1 (return)[ For the history of opera in Vienna I am much indebted to an article written with full knowledge of the subject (A. M. Z., XXIV., p. 2651) and still more so to the careful and accurate communications which I owe to the courtesy of my friend Dr. Leop. von Sonnleithner; these two accounts form the groundwork of the present chapter, even where I have not expressly referred to them.]
2 (return)[ Müller (Abschied, p. 263) does not indeed mention the younger Stephanie by name, but other accounts explain his allusions. Schroder wrote to Dalberg (January 19, 1782): "I'm insisting upon the removal of young Stephanie from all concern in the affair, but there is no one bold enough to propose to the Emperor to dismiss a man whom he has appointed, and who will certainly be the ruin of the theatre."]
3 (return)[ Meyer, L. Schroder, I., p. 358. A. M. Z., XXIV., p. 265. Nicolai heard a performance of Gluck's "Orpheus" there in 1781 (Reise, IV., p. 537).]
4 (return)[ Kelly, Reminisc., I., p. 194.]
5 (return)[ A. M. Z., XXIV., p. 269. Schroder wrote to Dalberg (October 21, 1782): "German opera is abolished here, and comedy has been strengthened by Reineke and Opiz."]
6 (return)[ The new operas were: January 10—Gassmann, "Die Unruhige Nacht" (La Notte Critica), performed three times; February 9—Gallus, "Rose," or "Pflicht und Liebe im Streit," performed twice; February 23—J. Weigl, "Die betrogne Arglist," performed three times.]
7 (return)[ On January 20, 1781, Klein submitted his opera "Kaiser Rudolf von Habsburg" to the Electoral German company; a short notice (Rhein. Beitr. z. Gelehrs., 1781, I., p. 383) gives it extraordinary praise. He afterwards turned the same subject into a tragedy with similar title, which appeared in 1787.]
8 (return)[ The letter was published in facsimile by Gassner (Zeitschr. f. Deutschlands Musikvereine, II., p. 161), and has often been printed.]
9 (return)[ The new German original operas which were performed were: 1785—"Die Dorfhandel," or "Bunt über Eck," by Rupprecht; "Die Dorfdeputirten," by Teyber. 1786—"Die glücklichen Jager," by Umlauf; "Der Alchymist," by Schuster; "Doctor und Apotheker," by Dittersdorf; "Robert und Hannchen," by Hanke; "Betrug und Aberglauben," by Dittersdorf; "Zemirens und Azors Ehestand," by Umlauf. 1787—"Die Liebe im Narrenhause," by Dittersdorf; "Das wüthende Heer," by Rupprecht; "Im Finstern ist nicht gut tappen," by Schenk; "Die Illumination," by Kürtzinger.]
10 (return)[ Wien. Ztg., 1786, No. 11. L. Schneider, Cäcilia, XXIV., p. 148. R. Hirsch, Mozart's "Schauspieldirector," Leipz., 1859.]
11 (return)[ "Der Schauspieldirector." Ein Gelegenheitsstück in einem Aufzuge. Wien, 1786. Printed, according to Schneider, in Stephanie's Vaudevilles.]
12 (return)[ Mosel, Salieri's Leben u. Werke, p. 90.]
13 (return)[ Wien. Ztg., 1786, No. 13 Anh.]
14 (return)[ Goethe, Tag-Vund Jahreshefte, 1791 (Werke, XXI., p. 12).]
15 (return)[ Goethe, Ital. Reise (Werke, XIX., p. 360).]
16 (return)[ A. M. Z., 1864, pp. 465, 649.]
17 (return)[ The text is printed in Diezmann's Goethe-Schiller-Museum, p. 15. Goethe can scarcely have had a greater share in it than the insertion of the songs "An dem schönsten Frûhlingsmorgen" and "Bei dem Glanz der Abendröthe" (Neues Verz. e. Goethe-Bibl., p. 37). The words of Mozart's pieces are only somewhat improved in unimportant particulars, being, as a whole, very poor and insipid.]
18 (return)[ Theaterbriefe von Goethe, p. 32.]
19 (return)[ Hirsch, Mozart's Schauspieldirector, p. 18.]
20 (return)[ Printed in the German Bühnenalmanach, 1861.]
21 (return)[ Besides the Bandlterzett (441 K., Vol. II., p. 362), and the air "Manner suchen stets zu naschen" (433 K., Vol. III., p. 44), the two songs "An Chloe" (524 K.) and "Die betrogene Welt" (474 K.) are also inserted.]
22 (return)[ Reichardt (A. M. Z., XV., p. 665. Schletterer, Reichardt, I., p. 324): "Opera buffa was at that time (1783) far better appointed there, and followed its own bent with far more earnestness and consistency than anywhere in Italy. The orchestra was also first-rate—full of fire and discretion." Cf. Musik. Wochenbl., p. 66. Car. Pichler, Denkw., I., p. 78.]
23 (return)[ Berl. Litt.-u. Theat.-Ztg., 1784,1., p. 14. Opera seria was only given as an exception. When the celebrated male soprano Luigi Marchesi (Cramer, Magaz. f. Mus., I., p. 559) passed through Vienna on his journey from St. Petersburg, in August, 1785, the Emperor directed him to appear in Sarti's "Giulio Sabino," which was played six times to overflowing houses (Muller, Abschied, p. 7).]
24 (return)[ Berl. Litt.—u. Theat.-Ztg., I., pp. 14,19.]
25 (return)[ Berl. Litt.—u. Theat-Ztg., I., p. 313.]
26 (return)[ Cramer, Magaz. f. Mus., II., p. 185.]
27 (return)[ Meyer, L. Schröder, I., p. 345.]
28 (return)[ This was the opera "Il Ricco d'un Giomo," which was produced with little success on December 6, 1784 (Mosel, Salieri, p. 86).]
29 (return)[ Mus. Real-Ztg., 1789, p. 85.]
30 (return)[ Kelly, Reminisc., I., p. 231. Pohl, Mozart u. Haydn in London, p. 169.]
31 (return)[ Cramer, Magaz. f. Mus., II., p. 556.]
32 (return)[ Mosel, Salieri, p. 74.]
33 (return)[ Mosel, Salieri, p. 79. Da Ponte, Mem., I., 2, p. 50.]
34 (return)[ L. Da Ponte's "Memorie" appeared in New York, 1823 (2nd edition, 1829-30), and a translation at Stuttgart, 1847. Cf. A. M. Z., X., p. 679; XLI., p. 788; XLIV., p. 769.]
35 (return)[ Schink, Dramaturg. Monate, II., p. 539.]
36 (return)[ Kelly, Reminisc., I., p. 235.]
37 (return)[ Kelly, Reminisc., I., p. 189.]
38 (return)[ Da Ponte, Mem., I., 2, p. 68.]
39 (return)[ Kelly (Reminisc., I., p. 257) gives some interesting notices on the history of "Figaro."]
40 (return)[ Berl. Mus.-Ztg., 1793, p. 141.]
41 (return)[ An account of the fate of the autograph score, which came into the possession of N. Simrock, of Bonn, in 1864, is given in the N. Ztschr. fur Mus., XXXVI., p. 261. Cf. XXXV., pp. 65, 77.]
42 (return)[ Duschek and his wife had arrived at Salzburg from Prague at the beginning of April, after a short stay in Vienna.]
43 (return)[ Ulibicheff's opinion that, fortunately for the music, Mozart had to do with mediocre singers (II., p. 40), is unfounded. Cf. A. M. Z., XXIV., p. 270.]
44 (return)[ It is remarkable that none of the German vocalists, neither Madame Lange nor Cavalieri nor Teyber, on whom Mozart had himself reckoned for his "Sposo Deluso" (Vol. III., p. 60), were employed; a result, no doubt, of operatic factions. We know from Da Ponte (Mem., I., 2, pp. 109, no, 135) that Cavalieri was highly favoured by Salieri (Mosel, Salieri, p. 184), whose pupil she was.]
45 (return)[ So Mozart writes the name. Kelly was, as he says himself (Reminisc., I. p. 139), called Okelly in Italy.]
46 (return)[ She afterwards saog Pamina in the "Zauberflote."]
47 (return)[ The Wiener Zeitung (1786, No. 35) contained only the following brief notice: On Monday, May 1, was performed lor the first time in the National Theatre a new Italian opera in four acts, entitled 'Le Nozze di Figaro,' adapted from the French comedy of Mons. de Beaumarchais by Herr Abb. da Ponte, theatrical poet; the music is by Herr Kapellmeister Mozart. La Sign. Laschi, who has lately returned here, and La Sign. Bussani, a new vocalist, made their first appearance as the Countess and the page."]
48 (return)[ Da Ponte, Mem., I., 2, p. 90.]
49 (return)[ Dittersdorf, Selbstbiogr., p. 237.]
50 (return)[ In, June, 1787, Balzer announced (Wien. Ztg., 1787, No. 46, Anh.) that the unanimous approbation with which Mozart's masterpiece, "Die Hochzeit des Figaro," had been received in Prague, had induced him to publish a pianoforte arrangement by Kucharz; he also advertised arrangements for wind instruments, and a version of the work as a quintet by Abbé Vogler(I).]
1 (return)[ Confirmed by Kelly (Reminisc., I., p. 257).]
2 (return)[ L. de Lomenin, Beaumarchais et son Temps, II., p. 293.]
3 (return)[ The piece in various translations was soon familiar on every stage in Germany. A. Lewald has lately issued a new translation of it (Beaumarchais, Stuttg., 1839).]
4 (return)[ In Paris (in 1793) the unfortunate idea was conceived of performing Mozart's music with Beaumarchais' complete dialogue (Castil-Blaze, L'Acad. Imp. de Mus., II., p. 19). Beaumarchais was pleased with the representation, though not with the adaptation (Lomenin, Beaumarchais, II., p. 585). A notice of the performance says: "The music impressed us as being beautiful, rich in harmony, and artistically worked out. The melodies are pleasing, without being piquant. Some of the ensemble movements are of extreme beauty."]
5 (return)[ Schneider, Gesch, d. Oper in Berlin, p. 59.]
6 (return)[ Aus einer alten Kiste, p. 177. Meyer, L. Schroder, II., p. 55.]
7 (return)[ Sainte-Beuve, Causeries du Lundi, VI., p. 188.]
8 (return)[ Car. Pichler, Denkw., I., p. 103.]
9 (return)[ From Herder's Nachlass, III., p. 67.]
10 (return)[ The intellectual transformation which the French comedy underwent at Mozart's hands has often been insisted upon, e.g., by Beyle (Vies de Haydn, Mozart et de Métastase, p. 359), who, while recognising Mozart's excellence, is yet of opinion that Fioravanti or Cimarosa would perhaps have succeeded better in reproducing the easy cheerfulness of the original. Rochlitz also (A. M. Z., III., pp. 594, 595) and Ulibicheff (II., p. 48) appear to consider the remodelling of the piece as not altogether perfect. On the other hand, an enthusiastic article in the Revue des Deux Mondes (XVIII., p. 844, translated in A. M. Z., XLII., p. 589), extols Mozart as the master who has given to Beaumarchais' work that which Mozart alone could have detected in the subject of it, viz.,poetry. Cf. Hotho Vorstudien fur Leben und Kunst, p. 69.]
11 (return)[ In the very characteristic and amusing duet for the two quarrelling women in Auber's "Maurer" the realism of the musical representation is of some detriment to the grace of expression and delivery.]
12 (return)[ He declares that he so astonished Casti and Paesiello by his power of mimicry that, although he was very young, they intrusted him with the difficult part of Gafforio in the "Re Teodoro," in which he made a great sensation (Remin., I., p. 241).]
13 (return)[ Berl. Mus. Ztg. 1793, p. 138.]
14 (return)[ Bussani, who sang Bartolo and Antonio, had been in the Italian Opera in Vienna in 1772 but left it the following year. He was noted for his "resonant barn voice" (Müller, Genaue Nachr., p. 73).]
15 (return)[ Kelly, Reminisc., I., pp. 121, 196.]
16 (return)[ P. Scudo, Musique Ancienne et Moderne, pp. 22, 23.]
17 (return)[ Thus in Bartolo's air the close juxtaposition of major and minor at the words "è bassezza è ognor viltà," exactly expresses the intensification of his feeling of annoyance.]
18 (return)[ Rochitz, A. M. Z., III., p. 595.]
19 (return)[ A hasty sketch of the voice part shows only trifling alterations in the later melody. It is noteworthy that Mozart made many attempts before hitting upon a satisfactory conclusion.]
20 (return)[ A. M. Z., XXIV., p. 284.]
21 (return)[ She first appeared October 13, 1788, as Diana in Martin's "Arbore di Diana" (Wien. Ztg., 1788, No. 83, Anh.).]
22 (return)[ Wien. Ztg., 1789, No. 76, Anh., announces, "Neues Rondeau von Mme. Ferrarese aus Le Nozze di Figaro, Giunse alfin Rec. Al desio Rondeau." The air is published with the character given, "La Contessa," without any further intimation. Mozart's autograph has disappeared, but André has a copy of the air with the recitative from Mozart's remains, both marked for "Susanna." This increases the difficulty which exists respecting it (Sonnleithner, Recensionen, 1865, p. 721).]
23 (return)[ In the original score of "Figaro" the conclusion of the secco recitative is followed by the words, "Segue Recit. instrumental con Rondo di Susanna." The present garden aria could scarcely be called a rondo, and this probably refers to another air, the design of which was abandoned.]
24 (return)[ It is printed in a pianoforte arrangement among the songs (Ouvr., V., 20).]
25 (return)[ Written above it in a strange hand is, "Le Nozze di Figaro. 13 Atto 2do," and the cue, "e pur n' ho paura." Counting the pieces this air is in the second act, No. 13, in G major, like the preceding one; if it is assumed that the opera is divided into two acts, the garden air would be No. 13 in the second act. The cues are not to be found in both places, so that an alteration must have been made in the dialogue. The cue agrees in sense with the words of the Countess before the dressing song, ( Miserabili noi, se il conte viene).]
26 (return)[ In the original terzet, when the parts went together, the highest was given to the Countess; Mozart afterwards altered it, wherever dramatic expression allowed, so that Susanna should sing the highest part; this has necessitated trifling modifications here and there in the disposition of parts. This alteration was no doubt undertaken with a view to the singers. In the two finales their relative position was settled before he proceeded to the working-out.]
27 (return)[ According to Beyle, it is only in this duet that Mozart has rendered the character of French comedy, and even here he takes Figaro's jealousy too seriously (Vies de Haydn, Mozart et de Métastase, p. 361).]
28 (return)[ Cramer, Magaz. f. Mus., 1788, II., p. 48. She first appeared on September' 24, 1784, with success (Wien. Ztg., 1784, No. 79, Anh.), and she appeared again after a pause in "Figaro" (Wien. Ztg., 1786, No. 35, Anh.).]
29 (return)[ Berl. Mus. Ztg., 1793, p. 134.]
30 (return)[ Da Ponte, Mem., I., 2, p. 111; cf. p. 135.]
31 (return)[ The fragment of a sketch in score for this air is identical in the first division; the words "solo ai nomi d'amor, di diletto," are treated differently. A pianoforte arrangement of the air with violin accompaniment, entirely in Mozart's handwriting, is in Jules Andre's collection.]
32 (return)[ Dohrn, N. Ztschr. Mus., XL, p. 168.]
33 (return)[ The duet has undergone three unnecessary abbreviations in the printing. The sketch of a few bars to serve as an introduction to another duet has the superscription "Atto 2do, Scena 3, invece del Duetto di Susanna e Cherubino." This was apparently never continued.]
34 (return)[ This connected construction of the different sections of the finale is seldom found; they are generally merely successive scenas, as, for instance, in Casti's "Re Teodoro."]
35 (return)[ Mozart has written above it, "Andante di molto," and not "Andante con moto" as it is printed; and it may further be noted that Susanna comes out of the closet "tutta grave."]
36 (return)[ Holmes says (Life of Mozart, p. 269) that Mozart wrote this finale in two nights and a day, without stopping; in the course of the second night he became unwell, and was obliged to desist when there only remained a few pages to instrumentalise.]
37 (return)[ Zelter, Briefw. m. Goethe, V., p. 434.]
38 (return)[ Basilio and Don Curzio being intrusted to one singer, as well as Bartolo and'Antonio, the score contains the names of the four characters, but only two musical parts; supernumeraries were brought on the stage in similar costumes when required.]
39 (return)[ Kelly, Reminisc., I., p. 260.]
40 (return)[ At first he gave Susanna's charming melody to the bassoon and flute as well, but afterwards struck out both instruments, in order to allow the voice full play. The instrumentation throughout the sestet is very moderately treated.]
41 (return)[ Kelly, Reminisc., I., p. 260.]
42 (return)[ The running passages at the close of the air for the Countess (Act III., 2) were not originally written by Mozart, but were added later, probably at the wish of the singer.]
43 (return)[ Cf. Kossmaly to Ulibicheff, Mozarts Opern, p. 368.]
44 (return)[ This exquisite touch is completely lost in the German translation, where the Countess only begins to dictate after the ritornello.]
45 (return)[ A writer in the Deutsch. Mus. Ztg., 1862, p. 253, conjectures that an orchestral piece in D minor (101, Anh., K.) included among Mozart's remains, but unfortunately lost, may have been this middle movement.]
46 (return)[ The Emperor Joseph's remark has been already mentioned. Carpani (Le Haydine, p. 49; cf. p. 35) is of the same opinion. Grétiy's shrewd criticism in answer to a question by Napoleon: "Cimarosa met la statue sur le théätre et le piédestal dans l'orchestre; au lieu que Mozart met la statue dans l'orchestre et le piédestal sur le théätre," has been justly praised by Fétis (Biogr. Univ., IV., p. 106).]
47 (return)[ Carpani, Le Haydine, p. 202. Beyle, Vies de Haydn, Mozart et de Métastase, p. 362. Stendsal, Vie de Rossini, p. 40.]
48 (return)[ Südd. Zeitg. f. Mus., 1861, p. 24.]
49 (return)[ H. Berlioz (Voy. Mus., II., p. 267) characterises Mozart as the master who, above all others, followed in Gluck's footsteps.]
50 (return)[ Tieck, Dramaturg. Blatter, II., p. 325.]
1 (return)[ Gyrowetz, Selbstbiogr., p. 14.]
2 (return)[ "Figaro" was first performed in Berlin, September 14, 1790 (Schneider, Gesch. d. Oper, p. 59), and praised by the critics as a masterpiece, while the ordinary public preferred Martin and Dittersdorf (Chronik von Berlin, VIII., pp. 1229, 1244. Berl. Mus. Monatsschr., 1792, p. 137). "Figaro" had no greater success in Italy than others of Mozart's operas: "Mozart's operas, at the hands of the Italian comic singers and the Italian public, have met with the fate which would befall a retiring sober man introduced to a company of drunkards; the rioters would be sure to treat the sober man as a fool" (Berl. Mus. Ztg., 1793, p. 77). Thus, failure was reported from Florence (A. M. Z., III., p. 182) and Milan (A. M. Z., XVII., p. 294). "Figaro" has lately been on the repertory of the Italian Opera in Paris; since the unfortunate experiment in 1792 (p. 77, note), the opera has been given in French at the Théätre Lyrique (1858), with the most brilliant success (Scudo, Crit. et Litt. Mus., II., p. 458). "Figaro" was first performed in London in 1813 (Catalani sang Susanna—Parke, Mus. Mem., II., p. 82), and kept its place as one of the most favourite of operas.]
3 (return)[ Jahrb. d. Tonk., Wien u. Prag, 1796, p. 108. A. M. Z., p. 488. Reichardt, Br. e. aufm. Reisenden, II., p. 123.]
4 (return)[ Gyrowetz, in his Autobiography (Wien, 1848), gives a description of such an education.]
5 (return)[ A. M. Z., I., p. 330; II., p. 494.]
6 (return)[ [Blümner], Gesch. des Theaters in Leipzig, p. 203.]
7 (return)[ Particulars concerning him and his wife may be found in Cramer's Mag. Mus., I., p. 997. Jahrbuch der Tonkunst, 1796, p. 113. A. M. Z., I., p. 444.]
8 (return)[ Reichardt (Briefe eines aufmerks. Reisenden, I., p. 116) includes him among the best pianoforte-players of the time (1773): "who, besides a very good execution of Bach's music, has a particularly elegant and brilliant style."]
9 (return)[ She was born in Prague in 1756, and died there at an advanced age.]
10 (return)[ Schiller, Briefw. m. Körner, I., p. 280. She had given a concert in Leipzig on April 22 (Busby, Gesch. d. Mus., II., p. 668.)]
11 (return)[ We learn from L. Mozart's letters to his daughter, that Count Clamm, "a fine, handsome, amiable man, without cavalier pride," was the "declared lover" of Frau Duschek, and "kept her whole establishment."]
12 (return)[ Schiller, Briefw. m. Körner, I., p. 294.]
13 (return)[ Schletterer, Reichardt, I., p. 134.]
14 (return)[ Reichardt, Vertr. Briefe, I., p. 132.]
15 (return)[ Niemetschek, p. 34.]
16 (return)[ The violins were trebled, the violas and basses doubled (A. M. Z., II., p. 522).]
17 (return)[ Niemetschek, p. 39. Holmes says (p. 278) that he heard the same remark made by the first bassoonist after a performance of "Figaro."]
18 (return)[ Niemetschek, p. 40.]
19 (return)[ Every "Teutsche" has its "Alternativo," and they are united into a connected whole, as Mozart especially remarks in a description of them. The close is formed by a somewhat lengthy coda, and they are for the most part lightly thrown together, with no pretension but to incite to the dance. He remarks at the end, "As I do not know of what kind the Flauto piccolo is, I have put it in the natural key; it can at any time be transposed." A pianoforte arrangement in Mozart's handwriting is in André's collection.]
20 (return)[ Niemetschek, p. 96. 1]