176 (return)[ Cf. Gugler, Morgenbl., 1865, No. 32, p. 749.]
177 (return)[ Da Ponte, Mem., III., i p. 80. A. M. Z., XXIV., p. 301. Cf. A. Schebest, Aus d. Leben e. Kunstlerin, p. 203.]
178 (return)[ Bitter, Mozart's "Don Juan," p. 82.]
179 (return)[ The substitution of a letter in his stead, written by him to Donna Anna, confuses the situation without helping out Don Ottavio. Gugler, Morgenbl., 1865, No. 33, p. 780.]
180 (return)[ Whoever has heard this air sung by a true artist will have been convinced that the often-abused second movement of it is a necessary element of the characterisation.]
181 (return)[ The same jest has been introduced by Weber in the first act of "Der Freischütz," when the village musicians fall into the ritornello after the mocking chorus.]
182 (return)[ The second and third orchestra consist only of two violins and bass, the wind instruments of the first doing duty for all; Mozart apparently wished to avoid a multiplication of effects.]
183 (return)[ It is remarkable that there is in the music of "Don Giovanni" no trace of national characterisation. In this dance-music, where it might have occurred, in the table music of the second finale and in the serenade, Mozart has drawn his inspiration from his immediate surroundings, and has reproduced this directly upon the stage.]
184 (return)[ The first idea which must occur to them on the breaking out of the storm: "How differently this fête began," is humorously suggested in the words—[See Page Image] an echo of Don Giovanni's exclamation: "Sù svegliatevi da bravi!"]
185 (return)[ It has been said that the whole of the table music was inserted in Prague during the rehearsal, and it bears all the traces of a happy and rapidly worked-out inspiration.]
186 (return)[ A musical friend in 1822, forestalling Meyerbeer, proposed to sing the part of the Commendatore through a speaking-trumpet behind the stage, while an actor was going through the gestures on the stage. A. M. Z., XXIV., p. 230.]
187 (return)[ At Munich the close of the finale was formerly followed by the chorus of Furies from Vogler's "Castor und Pollux," which is in the key of A flat major! (A. M. Z., XXIII., p. 385.)]
188 (return)[ Gugler conjectures that the abbreviation proceeds from Sussmayer (Leipzig, A. M. Z., 1866, p. 92), which appears to me improbable.]
189 (return)[ Gugler, Morgenbl., 1865, No. 32, p. 745.]
190 (return)[ Castil-Blaze, Molière Musicien, I., p. 338.]
191 (return)[ Argo, 1854, I., p. 365. Cf. Gantter, Ulibicheff, Mozart, III., p. 361. Viol, "Don Juan," p. 25.]
1 (return)[ Wien. Ztg., 1789, No. 69, Anh., advertises Frûhlingslied and Kriegslied by Mozart.]
2 (return)[ In the grand pasticcio arranged by Da Ponte, "L'Ape Musicale," a couple of airs by Mozart are inserted (Wien. Ztg., 1789, No. 23, Anh.).]
3 (return)[ I owe these particulars to the courtesy of Sonnleithner.]
4 (return)[ Wien. Ztg., 1791, No. 44, Anh., announces thirteen German waltzes, thirteen trios and coda, among which are the "Leyer" and "Schlittenlahrt."]
5 (return)[ André's Catalogue includes, besides five minuets signed "Di Wolfgango Amadeo Mozart, Vienna, 1784" (461 K.), and the Prague "Teutschen" (509 K.) already mentioned (Vol. III., p. 125), several other dances, certainly belonging to an earlier date. Printed and written collections of dances in the most varied arrangements have been circulated under Mozart's name, although of very doubtful authenticity.]
6 (return)[ Under Mozart's name an "Anleitung soviel Walzer oder Schleifer mit zwei Wurfeln zu componiren, soviel man will, ohne musikalisch zu verstehen," was published in four languages by Hammel (Amsterdam, Berlin and elsewhere). I am not aware whether he had any share in it.]
7 (return)[ The often-expressed opinion that Mozart arranged "Judas Maccabæus" (A. M. Z., XXII., p. 30) has been corrected by Sonnleithner (Cäcilia, XVIII., p. 242). "Judas Maccabæus" was performed as early as 1779, at the Concert for the Pensionsinstitut (Wien. Mus. Ztg., 1842, p. 70).]
8 (return)[ These particulars, communicated to me by Sonnleithner, rest partly on the testimony of the University Apparitor, Joh. Schönauer, who had assisted at these performances as a boy.]
9 (return)[ Car. Pichler, Denkw., IV., p. 21. Schönauer said that Mozart gave a benefit performance of "Acis and Galatea" in Jahn's Hall, at which Mdlle. Cavalieri, Adamberger, and Gsur sang the solo parts.]
10 (return)[ Carpani mentions a performance of the "Messiah" in the Schwarzenberg Palace; perhaps a later one (Hayd., p. 64).]
11 (return)[ Burney's "Nachricht," translated by Eschenburg (Berlin, 1785). The first time there were over 500, the second time over 660 performers. In consequence of this the "Messiah" was performed in Copenhagen in March, 1786. (Cramer, Mag. f. Mus., II., p. 960.)]
12 (return)[ J. A. Hiller, Nachricht von der Auftuhrung des Händelschen Messias (Berlin, 1786, 4), with Hiller's portrait. There were about 300 performers.]
13 (return)[ This again gave rise to some explanatory pamphlets from Hiller: Fragment aus Handel's Messias; Ueber Alt und Neu in der Musik; Der Messias von Handel nebst angehängten Betrachtungen darûber. On this occasion there were more than 200 performers; the enthusiasm of the audience was great, as was testified by a then youthful member of it (Reichardt's Mus. Ztg., I., p. 126. Cf. Rochlitz, Für Freunde der Tonk., I., p. 22. A. M. Z., XXX., p. 491).]
14 (return)[ Hiller gave explanatory comments on the words. They were published in the Schles. Provinzial-Blätter, 1788, p. 549. Particulars are given by Baumgart, Abh. d. Schles. Ges. Phil. hist. Abth., 1862, I., p. 46.]
15 (return)[ The pastoral, "Acis and Galatea," was composed by Handel at Cannons in 1720 (Chrysander, Handel, I., p. 479).]
16 (return)[ In pursuance of an old custom of celebrating St. Cecilia's Day by music, a musical society had been founded in London, which instituted a grand performance on that day; the music and words were expressly written for the occasion, and the praise of music formed the subject. A long list of celebrated poems and compositions by the first masters was the result. W. H. Husk (An Account of the Musical Celebrations on St. Cecilia's Day, London, 1857. Chrysander, Handel, II., p. 412. Pohl. Mozart u. Haydn in London, p. 12). Dryden's Song for St. Cecilia's Day, "From harmony, from heavenly harmony, this universal frame began," was written in 1687, and set to music by Draghi; Handel composed the same poem in the autumn of 1739. (Chrysander, Handel, II., p. 430.)]
17 (return)[ Dryden's "Alexander's Feast" was written in 1697, and performed with Jer. Clark's music. Handel composed it in 1736; at the second performance in 1737, a duet and chorus, the words by Newburgh Hamilton, were added, but are not included in Mozart's arrangement. (Chrysander, Handel, II., p. 413).]
18 (return)[ The excellent pianoforte arrangement, which is published by the German Handel Society with the score of "Acis and Galatea," shows throughout a similar working-out and arrangement.]
19 (return)[ Mozart is not answerable for all that stands in the printed score. The air, "If God is for us" (No. 48), with bassoon accompaniment, is, as Baumgarten has proved (Niederrh. Mus. Ztg., 1862, No. 5, p. 35), taken from Hiller's arrangement.]
20 (return)[ Thibaut, Ueb. Reinheit d. Tonk., p. 66.]
21 (return)[ In Fr. Th. Mann's musik. Taschenb. for 1805, we read (p. 3): "Der genielle Mozart erhob jene bis zur Manier getriebene Simplicitat, jene lang-weilige ermüdende Leere durch Ausfullung der Begleitung. Göttliche Zierden sind es, die Mozart aus der Fülle seiner Harmonie hier zusetzte, die aber bei diesem fur solche Schönheit unorganisirten Werk so isolirt stehen, dass sie einen zweiten Bestandtheil ausmachen!"]
22 (return)[ A notice from Hamburg (Reichardt's Mus. Ztg., I., p. 197) says of Mozart's arrangement: "Michel Angelo's Gemälde muss kein David über-malen wollen." Setzte doch Handel zu Mozart's Opern keine Orgel u. s. w. oder vielmehr strich keine—weg"; whereupon Reichardt remarks that the omitted word is illegible in the "esteemed correspondent's" handwriting.]
23 (return)[ Jen. Allg. Litt. Ztg., 1804, I., p. 601. Rochlitz names himself as the author of the detailed review (Fur Freunde der Tonk., I., p. 259). Cf. A. M. Z., IX., p. 476; XV., p. 428; XXIX., p. 692.]
24 (return)[ Reichardt's Mus. Ztg., I., p. 41. Zelter, who owns to this review to Goethe (Briefw., II., p. 302; III., p. 418), used to perform the "Messiah" in Mozart's version, with alterations and omissions (Berl. Allg. Mus. Ztg., 1824, p. 427).]
25 (return)[ Cf. Parke, Mus. Mem., II., 76.]
26 (return)[ Thus Hiller not only rearranged the instrumentation of Pergolese's "Stabat Mater," but adapted it partially as a four-part chorus; J. A. Schulze turned six instrumental adagios, by J. Haydn, into a cantata, "Der Versöhnungstod," for chorus and orchestra. And how was Mozart's church music treated! (App. 2.)]
27 (return)[ Gerber undertook, in all seriousness, to perform the choruses of the "Messiah" in Mozart's version, but to have all the airs recomposed by approved composers (A. M. Z., XX., p. 832).]
28 (return)[ The conclusion to Gluck's overture to "Iphigenie in Aulis," which has been, without proof, ascribed to Mozart, is, according to Marx (Gluck, II., p. 71), by J. P. Schmidt.]
1 (return)[ A proof of this is a note of hand for 100 florins, dated April 2, 1789. Cf. O. Jahn, Ges. Aufs., p. 234.]
2 (return)[ The principal sources of information for this journey are Mozart's letters to his wife.]
3 (return)[ Heymann, Dresden's Schriftsteller u. Kunstler, p. 280. Meissner, Biqgr. Naumanns, II., p. 267.]
4 (return)[ Cf. Goethe's Br. an Frau v. Stein, II., p. 280.]
5 (return)[ And yet Mannstein says (Gesch. Geist u. Ausübung des Gesanges, p. 89) that when Naumann heard the passage "Tu sospiri, o duol funesto" in the air composed for Storace (505 K.), he exclaimed: "That is a divine idea I Who has taught this man to express sympathy with the sorrows of others as well as those of his own heart in these few notes?"]
6 (return)[ Wien. Abendpost, 1866, p. 835. Cf. Mus. Real-Ztg., 1789, p. 191.]
7 (return)[ Joh. Wilh. Hassler (1747-1822) has prefixed his autobiography to the second part of his six easy sonatas (Erfurt, 1786).]
8 (return)[ Cramer, Mag. f. Mus., II., p. 404. Schiller, Briefw. m. Körner, I., p. 154. Car. v. Wolzogen, Litt. Nachl., I., p. 203.]
9 (return)[ Meyer, L. Schroder, II., 1., p. 360.]
10 (return)[ Musik. Wochenbl., p. 71.]
11 (return)[ Mus. Real-Ztg., 1788, p. 56.]
12 (return)[ Doles dedicated his cantata "Ich komme vor dein Angesicht" (1790), "to two of his most esteemed patrons and friends, Herr Mozart and Herr Naumann, as a token of his distinguished regard."]
13 (return)[ Rochlitz, Fur Freunde der Tonk., III., p. 222..]
14 (return)[ Reichardt, Mus. Ztg., I., p. 132.]
15 (return)[ Naumann's Leben, p. 183. Meissner, Biogr. Naumanns, II., p. 199; cf. 212.]
16 (return)[ Wolf, Auch eine Reise, Weim., 1784, p. 10.]
17 (return)[ Reichardt, Musik. Monatsschr., p. 70. Mus Ztg., I., p. 2. Cf. Schletterer, Reichardt, I., p. 453. Schneider, Gesch. der Oper, p. 52.]
18 (return)[ The accounts of Dittersdorfs (Selbstbiogr., p. 248) and Naumann's (Meissner's Biogr., II., p. 189; Naumann's Leben, p. 267) personal intercourse with Frederick William II. are very interesting.]
19 (return)[ Mus. Monatsschr., p. 20. Cf. Schletterer, Reichardt, I., p. 457. Schneider, Gesch. der Oper Beil., XXXVI., pp. 15, 16.]
20 (return)[ So says the Berlin musical Veteran (Neue Berl. Mus. Ztg., 1856, p. 35).]
21 (return)[ Rochlitz, A. M. Z., IM p. 22.]
22 (return)[ Dittersdorf, Selbstbiogr., p. 267.]
23 (return)[ Cf. Rochlitz, A. M. Z., XXX., p. 491.]
24 (return)[ Cf. Schletterer, Reichardt, I., p. 638.]
25 (return)[ My researches in the Royal Library and archives for some trace of négociations accompanying this offer have proved fruitless. It must therefore have been at once refused at Mozart's personal interview with the King; the way in which Mozart writes to his wife, that she has cause to be satisfied with the favour in which he stands with the King, seems to refer to some definite proposal.]
26 (return)[ So ways the Veteran. The tradition, according to which Mozart wrote the "Ave verum" in Potsdam, is quite untrustworthy.]
27 (return)[ Berl. Litt. u. Theal.-Ztg., 1784, II., p. 160.]
28 (return)[ So says Semler, Voss. Ztg., 1857, March xi; Beil., p. 7.]
29 (return)[ The scene made such an impression that a viola-player marked the place on his part where Mozart stamped the time till his shoe-buckle snapped. Griel, the old orchestra attendant at Leipzig, had picked it up and showed it as a token.]
30 (return)[ A. M. Z., I., pp. 85, 179.]
31 (return)[ The notice in the Leipz. Ztg., 1789, Nos. 91 and 93 runs; "Heute als den Mai wird Herr Capellmeister Mozart, in wirklichen. Diensten Sr. K. K. Maj. eine musikalische Akademie in dem grossen Conzertsaale zu seinem Vortheil geben. Die Billets sind fur 1 Gulden bei Hrn. Rost in Auerbachs Hofe und bei dem Einlasse des Saales zu bekommen. Der Anfang ist um 6 Uhr."]
32 (return)[ On May 17, at Leipzig, he composed the charming little Gigue (574 K.) for the court-organist, Engel.]
33 (return)[ He stayed in the house at the Gensdarmenmarkt with Moser, to whom he presented an elegant copy of the six quartets (421 K.).]
34 (return)[ Journ. d. Moden, 1789, p. 394.]
35 (return)[ Rochlitz, A. M. Z., I., p. 20.]
36 (return)[ N. Berl. Mus. Ztg., 1856, p. 36.]
37 (return)[ An enthusiastic description of her beauty is given by Rahel (I., p. 62).]
38 (return)[ Meyer, L. Schroder, II., 1, p. 93. Schletterer, Reichardt, I., p. 511.]
39 (return)[ Köpke, L. Tieck, I., p. 86. It is well known that in 1789 the "Entfuh-rung," alone of Mozart's operas, was given in Berlin, "Figaro" and "Don Giovanni" not appearing on the stage there until November and December, 1790. This is a fresh proof of how youthful memories are confounded with later reminiscences.]
40 (return)[ Mus. Real-Ztg., 1789, p. 156.]
41 (return)[ So Hummel's widow told me at Weimar, in 1855.]
42 (return)[ Dittersdorf, Selbstbiogr., p. 253. Cf. Mus. Monatsschr., p. 41.]
1 (return)[ N. Berl. Mus. Ztg., 1856, No. 5, p. 35.]
2 (return)[ N. Wien. Mus. Ztg., 1852, No. 35.]
3 (return)[ Wien. Ztg., 1788, October 15, No. 83, p. 2,541.]
4 (return)[ From August 29, when "Figaro" was first placed on the stage, it was given eleven times (August 31; September 2, 11, 19; October 3, 9, 24; November 5, 13, 27); fifteen times in 1790, and three times in 1791.]
5 (return)[ Fr. Heinse (Reise-und Lebensskizzen, I., p. 184) mentions a rumour that a story current in Vienna at the time concerning two officers and their mistresses furnished the subject for the opera, which was adopted by the express desire of the Emperor.]
6 (return)[ Da Ponte mentions it only briefly (Mem., II., p. 109).]
7 (return)[ In the Wien. Ztg., 1790, No. 9, Anh., the date is printed, "Mittwoch, 16 Januar."]
8 (return)[ Joum. des Luxus u. d. Moden, 1790, p. 148: "I have again to announce a new and excellent work by Mozart acquired by our theatre. It was performed yesterday for the first time at the Imp. Nat. Theatre. It is entitled,'Cosi fan Tutte, osia la Scuola degli Amanti.' Of the music, it is sufficient to say that it is by Mozart."]
9 (return)[ It was repeated after the first performance, on January 28,30; February 7, 11. After the death of Joseph II. (February 20) the theatre was closed until April 12; Mozart's opera was given again June 6, 12; July 6, 16; Aug. 17; in all, therefore, ten times; then it was allowed to drop.]
10 (return)[ The first book of the words, "Cosi fan Tutte, osia la Scuola degli Amanti. Dramma giocoso in due atti, da rappresentarsi nel Teatro di Corte l' anno 1790," was shown to me by Sonnleithner.]
11 (return)[ In the original recitative (Act I., sc. 9), Trieste was written, and altered into Naples; Venezia is in the printed score.]
12 (return)[ The words with which Don Alfonso begins the second terzet— "È la fede delle femine Come l' Araba fenice: Che vi sia, ciascun lo dice Dove sia, nessun lo sà"—are borrowed from Metastasio's "Demetrio" (Act II., sc. 3), and were composed by himself as a canon (where it runs, "La fede degli amanti, &c.). It is therefore an old familiar song that Alfonso sings to them.]
13 (return)[ According to the original score the march is first played by the orchestra alone, piano at the beginning, andcrescendofrom the second part; at the repetition the chorus joins inforte.]
14 (return)[ This scene was originally introduced by a Cavatina for Despina; after the recitative is written,Dopo la cavatina di' Despina.Mozart afterwards crossed out these words, probably because a better place was found for Despina's air.]
15 (return)[ Schneider, Gesch. d. Oper, p. 61.]
16 (return)[ Schneider, Ibid., p. 76.]
17 (return)[ A. M. Z., XXVIII., p. 26. Berl. Mus. Ztg., III., p. 12.]
18 (return)[ A. M. Z., XXXIII., p. 550.]
19 (return)[ A. M. Z., XLVIII., p. 870.]
20 (return)[ A. M. Z., X., p. 409.]
21 (return)[ A. M. Z., XXV., p. 428.]
22 (return)[ A. M. Z., XXXIII., p. 222.]
23 (return)[ A. M. Z., XL., p. 440.]
24 (return)[ A. M. Z., VII., p. 240.]
25 (return)[ A. M. Z., XXXII., p. 375. Fr. Heinse, Reise-und Lebensskizzen, I., p. 183.]
26 (return)[ A. M. Z., XIV., p. 189. Cf. XVI., p. 154.]
27 (return)[ A.M.Z., XII., p. 500; XVI., p. 451.]
28 (return)[ A. M. Z., XVIII., p. 895.]
29 (return)[ A. M. Z., XIII., pp. 526, 720; XIX., p. 550; XXII., p. 813.]
30 (return)[ Pohl, Mozart u. Haydn in London, p. 146. Parke, Mus. Mem., II., p. 259.]
31 (return)[ A. M. Z., XLIV., p. 750.]
32 (return)[ The autograph score is arranged and written quite in Mozart's usual manner. The recitative of the scena (XI. and XII.), [the duet (29), completed by a strange hand, exists in Mozart's manuscript], the serenade (21), the accompanied recitative for Fiordiligi before the air (25), and the whole of scena (XIII.) of the second act, besides some extra sheets for the wind instruments, are wanting.]
33 (return)[ B. A. Weber declared after the performance in Berlin (Mus. Monatsschr., 1792, p. 137): "After the 'Marriage of Figaro,' this opera is indisputably the finest. The concerted pieces more especially have a beauty and an expression which can be rather felt than described."]
34 (return)[ Journ. d. Mod., 1792, p. 504: "The opera in question is the most absurd stuff in the world, and only sought after on account of the excellence of the music."]
35 (return)[ In a Musikalischer Briefwechsel (Berlin Mus. Ztg., 1805, p. 293) the opera, both words and music, are severely criticised by "Arithmos," who is then in his turn ridiculed as a Philistine by "Phantasus," and the opera praised as a model of genuine irony. E. T. A. Hoffmann, too, who places the essence of comic opera in the fantastical, considers that the much-abused text of "Cosi fan Tutte' is genuinely operatic (Serapionsbrüder, I., 2, 1, Ges. Schr., I., p. 120).]
36 (return)[ Cf. A. von Wolzogen, Deutsche Mus. Ztg., 1861, p. 137.]
37 (return)[ In this form the opera was performed in Berlin, and again in 1822 at Braunschweig (A. M. Z., XXIV., p. 378), in 1823 at Cassel (A. M. Z., XXV., p. 450), and in 1824 at Munich (A. M. Z., XXVI., p. 588).]
38 (return)[ Morgenblatt, 1856, No. 4, p. 75.]
39 (return)[ This has occasioned the displacement of some of the songs, not always to their disadvantage. This version is not only far superior to all that preceded it, but is excellent in itself by reason of its taste and cleverness and careful regard for musical requirements.]
40 (return)[ A Danish translation by Oehlenschläger, with which I am not acquainted, appears to have altogether transformed the plot (Oehlenschläger, Lebenserin-nerungen, I., p. 121; IV., p. 43).]
41 (return)[ Hogarth, Mem. of the Opera, II., p. 188.]
42 (return)[ These pseudo improvements have been adopted at the more recent performances of the opera at Leipzig, Dresden, Munich, Vienna, and even at Karlsruhe,by Ed. Devrient (1860).]
43 (return)[ In the second act there are six airs, four duets, the so-called quartet and Alfonso's short scena; in the first there are six airs, two duets, five terzets, and one quintet, besides a sestet and the great scena with the chorus.]
44 (return)[ "Oh, how inexpressibly I prize and honour Mozart," says Richard Wagner (Oper u. Drama, I., p. 54), "in that he found it impossible to write the same kind of music for 'Titus' as for 'Don Juan,' for 'Cosi fan Tutte' as for 'Figaro' I How music would have been debased thereby! A sprightly, frivolous poet handed him his airs, duets, and ensembles to compose, and according to the warmth with which they inspired him, he set them to the music which would endow them with the fullest amount of expression that they were capable of." Hotho (Vorstudien f. Leben und Kunst, p. 76) is of opinion that in "Cosi fan Tutte" the female parts are thrown into the shade by the male, while the contrary is the case in "Figaro" and "Don Giovanni," and accounts for this fact by saying that Mozart was always attracted by that side of his subject which was mostly suggestive of melody.]
45 (return)[ It is advertised in the Wien. Ztg., 1790, No. 16, Anh., as the most beautiful duet of the new opera.]
46 (return)[ Da Ponte, Mem., II., pp. 108,117.]
47 (return)[ Parke, Mus. Mem., I., p. 48.]
48 (return)[ The first part was originally given to Dorabella, the second to Fiordiligi, as far as the first finale; this was afterwards altered by Mozart. It can only have arisen from an exchange of names, for that the first part was always intended for Ferraresi is clear from the manner in which the low notes are made use of, evidently to suit her voice.]
49 (return)[ It is suggestive for the execution thatlietissimois the direction at the beginning of the voice part.]
50 (return)[ An excellent effect is given by the alternations of the keys of E flat major and C major in the second theme, and the interchange of clarinets and oboes connected therewith.]
51 (return)[ The tenor, Vincenzo Calvesi, who made his first appearance with his wife in April, 1785 (Wien. Ztg., 1785, No. 33, Anh.), is the same for whom, in 1785, the inserted piece, "Villanella rapita," was written (Vol. II., p. 331), and who, in 1786, took the part of one Antipholus in Storace's "Gli Equivoci," while Kelly took the other (Kelly, Reminisc., I., p. 237).]
52 (return)[ Bassi distinguished himself subsequently in Dresden in the part of Guillelmo (A. M. Z., X., p. 410; XIII., p. 730; XIX., p. 649).]
53 (return)[ Here again an alteration must have been made. The preceding recitative ended originally after Ferrando's words, "Dammi consiglio!" in C minor, whereupon the direction follows:Segue Varia di Guillelmo. Afterwards the two last bars were crossed out, and the recitative was continued on another sheet, as it is now printed, with the same direction at the end.]
54 (return)[ The repetition by the wind instruments of the passage of such irresistibly comic gravity—[See Page Image] is wanting in the original score, and is written by the hand of a copyist on a separate sheet for flutes and bassoons only; nor do the references appear to me to be by Mozart. The insertion, however, was unquestionably in accordance with his intentions.]
55 (return)[ In both versions, Guillelmo's air breaks off on the chord of the seventh, and is immediately followed by the terzet. At the beginning of the latter is writtenridono moderatamente (not fortissimo).]
56 (return)[ Rochlitz, A. M. Z., III., p. 592.]
57 (return)[ This appears to be a later alteration. The preceding recitative ended originally at—[See Page Image] and the direction followedSegue V aria di Don Alfonso;the d was crossed out, and attacca written against it. Even if Mozart did not look upon the ensemble as a regular quartet, he could scarcely have denominated it "Aria di Don Alfonso"; such an aria must therefore have been projected, and afterwards changed for the ensemble.]
58 (return)[ Rochlitz, A. M. Z., III., p. 593. Cf. Ambros, Culturhistor. Bilder., p. 191.]
59 (return)[ One can hardly credit Schroder's remark, on seeing the opera, rechristened by Stegmann "Liebe und Versuchung," May 1, 1791, at Frankfort: "Wretched! Even Mozart's music is only good in the second act." (Meyer, L. Schroder, II., i., p. 68.)]
60 (return)[ The minor key is employed only in Don Alfonso's caricatured air (5) in the poisoning scene of the second movement of the first finale, and very cursorily in Ferrando's air (27).]
61 (return)[ The change of key, simple though it is, is more marked than in the first finale of "Figaro " and "Don Juan." G minor follows D major, then E flat major, C minor, G major, then immediately B flat major, and again without transition D major.]
62 (return)[ The canon was originally more spun out, and Guillelmo, having vented his wrath in parlando, was to take up the theme against Dorabella; but Mozart rightly gave up the idea, and struck out the bars he had already written.]
63 (return)[ Cf. Gugler, Morgenblatt, 1856, No. 4, p. Si.]