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). The pizzicato violin
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)
[ The personnel
of 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 marked prestissimo,
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).]