuet was written on separate sheets, and not preserved, not being used in Vienna. Mozart afterwards added two flutes and two clarinets to the first and last movements for the performance in Vienna; these are wanting in the printed score.]
55 (return)[ Dittersdorf, Selbstbiogr., p. 237.]
56 (return)[ The truth of this anecdote is vouched for by Niemetschek, who narrates it (p. 34). Napoleon is said to have received a similar answer from Cherubini, who certainly did not borrow it from Mozart (A. M. Z., XXXVI., p. 21; cf., II. P. 735).]
57 (return)[ Many instances are given in Lange's Selbstbiogr., p. 98 Müller, Abschied, p. 100; Meyer, L. Schröder, I., pp. 341, 343, 346.]
58 (return)[ It remained on the Vienna repertory until 1779. The German opera was quite extinguished in 1778; it was revived on September 23, 1801.]
59 (return)[ Even this sum appears to have been thought excessive; at least Schroder wrote to Dalberg (May 22, 1784): "Mozart received fifty ducats for the 'Entführung aus dem Serail'; he would compose no opera under this price." At a later time, one hundred ducats was the usual price for an opera (Ditters-dorf, Selbstbiogr., p. 241).]
60 (return)[ Cramer, Magazin der Musik, I., p. 99.]
61 (return)[ Raisonnirendes, Theaterjoum. von der Leipzig. Michaelmesse, 1783, p. 32.]
62 (return)[ Koffka, Iffiand und Dalberg, p. 136.]
63 (return)[ Berl. Litt. n. Theat. Ztg., 1784, II., p. 160.]
64 (return)[ Lyncker, Gesch. d. Theat. u. d. Musik, in Kassel, p. 316.]
65 (return)[ Chronik. von Berlin, II., p. 440. Teichmann's Litt. N'achl., p. 45.]
66 (return)[ Ant. Hasenhuth's Leben., p. 94.]
67 (return)[ Cramer's Magazin f. Musik, II., 2, p. 1056, and B. A. Weber, in Knigge's Dramaturg. Blattern, 1788, II., p. 21, give favourable notices. Both these journals were among Mozart's little collection of books.]
68 (return)[ Two fragments of Mozart's pianoforte score of Constanze's and Blond-chen's songs (11 and 12) are preserved in his handwriting. The piano score of the first act is noticed in the Wien. Ztg., 1785, No. 98.]
1 (return)[ Gottsched, Nothiger Vorrath, p. 314.]
2 (return)[ Schletterer, Das Deutsche Singspiel, p. 110.]
3 (return)[ Chronologie des Deutschen Theaters, p. 109. Plümicke, Entwurf e. Theatergesch. von Berlin, p. 193.]
4 (return)[ Furstenau, Zur Gesch. der Musik zu Dresden, II., p. 246.]
5 (return)[ Chronol., p. 159; Cäcilia, VIII., p. 277.]
6 (return)[ Weisse, Selbstbiogr., pp. 25, 41; Blümner, Gesch. d. Theat. in Leipzig, p. 98.]
7 (return)[ Blümner, ibid. Danzel, Gottsched, p. 172.]
8 (return)[ Chronol., p. 202]
9 (return)[ Chronol., p. 247.]
10 (return)[ Blumner, Gesch. d. Theat. in Leipzig, p. 159. Hiller, Wochentl. Nachr., I., p. 219; II., pp. 135, 150. N. Bibl. d. Schön. Wiss., 1767, IV., p. 178. [Reichardt] Briefe e. Aufm. Reia., II., p. 23. Meyer, L. Schroder, I., p. 131. Goethe, Werke, XVII., p. 295.]
11 (return)[ Hiller, Wöch. Nachr., I., p. 253; III., p. 59.]
12 (return)[ Weisse, Selbstbiogr., p. 102.]
13 (return)[ Hiller, Lebensbeschr. beruhmter Musikgelehrten, p. 311.]
14 (return)[ Cf. Deutsch. Museum, 1779, II., p.268. Plümicke, Entwurf e. Theatergesch. von Berlin, p. 205. The contrary is reported of Cassel as a rare exception (Berl. Litt. u. Theat.-Ztg., 1783, II., p. 409).]
15 (return)[ L. Schneider, Gesch. d. Oper in Berlin, p. 209.]
16 (return)[ The constitution of the operatic repertory of the time is shown in the review of the operettas performed in Berlin from 1771-1787 by Schneider (Ibid., p. 206.).]
17 (return)[ Reichardt, Ueb. d. Com. Oper., p. 20.]
18 (return)[ "Operettas are the favourite pieces in Berlin, and cost a great deal of money," wrote Ramier to Knebel, in 1772 (Litt Nachl., II., p. 36). He paid the actors of the first parts one louis-d'or, of the second one ducat, and the rest two gulden for a first performance (Plümicke, Entwurf e. Theatergesch. von Berlin, p. 274).]
19 (return)[ Briefe e. Aufmerks. Reisenden, I., p. 147.]
20 (return)[ Briefe e. Aufmerks. Reisenden, II., p. 94. Burney, Reise, III., p. 46.]
21 (return)[ "Comic operas push out all tragedies and legitimate drama," complained Ramier in 1771 (Knebel, Litt. Nachl., II., p. 33). Boie writes to Knebel to the same effect in 1771 (Litt. Nachl., II., p. 108): "I do not like operettas. The taste which our public is developing for them threatens to extinguish all hope of the revival of true comedy." So also Schubart, Teutsche Chronik, 1774, pp. 349. 478; Knigge, Ephemer. d. Litt. u. d. Theat., 1785, II., p. 98.]
22 (return)[ A. M. Z., III., p. 327.]
23 (return)[ Lessing's Werke, XI., p. 152.]
24 (return)[ Weissc, Selbstbiogr., p. 103. Engel says the same in the preface to the "Apotheke," p. viII. Cf. Schmid, Das Parterr, p. 155.]
25 (return)[ Briefe eines Aufmerks. Reisenden, I., p. 141. Ueb. d. Com. Opera, p. 6. Cf. Mus. Kunstmag., I., p. 161. Geist des Mus. Kunstmag,, p. 94.]
26 (return)[ Riemer, Mitth., II., p. 111.]
27 (return)[ Riemer, Mitth., II., p. 194.]
28 (return)[ Goethe, Br. an Frau von Stein, III., pp. 181,191. Knebel, Litt. Nachl., I., P 149.]
29 (return)[ Riemer, Mitth., II., p. 192. Briefw. m. Zelter, II., p. 121.]
30 (return)[ Goethe, Werke, XXI., p. 6. Cf. Br. an Frau von Stein, III., p. 235.]
31 (return)[ Cf. Goethe, Briefw. mit Zelter, II., p. 121. Riemer, Mittheil., II., p. 292.]
32 (return)[ "Belmont und Constanze, oder die Entfuhrung aus dem Serail." Eine Operette. in drei Akten von C. F. Bretzner (Leipzig, 1781). A French adaptation, "L'Enlèvement" was made by Ch. Destrais, Strasburg, 1857.]
33 (return)[ Jul. André has lately published this interesting relic: duet, "Welch ängst-liches Beben," zur Oper "Die Entfuhrung aus dem Serail " von Mozart. Offenbach: André (389 K.).]
34 (return)[ Cramer, Magazin der Musik, II., p. 1057.]
35 (return)[ In Constanze's aria the words run:— Mozart had previously written to his father (September 26, 1781): "! have altered Hui into schnell, thus: 'Doch wie schnell schwand meine Freude.' I do not know what our German poets are thinking of. Even if they do not trouble themselves to understand what is best fitted for dramatic or operatic treatment, they need not make human beings converse like pigs."]
36 (return)[ Reichardt finds special fault with the rhyming in his Briefe über die musikalische Poesie, p. 115 (an appendix to his pamphlet on the German Comic Opera, Leipzig, 1774).]